LDV111-2

The art of songful variation ‘Beethoven practised the art of variation throughout his musical output, right up to such late masterpieces as the Diabelli Variations and the Ninth Symphony. The form was ideal for this improvisational genius, allowing him to display an unprecedented diversity of expression. Cellists seem particularly lucky in this respect! It’s true that the influence of the great Jean-Louis Duport (1749-1819), whom Beethoven met at the Berlin court, was considerable’, says David Selig. The pianist continues: ‘One thinks above all of the timbres of the orchestra in the Twelve Variations in F major for cello and piano op.66 on “Ein Mädchen oder Weibchen” from Mozart’s opera Die Zauberflöte . Beethoven makes the theme his own and his musical language is wholly assured. These variations from 1796 portray Papageno expressing his desire to find a companion. The theme chosen by Beethoven is stated Allegretto, with the piano imitating the sound of the glockenspiel in the high register of the keyboard. The composer enriches his inspiration by borrowing from other parts of the opera to underline, for example, the profusion of marches and orchestral timbres. Although the theme was a famous one, listeners were baffled by the complexity of the writing and especially the work’s strokes of harmonic daring.