Double Variation - The Double Variation in Beethoven

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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