Variations on a Theme of Paganini

The Variations on a Theme of Paganini, Op 35 is a piano work by Johannes Brahms, which was largely completed in winter 1862/63 in Vienna.

The 28 variations are among the most difficult works of the Romantic piano literature and were first performed by the composer on 25 November 1865 in Zurich. Cause these studies for piano, spread across two books, each with 14 variations, was the impressive play of pianist Carl Tausig, the Brahms had met in Vienna.

The theme he chose the 24 Capriccio in A minor from the 24 Capricci Op 1 for solo violin by Niccolò Paganini, with his virtuoso performances in 1830 created quite a stir in many European cities and composers such as Robert Schumann and Franz Liszt influenced.

Content

The factory is built strictly and symmetrical. The two books each begin with the existing of 24 bars topic, the following fourteen variations. The final two variations (Allegro ma non troppo and Presto ) are more extensive and form the dramatic and virtuosic climax of the composition. Except for the slower variations in major, which are designed more freely, they have the same key ( A minor ) and move to the harmonic framework of the prototype.

Each variation cover a specific technical problem in a concentrated manner, reminiscent of an etude. So sixths, and thirds, octaves, arpeggios, repetitions, jumps and rhythmic problems to the limit of playability are presented.

The Paganini Variations are a concentrate of the typical piano technique of the composer, with whom he grappled again in 1893 published 51 Exercises for Piano. In contrast to the extrovert, and sparkling - striking personal style of Franz Liszt, which is characterized by scale and virtuosic ornaments, Brahms draws ' very characteristic and sometimes brittle piano - alongside thirds and sixths - by full grip, syncope, polyphonic structures and powerful bass.

Background

The 1810 composed 24 Capriccen require jumps, double handles and bold position game and have - even by the legendary performances by the master violinist in major European cities - influenced many contemporaries and future generations.

So sought Franz Liszt, the most famous pianist of the 19th century, under the influence of Paganini play new ways of pianistic technique and was the piano so far unknown abgewinnen technical and tonal pages in virtuoso etudes. With its six Grandes études d'après Paganini - among them the famous La Campanella - he opened up not only some of Paganini's compositions for the piano, but transferred its game in the pianistic sphere. In his sixth etude he also handles the topic of the 24th Caprice. Brahms presented with its variations a far more wide-ranging set of pianistic techniques such as problems of jumps, double handles and polyrhythmic sophistication.

Carl Tausig took the work to his repertoire and wore it often while Clara Schumann, Brahms had sent the manuscript in 1863, seems to have not played it in public, in contrast to the equally demanding Variations on a Theme by Handel, Op 24.

The Theme of Paganini has been used by many other composers for their own variations. In addition to Franz Liszt, Sergei Rachmaninoff in his example of Rhapsody on a Theme of Paganini for Piano and Orchestra, Boris Blacher ( Paganini Variations for Orchestra, op.26 ), Witold Lutosławski ( 1939 initially composed for two pianos, then in 1978 for piano and orchestra set ) and James Barnes ( Fantasy Variations on a Theme by Paganini for orchestra).