The Variations on a Theme by Joseph Haydn, (German: Variationen über ein Thema von Jos. Haydn), is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873. It consists of a theme in B-flat major, eight variations and a finale.
It was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a. The orchestral version is better known and much more often heard than the two-piano version. It is often said to be the first independent set of variations for orchestra in the history of music[1], although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815.
Brahms' orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E flat, 2 in B flat), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses.
The first performance of the orchestral version was given on 2 November 1873 by the Vienna Philharmonic Orchestra under Brahms's baton.
The piece usually takes about 18 minutes to perform.
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Despite the title of the work, there has been much debate since about 1950 over whether the theme is actually by Haydn.[2] In 1870, Brahms's friend Carl Ferdinand Pohl, the librarian of the Vienna Philharmonic Society, who was working on a Haydn biography at the time, showed Brahms a transcription he had made of a piece attributed to Haydn titled Divertimento No. 1. The second movement bore the heading "St. Anthony Chorale," and it is this movement which, in its entirety, forms the theme on which the variations are based. Brahms's statement of the theme varies in small but significant ways from the original, principally with regard to instrumentation. Some sources state the Divertimento was probably written by Ignaz Pleyel, but this has not been definitely established. Even so, a further question is whether the composer of the Divertimento actually wrote the "St. Anthony Chorale" or simply quoted an older theme taken from an unknown source.
While current usage still prefers the original title, Variations on the St. Anthony Chorale is the name favored by those who object to possibly perpetuating a misattribution. Even that name, however, tells us very little. To date, no other mention of the so-called "St. Anthony Chorale" has been found.
The theme begins with a repeated ten-measure passage which itself consists of two intriguing five-measure phrases, a quirk that is likely to have caught Brahms's attention. Almost without exception, the eight variations follow the phrasal structure of the theme and, though less strictly, the harmonic structure as well. Each has a distinctive character, several calling to mind the forms and techniques of earlier eras, with some displaying a mastery of counterpoint seldom encountered in Romantic music. The finale is a magnificent theme and variations on a ground bass, five measures in length, derived from the principal theme. Its culmination, a restatement of the chorale, is a moment of such transcendence that the usually austere Brahms permits himself the use of a triangle.
Just before the end of the piece, in the coda of the finale, Brahms quotes a passage that really is by Haydn. In mm. 463-464, the violas and cellos echo the cello line from m. 148 of the second movement of the latter's "Clock" Symphony, one of the finest examples of Haydn's pioneering work in the symphonic variation form. The reader may compare the two passages by following these links: Brahms, Haydn (see below for link credits). Ironically, this fragmentary allusion may be the music's sole remaining link to Haydn.
The movements are named and tempo markings given as follows. Where the tempo markings of the two versions differ, the one for Op. 56b is shown in parentheses.
This is a performance of the version for two pianos. The pianists are Neal and Nancy O'Doan.
