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  • Example 5 (P. 16-7) Shows The Beginning of The Op. 35 Variations. Beethoven

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    The document discusses Beethoven's Op. 35 variations, beginning with an eight-note fortissimo tonic chord that acts as an introduction. It then presents the "bass of the theme" in bare octaves, followed by three pre-variation sections with increasing voices accompanying the bass theme, labeled a due, a tre, and a quattro. The document also notes that the second variations of Beethoven's symphonies' recapitulations feature the theme in the soprano and bass.

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    The document discusses Beethoven's Op. 35 variations, beginning with an eight-note fortissimo tonic chord that acts as an introduction. It then presents the "bass of the theme" in bare octaves, followed by three pre-variation sections with increasing voices accompanying the bass theme, labeled a due, a tre, and a quattro. The document also notes that the second variations of Beethoven's symphonies' recapitulations feature the theme in the soprano and bass.

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    18 views1 page

    Example 5 (P. 16-7) Shows The Beginning of The Op. 35 Variations. Beethoven

    Uploaded by

    Anonymous MNzpTtIHAY
    The document discusses Beethoven's Op. 35 variations, beginning with an eight-note fortissimo tonic chord that acts as an introduction. It then presents the "bass of the theme" in bare octaves, followed by three pre-variation sections with increasing voices accompanying the bass theme, labeled a due, a tre, and a quattro. The document also notes that the second variations of Beethoven's symphonies' recapitulations feature the theme in the soprano and bass.

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    of 1

    the second variations of the symphonys recapitulation (m. 349 ff. and m. 380 ff.

    ) also

    have the theme in the soprano and in the bass. 40

    Example 5 (p. 167) shows the beginning of the Op. 35 variations. Beethoven

    opens the work with a huge, eight-notes, fortissimo tonic chord, a sort of curtain call

    alerting the audience to the start of the piece. This chord, in its singular majesty, acts as a

    Titanic opening sonority to the introduction to come, which Beethoven indicates with

    Introduzione col Basso del Tema in the score.

    After the chord introduction, he presents the Basso del Tema, bass of the theme,

    not the theme proper, in bare octaves. This is followed by three sections, which could be

    considered pre-variations on the Basso del Tema, labeled a due, a tre, and a quattro,

    meaning a theme accompanied by one voice, two voices, and three voices respectively.

    Ex. 5: Op. 35, Introduzione and Tema

    40
    See Brown, The Symphonic Repertoire, vol. 2, 472.

    16

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