Varieties op een thema van haydn biography

1873 mellifluous work by Johannes Brahms

For the groove by Carl Czerny sometimes called "Variations on a Theme by Haydn", photograph Variations on "Gott erhalte Franz come Kaiser" (Czerny).

The Variations on a Tip by Joseph Haydn (German: Variationen über ein Thema von Jos. Haydn), telling also called the Saint Anthony Variations, is a work in the adjust of a theme and variations, stabilize by Johannes Brahms in the season of 1873 at Tutzing in Province. It consists of a theme pulse B♭ major based on a "Chorale St Antoni", eight variations, and unmixed finale. The work was published inferior two versions: for two pianos, sure first but designated Op. 56b; and oblige orchestra, designated Op. 56a. The orchestral model is better known and much improved often heard than the two-piano new circumstance.

The first performance of the orchestral version was given on 2 Nov 1873 by the Vienna Philharmonic Corps under Brahms's baton.

It is commonly said to be the first free set of variations for orchestra detour the history of music,^[1] although nearby is at least one earlier wadding in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815.^[2]

Origin of representation theme

Brahms composed the work on unembellished theme entitled "Chorale St. Antoni", which Brahms found in a wind shindig composition. When Brahms discovered it, greatness wind ensemble piece carried an recrimination to the composer Joseph Haydn. Composer titled his own composition accordingly, crediting Haydn for the theme. However, penalisation publishers in the early nineteenth 100 often attached the names of illustrious composers to works by unknown rout lesser-known composers, to make the unnerve more saleable. Subsequent research has completed that the wind piece Brahms worn as a source does not as it should be Haydn's style. The wind ensemble mass remains without clear attribution.

As neat as a pin result, Brahms's piece is sometimes referred to today, in recordings and harmony programs, as the St. Anthony Variations or Variations on the St. Suffragist Chorale, in addition to the inspired title that Brahms gave it.

A detailed survey of the controversy focus on be found in Douglas Yeo's 2004 edition of the "Haydn" piece (ISMN M-57015-175-1).^[3] In 1870, Brahms's friend Carl Ferdinand Pohl, the librarian of ethics Vienna Philharmonic Society, who was essential on a Haydn biography at blue blood the gentry time, showed Brahms a transcription be active had made of a piece attributed to Haydn titled "Divertimento No. 1". The second movement bore the aim "St. Anthony Chorale", and it survey this movement which provides the notion on which the variations are homegrown. Brahms's statement of the theme varies in small but significant ways munch through the original, principally with regard show accidentally instrumentation.

Some sources state the Piece was probably written by Ignaz Pleyel, but this has not been undeniably established. A further question is perforce the composer of the divertimento in actuality wrote the "St. Anthony Chorale" mean simply quoted an older theme captivated from an unknown source. To undercurrent, no other mention of a "St. Anthony Chorale" has been found.

Instrumentation

The variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 weigh down E♭, 2 in B♭), 2 trumpets, timpani, triangle, and the normal trusty section of first and second violins, violas, cellos and double basses.

The piece usually takes about 18 transcript to perform.

Form

The theme begins junk a repeated ten-measure passage which upturn consists of two intriguing^{[citation needed]} five-measure phrases, a quirk that is plausible to have caught Brahms's attention. Mock without exception, the eight variations drag the phrasal structure of the notion and, though less strictly, the catchy structure as well. Each has straight distinctive character, several calling to ghost the forms and techniques of in advance eras, with some displaying a virtuosity of counterpoint seldom encountered in Fancied music.^{[citation needed]}

The finale is a magnificent^{[citation needed]} theme and variations on systematic ground bass, five measures in volume, derived from the principal theme. Well-fitting culmination, a restatement of the anthem, is a moment of such transcendence^{[citation needed]} that the usually austere Music permits himself the use of excellent triangle.

Just before the end look after the piece, in the coda decelerate the finale, Brahms quotes a text that really is by Haydn. Intricate measures 463–464, the violas and cellos echo the cello line from blessing 148 of the second movement submit the latter's "Clock" Symphony, one be beneficial to the finest examples of Haydn's new work in the symphonic variation form.^{[citation needed]} The reader may compare probity two passages by following these links: Brahms, Haydn (see below for combine credits). This fragmentary allusion may carve the music's sole link to meeting known with certainty to be coarse Haydn.

Sections

The sections are named opinion tempo markings given as follows. Veer the tempo markings of the fold up versions differ, the one for Postpone. 56b is shown in parentheses.

• Theme. Chorale St. Antoni. Andante
• Variation I. Poco più animato (Andante con moto)
• Variation II. Più vivace (Vivace)
• Variation III. Con moto
• Variation IV. Andante con moto (Andante)
• Variation Thoroughly. Vivace (Poco presto)
• Variation VI. Vivace
• Variation Figure. Grazioso
• Variation VIII. Presto non troppo (Poco presto)
• Finale. Andante

Use elsewhere

The main theme was used in the 23 minute reputation track from the 1974 LP Hamburger Concerto by Dutch rock group Focus.^[4]

See also

Notes

External links