Variationen über ein Thema von Robert Schumann
Thema. Ziemlich langsam
Variation 1. L'istesso tempo
Variation 2. Poco più moto
Variation 3. Tempo di tema
Variation 4. Poco più moto
Variation 5. Allegro capriccioso
Variation 6. Allegro
Variation 7. Andante
Variation 8. Andante (non troppo lento)
Variation 9. Schnell
Variation 10. Poco Adagio
Variation 11. Un poco più animato
Variation 12. Allegretto, poco scherzando - Presto
Variation 13. Non troppo Presto
Variation 14. Andante
Variation 15. Poco Adagio
Variation 16. [Adagio]
Variations theme on Schumann. Op. 9 is Brahms’s first independent variation, meaning it is not paired with his other compositions; the first pair is Brahms’ piano sonatas Op.1-second movement and Op. 2- second movement, the second pair is Op.21, 1 and 2. In this composition, Brahms departs widely from the variation form as well as from the rigidity of writing his Sonatas Op. 1, 2, and 5.
Brahms Op.9 can be viewed as the most innovative and creative outcome of his early compositions for several reasons. Brahms constructively sought for a new and creative [Neuere] compositional style in variation form, and he saw the bass as the critical creativity-enabling element . Theoretically speaking, Brahms’s wild experiment in Op. 9 is possible because of his exploitation of the role of bass in the variation genre. Second, Brahms alludes to his personalities (dual personas), by using ‘B (Brahms)’ and ‘Kr (Kreisler)’ throughout the variations. Lastly, Brahms’s use of daring harmony that foreshadows his ambiguity in later compositions is shown in Op. 9. Therefore, in this paper, the following discussion of Op.9 will include Brahms’s perspective on variation genre ‘fantasy-variation,’ and a glimpse of his inward qualities that are shown in personas, and a thorough analysis of Op. 9 based on Brahms’ use of bass in terms of fantasy-variation form.
- Note by Seulki Susie Yoo
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