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What ARE the VAriations?

The 33 Variations on a waltz by Anton Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven on a waltz composed by Anton Diabelli.

 

Diabelli was born in 1781 and was an Austrian composer, music publisher, and editor. He is best known for his waltz that he wished to publish a volume of variations on.  The idea was originally a commercial one, which he hoped would boost his career and each variation would written by a different prominent composer of the time.

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In 1819, he sent his waltz out to every important Austrian composer living, and a couple of non-Austrians, and they sent him back their own variation on his melody. This was to be published as a work entitled Vaterländischer Künstlerverein (The Patriotic Artist’s Club). Fifty-one composers complied, sending in their single variations, except for Beethoven, who sent in a set of 33 variations.

 

The list of composers (see below) is interesting, however, of the 51 composers we know very few of them today. They may have been important in 1819, but by 2021, most have now vanished off the musical scene. 

List of composers (Alphabetically)

Ignaz Assmayer
Ludwig van Beethoven
Carl Maria von Bocklet
Leopold Eustache Czapek
Carl Czerny
Joseph Czerny
Anton Diabelli
Joseph Drechsler
Emanuel Alloy’s Forster
Franz Jakob Freystadtler
Johann Gansbacher
Josef Gelinek
Anton Halm
Johann Hoffmann
Johann Horzalka
Joseph Huglmann
Johann Nepomuk Hummel
Anselm Huttenbrenner

Frederic Kalkbrenner
Friedrich August Kanne
Joseph Kerzkowsky
Conradin Kreutzer
Heinrich Eduard Josef von Lannoy
Marcus Leidesdorf
Franz Liszt
Joseph Mayseder
Ignaz Moscheles
Ignaz Franz von Mosel
Franz Xaver Mozart
Joseph Panny
Hieronymus Payer
Johann Peter Pixis
Wenzel Plachy
Gottfried Rieger

Philipp Jakob Riotte

Franz de Paula Roser
Rudolph (Archduke of Austria)
Johann Baptist Schenk
Franz Schoberlechner
Franz Schubert
Simon Sechter
Abbe Maximilian Stadler
Joseph von Szalay
Vaclav Jan Kritel Tomasek
Michael Umlauf
Jan August Vitasek
Graf Moriz von Dietrichstein
Jan Hugo Vorisek
Franz Weber
Friedrich Dionys Weber
Franz Weiss
Charles Angelus von Winkhler

The definition of variations and theme is; a standard form of musical composition consisting of a simple usually harmonized melody presented first in its original unadorned form then repeated several or many times with varied treatment so based on the theme that at least some semblance of its general melodic or harmonic form is evident.

 

In 33 Variations, Moisés Kaufman examines Beethoven’s process of taking a very simple piece of an idea and expanding it in every conceivable direction. Why does one do this? Where do the ideas come from? What is the point? To create the Diabelli Variations, Beethoven dissected the central elements of the original waltz he was presented with and then reconstructed them in 33 different styles. In the process, he created a masterpiece. However, the inspiration for each of the 33 variations was the original waltz he was given by Diabelli.

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In The Practical Wisdom of Beethoven's "Diabelli" Variations by Patricia Herzog she quotes, "The greatness of the Diabelli Variations can be gauged by the distance between Diabelli's waltz and Beethoven's variations, in the increasing transformation and development of the variations, whose thematic elaboration is so subtle and at the same time so simple, employing the barest of musical means." 

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HOW THEY ARE UTILIZED WITHIN THE PLAY?

The variations are used as a focus, as underscoring, and sometimes as a character in and of themselves. The play starts out with Variation theme with which all of the variations build off of. Depending on the style of the piece and its structural composition, Kauffman has carefully selected where each piece fits, considering factors such as emotion, themes and pacing.

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Moisés Kauffman hired concert pianist Diane Walsh to collaborate on the play from a musical perspective. Kauffman stated, "her virtuosity, her observations about the music, and her visceral understanding of what each piece did in performance nurtured every step of out process."(Kauffman 223). Moments in the play were built using recordings of the thirty-three variations for the creators to examine the melody, rhythms, and the mood of the music to see what moments emerged organically.

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In Variation "Fugue" Beethoven is seen in a private "moment" composing. The concept behind this scene was to represent Beethoven's internal struggle as he endeavored to write what ended up being a masterpiece of the form. As Beethoven articulates the structure and the notes of the composition, the music he describes is played bu a pianist onstage. This creates the illusion of his words and ideas actually generating the music, allowing the audience to be present in the moment of creation. The sound in this scene then becomes a scene partner for Beethoven.

THE CHARACTERS AS VARIATIONS

 Expert Peter Hilliard,  inspired and challenged us to take a closer look at the variations, the concept of a variation, and how it correlates to the characters themselves. After further analysis, a theory was born: the relationships within the play and the characters constructed are a variation of one another. The first variant I would like to introduce is Beethoven's thoughts regarding Diabelli's theme. He finds them "mundane" and ordinary. This aligns closely to how Katherine sees her daughter, Clara. Both Katherine and Beethoven seek out the extraordinary. So much so, that Katherine's occupational obsession is to understand why Beethoven is interested in this simple waltz. Furthermore, Beethoven and Katherine, who see these two things as mediocre, make a change halfway through the script, thus changing thier point of view. Beethoven takes an interest in  the waltz, and Katherine in Clara, both of which they have had  a few months absence from. Both Beethoven and Katherine's journeys are paralleled here, being a variation of one another. Another example from the script is Schindlers relationship with Beethoven, in correlation to Katherine's relationship to Gertie. Both are faithful and loyal friends that stay despite less than ideal circumstances. Both Schindler and Gertie are kind but truthful, not afraid to take a stand and say what needs to be said for the betterment of the person they serve. The characters of Mike and Diabelli also portray variations to one another. Both lack the talent to be anything other than mediocre but respect, admire, and seek out what they consider to be extraordinary. All of this is conclusive evidence that supports the idea that there are multiple variations between the relationship dynamics of the characters constructed.

"This music will free people from all the misery and all the indignities that shackle other human beings." ~Beethoven, 33 Variations

THE ORIGinal SCore

THE VARIATIon BREAKDOWN

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