Beethoven - Diabelli Variations, op.120
In 1819, the publisher and composer Anton Diabelli started a collaborative project that invited any Austrian/German composer to participate in; a large set of variations on a short waltz he wrote specifically for the project. Being fueled by 19th century Nationalism, the project was called “Fatherland Artists Association”, and over 50 composers contributed a variation. For example, some larger names like Franz Schubert, Carl Czerny, and even from the [then] 8 year old Franz Liszt, as well as several “stars” of the day who aren’t in the standard repertoire [Moscheles, Kalkbrenner, Hummel, etc.]. Sure, it’s a bit of a gimmick, but it was for a good cause: Diabelli donated the funds to benefit orphans and widows of the Napoleanic Wars. But of all the composers that helped with the project, the largest and most important contribution comes from Beethoven. Written during his late period, the 33 Variations on Diabelli’s waltz has since been considered one of THE greatest sets of variations written in history, right next to Bach’s Goldberg. At the same time, the work is considered to be one of Beethoven’s most significant achievements because of what he does with the original waltz. It would be tedious to go through every single variation and point out what it’s doing, so at most I’ll give as quick a summary as I can. Beethoven pretty much ignores the main melody, and instead all of his variations are based on the structure of the work, the harmony, and the rhythm. For example, many variations only focus on parts of the melody, like the opening grace note, or the trill, or a single interval. In a way, it’s Beethoven showing off what he can do with very little material. The work is also full of contrasts in mood. Some variations make fun of the original waltz, with it’s banal theme and basic/limited use of the keyboard. Other variations contrast the humorous with extreme seriousness; a gorgeous choral variation, two variations that seem to be love letters to Baroque opera, one variation is a calm fughetta, a nod to Bach. One variation is in a canon, near the end is a short but epic fugue [like the fugal moments of his last sonatas], there are virtuosic variations, simplistic variations, the mood transforms as often as the music. Alfred Brendel said it best, "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".