ONLINE PROGRAMME NOTES
- Variations on a Theme of Haydn, Op. 56a
Johannes Brahms (1833-97)
Of all musical forms, variation form is defined least precisely. For some composers, a variation is merely the decoration of a melody offered at the outset. For others, it is a passage of music that follows the harmonic foundations of the initial melody. In recent times, notions of what a variation might be have broadened dramatically. Although the original ‘Saint Anthony Chorale’ melody may not be immediately apparent in every variation, an element of it provides a stimulus relevant to all of them. Brief comments on the theme and each variation follow.
Theme (Andante) The ‘Chorale of Saint Anthony’ is something of a cross between a hymn and a slow march, the unusual and irregular phrase lengths lending character and memorability. The same phrase patterns characterise all of the ensuing variations. Note the five chords at the end.
Variation 1 (Poco più animato): Prominence of the five-chord idea among the wind, once described as being like ‘pillars of a temple’, set against agile decoration in the strings.
Variation 2 (Più vivace): Quite fast and agitated with the ‘dotted’ rhythm found in the first two notes of the theme playing a seminal role. Noteworthy contrasts between loud and soft.
Variation 3 (Con moto): Smooth, quiet and fast, with the ‘Chorale’ played almost notatim but with the rhythmic variety ironed out. The ornate decoration, introduced discreetly, eventually gains prominence as the variation progresses.
Variation 4 (Andante con moto): Another smooth-running variation, this time in the darker minor key and with a shadow of the original theme nearly always discernible.
Variation 5 (Vivace): Rather like a miniature scherzo, this offers scampering in the woodwind and string sections. Note the vigorous irregularities in the rhythm; also the contrast between legato (smooth) and staccato (short and spiky).
Variation 6 (Vivace): This exuberant variation comes and goes in a flash. The horns lead the pack with some fine flourishes clearly based on the ‘Chorale’ melody, now transformed into a vigorous dance.
Variation 7 (Grazioso): The longest of the set, Variation 7 serves as a slow movement, reminiscent of a Siciliana. While the melody on the flute is new, the harmonic progression adheres closely to that of the original ‘Chorale’.
Variation 8 (Presto non troppo): This might be thought of as a second scherzo. It whizzes along in the minor key, always as quietly as possible.
Finale (Andante): An extended essay in ecclesiastical style, borrowing phrases and rhythmic cells from the ‘Chorale’, no longer a variation but a triumphant conclusion with a reminder of the five chords at the very end.
Johannes Brahms borrowed the theme from an unpublished divertimento for wind by Joseph Haydn unaware that Haydn had already borrowed the melody ‘Saint Anthony Chorale’ from elsewhere. No-one knows for sure who the original composer was but Ignaz Pleyel has been named as a suspect. The title given by Brahms remains in common use.