The Double Variation in Beethoven
Although the double variation is associated strongly with Haydn, Elaine Sisman has pointed out that, provided we adopt a somewhat looser definition of the form, Ludwig van Beethoven also emerges as a major composer of double variations. With the partial exception of the Piano Trio in E flat major, Op. 70 No. 2, which Sisman sees as an homage to Haydn, Beethoven's double variations have a rather different character. For instance, sometimes only the A theme is strongly varied, with B remaining relatively constant. Beethoven also likes to interrupt or truncate one or both themes, producing a less regular structure than Haydn's, seen in the often-complex structural formulae given below.
Thus flexibly construed, the double variation emerges as the musical form for some of the most famous of Beethoven's works. Here is a list of movements for which Sisman argues that a double-variation structure is present.
Year |
Work |
Form |
A |
B |
1802 |
Third Symphony. 4: Allegro molto |
AA1A2BAxB1A3B2Ax1B3B4coda |
various, centered on E♭ |
various, centered on E♭ |
1808 |
Fifth Symphony. 2: Andante con moto |
ABA1B1A2, cadenza on A, B2 A3, coda based on A |
A♭/once in A♭ minor |
A♭-C, A♭-C, C |
1808 |
Piano Trio Op. 70, No. 2. 2: Allegretto |
AA1BA2B1 with coda |
C |
c |
1812 |
Seventh Symphony. 2: Allegretto |
AA1A2A3BA4, fugato on A, B1, coda based on A |
a |
A to C, A |
1824 |
Ninth Symphony. 3: Adagio molto e cantabile |
ABA1B1, episode on A, A2, episode1 on A, A3, episode2 on A, A3, coda |
B♭ |
D, then G |
1825 |
String Quartet No. 15, Op. 132. 3: Molto Adagio — Andante ("Heiliger Dankgesang") |
ABA1B1A2 |
F Lydian, notated C |
D |
As Sisman notes, Beethoven placed his double variations in the same genres as Haydn: the piano trio, the string quartet, and the symphony.
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