Variations sérieuses

The sérieuses Variations Op 54 (MWV U 156) are a set of variations for piano by Felix Mendelssohn Bartholdy. The thirteen -minute work was published in 1842 and is considered one of the masterpieces of the composer.

Formation

Mendelssohn was an accomplished improviser and a compositional in all disciplines of experienced composer. At the age of 11 years he made ​​extensive concert tours on which he also played for Goethe in Weimar, which was in his time as one of the highest honors. Now would suggest that it would be particularly located the variation form. Nevertheless, Mendelssohn wrote only in the year 1841 in rapid succession three sets of variations, the first of which sérieuses Variations Op 54, as his most important piano work is to be considered. On July 15, 1841 Mendelssohn wrote to his London-based friend Karl Klingemann, that he had worked with " true passion " to his Variations sérieuses. A few months later, in January of the following year, it appeared in print.

Analysis

The somewhat unusual title Variations sérieuses is to be interpreted as a reaction to the Mendelssohn musical practice of his time. 1842, at a time in the so-called flooded " Variations brilliant " purely virtuoso fantasies about trendy topics, the music market, put Mendelssohn with his op 54 a work before that to one side on the Variations in C minor by Beethoven seems oriented, it has also a bridge to the virtuoso style of Brahms variation suggests ( in particular at its variations on a theme of Paganini ).

Main topic

The 16 -bar theme is divided clearly into four sections of four measures each. The theme is a melody in sighing syncope over a chorale-like chord progression. The variations include, without break at one another, with seamless sequels and contrasting sections alternate.

Variations

• In the first variation, the worn quaver movement of the subject in sixteenth dissolves.
• In the second to sixteenth-note triplets from the sixteenth.
• The third variation leads the Staccato technology for a rapid interplay between octave bass in the left hand and chords in the right hand.
• The fourth variation is a two -part canon, also based on Staccato technology.
• The fifth variation is characterized by restlessness, resulting from a syncopated appoggiaturas at monitoring.
• The sixth variation splits the topic in high and low positions, which requires a great accuracy of the pianist.
• The seventh variation changes between chords, and arpeggios.
• The eighth variation increase sixteenth-note triplets in the right hand, the movement, the left staccato quavers is rhythmic accents.
• The ninth variation replaces the eighths of the Left from the eighth variation by the same sixteenth-note triplets as in the right.
• The tenth variation is a merry fugal, which restores the initial elegiac mood.
• The eleventh variation is reminiscent in character, dreamy vocals and full of works by Schumann.
• Crescendierend and with a ritardando leads on the eleventh to twelfth variation, the lightning discharges is similar. Here the composer uses a mixture of repetitions and peeling of the hands to express a violent state of excitement.
• The thirteenth variation shifted the subject in the tenor range, the rights it plays around with light staccato figurations.
• The fourteenth variation, the only variation in major, brings a renewed haven by all already had been present fast movements are completely forgotten and limited to the simplest choral sound.
• The fifteenth variation " poco a poco piu agitato " leads alternating stricken areas in the left and the quarter - chords in the right hand in narrated, plaintive way (similar to the fifth variation ) to the excited mood of the work back.
• The sixteenth variation prepares raging in semiquavers (Allegro vivace ) is already the end of the work before, in each group of three sixteenth-note triplets, the Left is the use, and the right the other two triplets strikes.
• The seventeenth and last " full " variation is similar to the sixteenth, only the roles of the two hands are reversed here. Here Mendelssohn begins the turmoil of rapid movement with dynamic characters intensify, then loses more and more the harmonic framework of the topic and can win the stronger semiquaver figures until the reduced fortissimo decompositions, which require a high pianistic, the climax of the work, one tremolo pedal point on the Quintton with about recurring archetype of the topic, culminate. Now the Presto, consisting only of individual parts of the existing designs with a fortissimo octave in the lowest position begins. As in Variation 5 is subject to this final of the alternating movement of both hands, increases in diminished arpeggios and runs absterbend with descending bass ( GFED ) in an exhausted, tired D minor with persevering fifth position back.

Reception

The sérieuses Variations Op 54 are one of the most esteemed works of the composer. His good friend, the composer and pianist Ignaz Moscheles famous " I play the Variations sérieuses again and again, every time I enjoy the beauties anew ". Ferruccio Busoni also very much appreciated the work. Many pianists have recorded it, including the noteworthy recordings of Vladimir Horowitz, Sviatoslav Richter and Vladimir Sofronitzky.