Formal and developmental procedures in the independent variations of Johannes Brahms
Date
1985
Authors
Lister, Laurie-Jeanne
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Abstract
Within the decade, 1853-1863, Brahms composed seven sets of independent variations for the piano. The earliest works show a marked influence of his contemporaries, such as Schumann, while the later sets, although often composed as a homage to a particular composer, display the work of a more mature and original Brahms. Ten years after the composition of the last of these large-scale works, Brahms returned to the genre, and wrote his grandest and most successful variation set, the Variationen uber ein Thema van Joseph Haydn Op. 56. This work exists in two versions: two pianos (four hands) and orchestral, and in many ways represents the culmination of Brahms's contribution to the genre of the theme and variation set.
Divided into three sections, this thesis explores the salient characteristics of Brahms's variation style through both a general overview and an in-depth examination of selected works. Chapter I deals with the genre of theme and variation as it existed up to the time of Brahms. It investigates various influences on the composer's style, both past and contemporary, and outlines the procedures Brahms employs to unify individual variations in such large-scale works.
Chapters II and III explore ·these techniques in depth using two specific variation sets as examples: the Variationen uber ein eigenes Thema Op. 21 No. 1, a relatively early work, and his final independent variation set, the aforementioned Haydn Variations.
These two works provide the source for an engaging study of Brahms's compositional techniques. Through study of these works, the development of the composer's style can be traced, and some insight into his creative process can be gained.