Dillon Worthington

Professor Beth Elswick

Musicianship 1
12/9/14
Analysis of Beethovens 32 Variations in C minor WoO 80
Beethovens 32 Variations in C minor for piano is a piece that shows absolutely everything about
the performer. Through the many variations, the theme becomes enriched, expounded upon, but
never convoluted. In this paper, we will look at the different variations, how they relate to the
original theme, and what each one of the variations brings to the table musically.
The main theme is binary, an 8 measure phrase, divided into two 4-measure units strong in meter,
in spine, in sound chords and melody walk chromatically away from C minor, reach a
climactic sforzando on IV (F minor), then quickly run home again.

This is the basis from which everything will evolve. Onwards.

Scale notes of the statement transform to arpeggios and repeated notes in 16ths lightly,
lightly, Beethoven tells us. The harmonic form is identical, sf on F intact, but the resolve has
given way to raindrops, as sweetness now prevails. Variation II is still leggiermente, as the bass

steals the trebles pattern verbatim. It is Variation I turned exactly on its head. Beethoven, not
ready to relinquish a good idea yet in the third variation, combines I with II. Now there are
arpeggios abound in both hands at once! The strength of it is in its beauty. The form remains
intact, meter intact, C minor reigning still.
In Variation IV there is a departure from the known. Simple outer voices trace the theme as an
inner voice dances in triplets; staccato adds delicacy. This variation truly floats. Its a very
orchestral version of piano music, you can hear strings and winds within it.
The harmonies of the bass Cm, G, C7, F, D7, Eb, Cm -- are presented simply at first in
Variation V, but slurred octaves in the melody take over, crescendo, overlap one another in a
stretto effect right before resolving to C minor. Each variation builds in tension to the
sforzando at F minor, then tumbles to C minor release of tension. As Beethoven uses sound to
create a physical and emotional event, bigger than the original theme, but still similar.
The markings ff and sf on every initial impulse tell the story of Variation VI. We sense a martial
atmosphere of bombastic and rhythmic discipline. The graceful triplets from Variation IV no
longer dance they march, mark time and protest. In complete and utter contrast to the previous
variation, Variation VII is calm, a melody of descending scale notes under legato slurs. It could
be the long bow of a violin against a rumbling base of cellos. Smooth as velvet, never harsh, and
never hurried.
Variation VIII seems to emerge organically from VII. The bass is so similar, treble climbing and
falling in thirds (a merging of both voices) but with the theme still transparent. One aspect of the
original theme is its powerful first beat leading to an inevitable reaction by the treble. This is
honored throughout the work. Beethoven has kept within a strict eight-measure form, the same

basic progression of chords always in 3/4 time this entire time. So much from so little poetry.
Scales, arpeggios, staccato, legato.
Variation IX begins with groups of six notes in the middle voice, duples at the bottom, on top
only two slurred notes, a simple sigh, over and over gaining in passion and reinforcing the nowfamiliar theme.
Variation X has a strong running bass in 32nd notes. Sempre forte our cue, this is not a gentle
variation but another rattling cagefight.
As Variation XI begins, Beethoven yet again plays with inversions, as he flips the melody on its
head once more.
In Variation XII the three flats of C minor are wiped from the score piano semplice are the
blueprints of expression given us by the composer. Eight measures of respite ensue, a lovely
retelling of the theme now in C major, without angst, as in a peaceful garden.
As it continues into the XIII variation, two treble clefs bring the left hand closer to the treble and
continue a nave character, the treble spinning slowly in 16ths, the left hand outlining the theme.
Again, the absence of minor opens a path to a more pastoral interpretation.
Staccato thirds enrich the plainer writing of Variation XIII. The addition of thirds and the vitality
of staccato create a wholly different character, a little like taking the same five letters and
forming two different words. The simplicity of the forerunner morphs into a playful, teasing
sibling of itself. Continuing in C major and with the directions dolce, crescendo and risoluto,
Beethoven writes a melody and bass in triplets, three sets to a measure, seeming to expand the
theme, draw it out and alter it again. He creates a new and sublime character, a thing so different
from the original statement but still made from the same skeleton, and as he moves into the final

