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Many have asked me to compare:
โ Reicha's ๐'๐๐ฅ๐ง ๐๐ ๐ฉ๐๐ฅ๐๐๐ฅ
โ Beethoven's ๐๐๐๐๐๐๐๐ ๐ฉ๐๐ฅ๐๐๐ง๐๐ข๐ก๐ฆ
Below is a 1st attempt.
(1/n)
โ Reicha's ๐'๐๐ฅ๐ง ๐๐ ๐ฉ๐๐ฅ๐๐๐ฅ
โ Beethoven's ๐๐๐๐๐๐๐๐ ๐ฉ๐๐ฅ๐๐๐ง๐๐ข๐ก๐ฆ
Below is a 1st attempt.
(1/n)
โ Reicha composed L'Art de Varier in Vienna during 1802-1804. It was published in 1804.
โ Beethoven composed his 33 Variations on a Waltz by Anton Diabelli in Vienna. He wrote it during two distinct periods: about 2/3 of the piece in 1819, and the remainder in 1822-23.
โ Beethoven composed his 33 Variations on a Waltz by Anton Diabelli in Vienna. He wrote it during two distinct periods: about 2/3 of the piece in 1819, and the remainder in 1822-23.
โ ๐'๐๐ฟ๐ ๐ฑ๐ฒ ๐ฉ๐ฎ๐ฟ๐ถ๐ฒ๐ฟ comprises an original theme in F major followed by 57 Variations. A complete performance lasts approximately 86 minutes. The penultimate variation is a fugue, followed by a Presto finale.
โ ๐ง๐ต๐ฒ ๐๐ถ๐ฎ๐ฏ๐ฒ๐น๐น๐ถ ๐ฉ๐ฎ๐ฟ๐ถ๐ฎ๐๐ถ๐ผ๐ป๐ begin with a Waltz by Anton Diabelli, followed by Beethoven's 33 Variations. The theme is in C major. A complete performance usually lasts from 50-60 minutes. The penultimate variation is a fugue, followed by a decorative Minuet.
โ ๐'๐๐ฟ๐ ๐ฑ๐ฒ ๐ฉ๐ฎ๐ฟ๐ถ๐ฒ๐ฟ remains in F major for 48 out of 57 variations. Some of these 48 are so tonally grounded as to appear pastoral; others are highly chromatic.
Reicha uses the minor mode extensively:
* F minor (for variations 4, 23, 57)
* D minor (v's 8, 15, 27, 31)
Reicha uses the minor mode extensively:
* F minor (for variations 4, 23, 57)
* D minor (v's 8, 15, 27, 31)
Reicha's one ๐๐ญ๐ฉ๐ง๐๐ค๐ง๐๐๐ฃ๐๐ง๐ฎ exception is Variation 22. The 1st section is in G-flat major (!) cadencing on the dominant D-flat. The final deceptive cadence on a C major chord โ the same on which the variation began โ sneakily allows him transition to F minor for V. 23
Reicha's overall tonal approach is to sprinkle the minor modes (F, D) throughout the first 1/2 of the work. He then remains in major after the dramatic ๐ด๐๐๐๐๐ ๐๐๐๐ฬ๐๐๐ variation (n. 31), creating tension which builds until the final v. 57, which returns to F minor.
๐ง๐ต๐ฒ ๐๐ถ๐ฎ๐ฏ๐ฒ๐น๐น๐ถ ๐ฉ๐ฎ๐ฟ๐ถ๐ฎ๐๐ถ๐ผ๐ป๐ remain in C major for 28 of 33 Variations, with four (v's 9, 29, 30, 31) in C minor and the Fugue in E-flat major (v 32). The piece is extremely stable tonally, and Beethoven uses tempo shifts for variety, as well as his signature...
...method of introducing a rhythmic motif early in each variation, which he then develops. This technique affords him contrast ๐๐๐ฉ๐ฌ๐๐๐ฃ variations, while providing internal consistency within each ๐๐ฃ๐๐๐ซ๐๐๐ช๐๐ก variation.
Beethoven's overall tonal approach is perhaps more narrative. He remains in C major for a long stretch: Variations 1-28, w/ just one variation in the parallel minor (v. 9). When the shift to minor happens again, it appears to be permanent, as v's 29-31 lead into each other...
...as if to form a "slow movement" (Adagio - Andante - Largo, respectively). The shift to E-flat major for the Fugue seems monumental in this context, before the final ๐๐ฬ๐ฃ๐ค๐ช๐๐ข๐๐ฃ๐ฉ in C major. The price is potential "C major fatigue" for the listener, well beforehand.
โ Beethoven's ๐๐๐๐๐๐๐๐ ๐ฉ๐๐ฅ๐๐๐ง๐๐ข๐ก๐ฆ has been recorded well over 100 times.
โ Reicha's ๐'๐๐ฅ๐ง ๐๐ ๐ฉ๐๐ฅ๐๐๐ฅ has been recorded...๐ฉ๐ฌ๐๐๐
โ Reicha's ๐'๐๐ฅ๐ง ๐๐ ๐ฉ๐๐ฅ๐๐๐ฅ has been recorded...๐ฉ๐ฌ๐๐๐
