Schumann-Beethoven: Symphonic Variations

BEETHOVEN - SCHUMANN: Symphonic variations

The Piano Sonata Op.111 No.32 is the last of Beethoven's piano sonatas. Like the other "late period" sonatas (Op.109 and Op.110), it contains fugal elements and is technically very demanding. Written between 1821 and 1822, the first theme of the Allegro ed Appassionato was found in a draft dating 1801-1802, contemporary to his Second Symphony. This could be this is the reason why, for the first time, the piano Sonata is transcending to a more polyphonic and orchestral composing style.
Furthermore, for the very first time the Sonata is only in two highly contrasting movements: the first movement, in C minor, is stormy and full of passion; the second movement, in C Major,is instead peaceful and full of joy. Organized in a set of variations with a short interlude and final coda, it has a third variation of such an unexpectedly modern rhythm that is often referred to as the "boogie-woogie variation". It concludes with a very long trilling variation of such an ethereal pure melody that with its demanding technicality brings the performer and the audience to the transcendence.
The strong contrast between these two movements, with the triumph of Major over minor, of optimism over drama, of transcendence over passion, makes the Op.111 to be considered Beethoven’s testament to his composing research in the meaning of Life.

Schumann Symphonic Studies Op.13
The Études symphoniques takes composing structure from Beethoven’s Op.111 and Diabelli Variations: the theme is amplified and transformed, and becomes the basis for unexpected divergent expressive characters.
Composed in 1834 by a young 24 years old Schumann in response to the revolutionary Chopin Studies Op.10, it was first published in 1837 as XII Etudes Symphoniques. As Chopin’s technical studies became concert pieces through beautiful but virtuosistic lyrical themes, Schumann's Op.13 amplified the concert studies in 'Symphonic Ètudes' that transformed the piano in an “orchestra” full of magnificent complexity of colors and different timbres.
Schumann composing language is peculiarly divided in two imaginary characters in whom he reflected his dual personality: Eusebius and Florestan. In the first version of the Op.13, the studies were divided in an equal alternation of lyrical, melancholy and introvert pages (Eusebius) with those of more passionate, excitable and dynamic nature (Florestan), but in the 1837 version Florestan prevails.
Schumann composed sixteen variations on Fricken's theme, but only eleven were published by the composer as “Études symphoniques”. The opera was dedicated to his English friend W.S. Bennett who played the Op.13 frequently in England to great acclaim. This is the reason why the twelfth etude, “Finale” is unexpectedly a variation on the theme “Proud England, rejoice!”.

Notes by Stefania Passamonte

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