variation in C major, Variation XVI. 16ths against triplets begin, the first note of the bass leading
to the melody. One hand cues the other as in the opening statement. Even in the hectic motion
created by octaves in 16ths, the notes of the theme can be heard. Reinforcing the theme becomes
obsolete at this point; other aspects of the variation can be brought forward without fear of losing
the listeners thread to the theme. As the minor begins once more in Variation XVII, a lilting
Alberti bass, legato slurs and the marking dolce lead us down a tender path. The sforzandi are
emphasized but never jabbed. The theme is distributed among three voices, and a bit of a search
may be required to find its exact hiding place. The final eighth notes lead without pretense into
Variation XVIII, sweetness gives way to untamed power. Harmony, not melody, is the focus,
presented in driving scales. An element of the original theme in measure six (an accented chord
being triggered by the downbeat) is intact here, made even fiercer by scalar writing in stretto,
often ending with a ferocious sforzando at the very top. A treble of arpeggiated triplets continues
the sense of compelling motion in the XIX variation. The theme appears now in left-hand chords
alternating between the bass and treble clefs. Meshed to that is the color change from forte to
piano, which sharply highlights the musical idea f to p, lioness to lamb, again and again. The
finale of the variation is one direct descent to C minor. The few moments of piano are gone.
Beethoven is in full military outfit in Variation XX, advancing the musical sweep of rich treble
chords triggered by forceful triplets in the bass. Again Beethoven uses the material exactly as
stated in the prior variation, but reversing treble for bass. The heaviness of the chords at the
bottom reinforces the overall sense of power and drama. Having the chords derive from the
downbeat, and play off it, calls us back to the opening measures where this is a major element.
Octaves are born of the triplets before them. The harmonic progressions are represented in fivenote scale patterns. The basic elements at the piano octaves, arpeggios and chords

transform in Beethovens imagination to emotion, nuance, gods and temples. Five octaves
walking up the keyboard, an eight-measure theme, a well-placed sf, an unerring rhythm in three
it couldnt be simpler. Beethoven creates a world in eight bars. And now, in XXIII, color and
a sense of foreboding are created by the rumble of broken chords in pianissimo. The variation
feels like a respite from the fiery ones before it, as well as a transition to the next. The melody
can be heard subtly inside the progression of broken chords. And then, Staccato triplets, sempre
pp, begin Variation XXIV with a feeling of floating on air. But as the music builds to the sf of the
sixth measure that has never failed us throughout, the triplets take on a relentless quality and the
addition of sf on the first of each set literally drives it home. An elegant grace note dances with
every beat and we are lifted skyward. Into Variation XXVI the treble and bass mirror each other
with chords in thirds that spring from a strong first beat. Staccato, forte and the richness of the
doubled thirds intensify the rhythm and keep it utterly strict. There is little room for rubato or
taking a breath occasionally as one might in the more delicate, lilting variations. Still in forte, the
same doubled thirds now overlap, first treble, then bass. The writing for the two hands is equal
on every level.
Variation XXVIII is so simple, an Alberti bass against three quarters in the treble, two long slurs
over each phrase that make of it one singing line. Beethoven marks p semplice, barely holding
back another eruption, as it moves immediately Variation XXIX, sudden ff arpeggios in triplets
ascend and descend in contrary motion, converge at times but maintain a hellish pace to the end.
Variation XXX starts with Portamento chords walking in three, crescendo, then diminuendo
to pp. It is the theme broken down to its barest parts. Variation XXXI continues in pp and in the
same mood, the theme is presented in octaves against running notes. This creates a wash of
harmonic color and motion. The final measure is a crescendo of scale notes in interesting groups

of seven, leading us to the final variation. Variation XXXII has crept up on us, still a whisper of
sound, color and motion in the bass line. Now the words pi crescendo sweep up the sound and
carry it to the level of ff in a mere eight bars. The 16ths in the treble play in groups of seven
against fours and fives in the bass the result is as vibrant as a Van Gogh wheat field. At
the ff the bass becomes more skeletal, and the writing to the end is leaner less sound as color.
Beethoven introduces the theme in the bass against poignant two-note slurs, still devising
variation. The slurs give way to a fraction of the theme the penultimate measure, to be exact.
He has been embedded in C minor for pages, but still produced new twists. C minor has been a
language in which to create poetry, romp, rail, dance to build, dream and rouse. As he
approaches the end of the variation and of the work itself, Beethoven returns to the pivotal sixth
measure of the theme, the F-minor chord which tumbles now in broken octaves to V I, V I the
very definition of C minor.
Throughout this masterpiece, Beethoven brought us into a world where everything is possible.
He kept the same theme, created a world of hope, a militaristic, bombastic, and almost rage filled
piece of music sometimes, and even related each variation rhythmically. but all off of only eight
bars of music. This is music from a true master.