A comparison between this miniature set of variations and the previous entry, the Variations on Righini's "Venni, Amore" is particuarly telling. While both themes share a beginning that signals a closing, the approach to the two themes is radically different. The Righini variations take apart the theme in the manner we think of from Beethoven, the melody is lost, but the harmonic framework remains and itself becomes the subject of variation. This set of variations uses instead the shape and nearly entirety of the melody throughout, varying the setting in which it is placed. Almost Mozartean in style, it lacks any sort of surprise element. To call this tiny set of six variations on a miniscule Swiss song inconsequential would be to give it too much credit. It goes through the motions, maybe a little better than some but not many.
Friday, August 28, 2009
6 Variations for Piano or Harp in F major: on a Swiss air (1790)
Biamonti 25, WoO 64, Grove 183
A comparison between this miniature set of variations and the previous entry, the Variations on Righini's "Venni, Amore" is particuarly telling. While both themes share a beginning that signals a closing, the approach to the two themes is radically different. The Righini variations take apart the theme in the manner we think of from Beethoven, the melody is lost, but the harmonic framework remains and itself becomes the subject of variation. This set of variations uses instead the shape and nearly entirety of the melody throughout, varying the setting in which it is placed. Almost Mozartean in style, it lacks any sort of surprise element. To call this tiny set of six variations on a miniscule Swiss song inconsequential would be to give it too much credit. It goes through the motions, maybe a little better than some but not many.
A comparison between this miniature set of variations and the previous entry, the Variations on Righini's "Venni, Amore" is particuarly telling. While both themes share a beginning that signals a closing, the approach to the two themes is radically different. The Righini variations take apart the theme in the manner we think of from Beethoven, the melody is lost, but the harmonic framework remains and itself becomes the subject of variation. This set of variations uses instead the shape and nearly entirety of the melody throughout, varying the setting in which it is placed. Almost Mozartean in style, it lacks any sort of surprise element. To call this tiny set of six variations on a miniscule Swiss song inconsequential would be to give it too much credit. It goes through the motions, maybe a little better than some but not many.
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