Opus 35 Listening Guide (Studies for Piano) (original) (raw)

This work stands at the end of the line of large-scale piano variation sets Brahms composed in the late 1850s and early 1860s. It seems to be a direct response--or opposite--to the Handel Variations, Op. 24. Whereas that work, difficult as it is, never utilizes virtuoso showmanship for its own sake, Brahms in his Op. 35 directly engages himself with the brilliant, fiery virtuoso pianism of Liszt and the Weimar school, an aesthetic with which he would not normally be associated. The composer, however, almost undermines this by titling the variations �Studies� for piano, as if they were meant for technical practice rather than public display. In actuality, the title draws attention to the fact that the variations deal with specific challenges of piano technique, in a similar manner to Chopin�s Etudes, which are very much concert pieces. Moreover, the arrangement into two books, each with an extended coda or finale, clearly indicates that they are meant for performance, as does, in fact, the assignation of an opus number. They were composed for Carl Tausig, one of Liszt�s most notable pupils, for whom Brahms had great admiration. The theme chosen is Paganini�s most famous violin caprice, on which Liszt and Schumann had already written variations (both of which were surpassed by Brahms in difficulty and content) and would reach its apotheosis years later in the piano/orchestra rhapsody by Rachmaninoff. The two sets can be performed as individual units or, as is common, as two separate items on the same concert. The old practice of selecting individual variations from either book and combining them in a �selection,� while common with Clara Schumann and other contemporary pianists, does violence to the carefully planned structure of each book. Each book presents the theme, fourteen variations, and a large three-part coda connected to the fourteenth variation. The variations all preserve the structure of the theme. A first part with a four-bar phrase that is repeated either literally or in varied form, then a longer eight-bar second part, also repeated or varied. In one instance (Book I, No. 10), Part 2 is lengthened to sixteen bars. While some variations highlight particular technical problems, others, such as the �waltz� variation in the second book (No. 4) are adaptations of the theme to popular styles. Rhythmic devices such as two-against-three are common (the most complex example being No. 7 in Book II), as are studies in octaves or double notes (often thirds or sixths). The meters vary, but 2/4 (as in the theme) and 6/8 are the most common. Two variations in Book I use the home major key, as does one in Book II. No. 12 in Book II is the only variation that ventures away from the central key of A. The finales build on the final variations and embed additional unmarked complete variations along their course.

In the guides below, Part I and its repetition are always treated as a single unit, whether or not the repeat is literal or varied. Part II and its repetition are treated as two units, since it is twice as long. Tempo markings are only given if they are indicated in the score, and the key is only given if it is not A minor (four instances). Meters are always indicated for each variation. Generally, the repetition of each part is quieter.