Beethoven: 32 Piano Variations in C Minor

Ludwig van Beethoven: 32 Piano Variations in C Minor on an Original Theme, WoO 80, a composition for solo piano, written in 1806.

I am practising this delightful Beethoven's piece right now alongside Mendelssohn's 'Songs Without Words' - a progamme that I am preparing for my upcoming recital and thus this blog. I have been trying to find and listen to other pianists' performances, not in order to copy them, as that is impossible, but more so to find out what is out there and how that relates to my understanding of this piece. Sometimes only a short phrase performed 'right' can be a revelation.

The work consists of an eight-bar main original theme and 32 variations that differ in character, tempo, technical difficulty and dynamics.

Movements/Sections:

Theme Allegretto (C minor)

Variation 1 (C minor)

Variation 2 (C minor)

Variation 3 (C minor)

Variation 4 (C minor)

Variation 5 (C minor)

Variation 6 (C minor)

Variation 7 (C minor)

Variation 8 (C minor)

Variation 9 Espressivo (C minor)

Variation 10 (C minor)

Variation 11 (C minor)

Variation 12 (C major)

Variation 13 (C major)

Variation 14 (C major)

Variation 15 (C major)

Variation 16 (C major)

Variation 17 (C minor)

Variation 18 (C minor)

Variation 19 (C minor)

Variation 20 (C minor)

Variation 21 (C minor)

Variation 22 (C minor)

Variation 23 (C minor)

Variation 24 (C minor)

Variation 25 Leggiermente (C minor)

Variation 26 (C minor)

Variation 27 (C minor)

Variation 28 (C minor)

Variation 29 (C minor)

Variation 30 (C minor)

Variation 31 (C minor)

Variation 32 (C minor)

One more Beethoven's musically and technically demanding masterpiece but sadly - often misinterpreted. Performed either too fast, or with too much staccato where completely out of character; or sounding too sentimental, or too technical, or too exhibitional ... or not understood at all !

Accordingly, there are very few (good) recordings on YouTube or Spotify. Not even easy to find. And when you find them, they are usually far from exemplary.

Being popular, it is often given by piano teachers and mentors to very young pianists who are still trying to find their own 'voice', and technically some do pull it through, however musically - rarely so (reference here). It is a serious piece requiring emotional and musical maturity and then of course also solid physical/technical skill, strength, endurance and stability. And even then, when played by seasoned pianists who posses all those qualities - we have very few good recordings out there to serve as an example.

I have listened to Maria João Pires play it at her home in Belgais, but she did not record it, unfortunately. Her out-of-this-world interpretation though remains my inspiration and my guide. As she said when explaining how to play this piece:

"You don't play with your mind. Music is a miracle. It is a proof that miracles exists. It (music) opens you up to everything that is unknown and you should just go there, just give yourself to it ... you should believe in the miracle that can happen through music, and this - you don't do with your mind."

So yes, that is my inspiration and my guide.

The only recorded interpretation I could find that is somewhat close to how I feel and understand it, is by Daniel Barenboim - conveying romantic passion within its classical frame, filled with so much melodic and harmonic energy that piano almost sounds like an orchestra but without any kind of forcefulness or exaggeration. A true robust but soulful Beethoven, full of dynamic and emotional contrasts and soul touching drama is what I want to hear when listening to (and interpreting) this piece.

Enjoy !

You can compare it to the interpretations of Claudio Arrau, Alfred Brendel and Mitsuko Uchida, which you can also find on YouTube, all ok in their own way, but somehow failing to completely convince me.

© Alternative Approach to Music: Inspiring - Healing - Empowering, Xenia Elizabeth Zilli