작곡가

:   Ludwig van Beethoven (루트비히 판 베토벤)

장르

:  

Keyboard

스타일

:  

Theme & Variations

작곡년도

:   1819

평균연주

:   53:02

악장

1

Theme

0:53

2

Variation 1 Alla Marcia maestoso

1:49

3

Variation 2 Poco Allegro

0:55

4

Variation 3 L'istesso tempo

1:23

5

Variation 4 Un poco più vivace

1:02

6

Variation 5 Allegro vivace

0:55

7

Variation 6 Allegro ma non troppo e serioso

1:40

8

Variation 7 Un poco più allegro

1:05

9

Variation 8 Poco vivace

1:29

10

Variation 9 Allegro pesante e risoluto

1:45

11

Variation 10 Presto

0:37

12

Variation 11 Allegretto

1:04

13

Variation 12 Un poco più moto

0:52

14

Variation 13 Vivace

1:05

15

Variation 14 Grave e maestoso

3:52

16

Variation 15 Presto scherzando

0:36

17

Variation 16 Allegro

0:58

18

Variation 17 [No tempo marking]

1:01

19

Variation 18 Poco moderato

1:42

20

Variation 19 Presto

0:52

21

Variation 20 Andante

2:17

22

Variation 21 Allegro con brio

1:15

23

Variation 22 Allegro molto (alla "Notte e giorno faticar" di Mozart)

0:45

24

Variation 23 Allegro assai

0:52

25

Variation 24 Fughetta. Andante

2:59

26

Variation 25 Allegro

0:46

27

Variation 26 [No tempo marking]

1:07

28

Variation 27 Vivace

0:57

29

Variation 28 Allegro

0:56

30

Variation 29 Adagio ma non troppo

1:19

31

Variation 30 Andante, sempre cantabile

2:15

32

Variation 31 Largo, molto expressivo

4:46

33

Variation 32 Fuga. Allegro - Poco Adagio

2:57

34

Variation 33 Tempo di Minuetto moderato, ma non tirarsi dietro

3:53

The 33 Variations on a waltz by Anton Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven on a waltz composed by Anton Diabelli. It is often considered to be one of the greatest sets of variations for keyboard along with J.S. Bach's Goldberg Variations. The music writer Donald Tovey called it "the greatest set of variations ever written". The pianist Alfred Brendel has described it as "the greatest of all piano works". It also comprises, in the words of Hans von Bülow, "a microcosm of Beethoven's art". In Beethoven: The Last Decade 1817–1827, Martin Cooper writes, "The variety of treatment is almost without parallel, so that the work represents a book of advanced studies in Beethoven's manner of expression and his use of the keyboard, as well as a monumental work in its own right". In his Structural Functions of Harmony, Arnold Schoenberg writes that the Diabelli Variations "in respect of its harmony, deserves to be called the most adventurous work by Beethoven". Beethoven's approach to the theme is to take some of its smallest elements – the opening turn, the descending fourth and fifth, the repeated notes – and build upon them pieces of great imagination, power and subtlety. Alfred Brendel wrote, "The theme has ceased to reign over its unruly offspring. Rather, the variations decide what the theme may have to offer them. Instead of being confirmed, adorned and glorified, it is improved, parodied, ridiculed, disclaimed, transfigured, mourned, stamped out and finally uplifted". Beethoven does not seek variety by using key-changes, staying with Diabelli's C-major for most of the set: among the first twenty-eight variations, he uses the tonic minor only once. Then, nearing the conclusion, Beethoven uses the tonic minor for Variations 29–31 and for Variation 32, a triple fugue, he switches to E-flat major. Coming at this late point, after such a long period in C-major, the key-change has an increased dramatic effect. At the end of the fugue, a culminating flourish consisting of a diminished seventh arpeggio is followed by a series of quiet chords punctuated by silences. These chords lead back to Diabelli's C-major for Variation 33, a closing minuet.
The work was composed after Diabelli, a well known music publisher and composer, in the early part of 1819 sent a waltz of his creation to all the important composers of the Austrian Empire, including Franz Schubert, Carl Czerny, Johann Nepomuk Hummel, and the Archduke Rudolph, asking each of them to write a variation on it. His plan was to publish all the variations in a patriotic volume called Vaterländischer Künstlerverein, and to use the profits to benefit orphans and widows of the Napoleonic Wars. Franz Liszt was not included, but it seems his teacher Czerny arranged for him to also provide a variation, which he composed at the age of 11.

... MORE    From WIKIPEDIA