Beethoven: Variations and Fugue in E-flat major ('Eroica Variations'), Op. 35 (with Score)

Ludwig van Beethoven:
Variations and Fugue in E-flat major ("Eroica Variations"), Op. 35 (with Score)
Composed: 1802
Piano: Emil Gilels

00:00 Introduction. Allegro vivace (E♭ major)
03:05 Theme (E♭ major)
03:47 Variation 1
04:25 Variation 2
05:16 Variation 3
05:55 Variation 4
06:27 Variation 5
07:21 Variation 6
07:54 Variation 7. Canone all'ottava
08:32 Variation 8
09:34 Variation 9
10:13 Variation 10
10:50 Variation 11
11:35 Variation 12
12:15 Variation 13
13:00 Variation 14 (minore)
14:44 Variation 15. Largo (maggiore) - attacca Coda
19:38 Finale (alla Fuga). Allegro con brio

Often referred to as the "Eroica Variations," Beethoven's 15 Variations and Fugue on an Original Theme, Op. 35 (1802) might more aptly be called the "Prometheus Variations." The theme upon which the variations are based was first heard by the public in the finale of Beethoven's ballet The Creatures of Prometheus, Op. 43 (1800-01), and it also appears as the seventh of his 12 Contredanses, WoO 14 (1800-02); still later, and most prominently of all, it plays a central role in the finale of the Symphony No. 3 ("Eroica"), Op. 55 (1803). As the composer indicated in a letter to the publisher Breitkopf & Härtel, the variations are "written in quite a new style and...in an entirely different way."

Beethoven was almost certainly alluding to the overall layout of the set. First, the theme's bass line appears alone, and then in a series of introductory variations of two, three, and four voices. By beginning with this basso del tema Beethoven emphasizes its comic aspects, especially the three fortissimo octaves in its second half. When the actual theme finally appears, together with the bass, three variations have already unfolded; it is only at this point, however, that Beethoven commences "counting" the variations. Though the final fugue opens with a subject derived from the basso del tema, by its close it reasserts the prominence of the main theme. Beethoven's compositional technique here is markedly more sophisticated than in his earlier essays in the genre; still, the harmonic scheme never ventures far afield from the prevailing E flat major tonality. The relative minor (C minor) emerges in No. 6, the parallel minor (E flat minor) in No. 14, and most refreshingly, the major mediant (G major) at the close of No. 15. The most striking feature of the Variations is the infusion of fugues, canons, ground basses and other characteristically Baroque elements into a work firmly grounded in the high Classical style. The particular importance Beethoven grants the bass line anticipates the precedence of harmonic progressions over melodic material in one of the most monumental accomplishments in the theme-and-variations genre, the 33 Variations on a Waltz by Diabelli, Op. 120 (1819-23).

[IbrahimHoldsForth]

The 15th variation ( 14:40 ) and the fugue are peak Beethoven, by which I mean there is an intensity there and depth of feeling you will hardly hear anywhere else. Note that likewise in the "Diabelli variations" the antepenultimate variation is a devastating adagio followed by an intense fugue.

[giocosovelasco]

Variation 13 reminds me of 5 year old me when I see a random pianist at the mall, I would curiously press the top key while the pianist was playing lol

[chaikagome]

Bravo！

00:06 序奏 (Allegro vivace)
03:05 主題
03:47 第1変奏
04:25 第2変奏
05:16 第3変奏
05:55 第4変奏
06:27 第5変奏
07:21 第6変奏
07:54 第7変奏
08:32 第8変奏
09:34 第9変奏
10:13 第10変奏
10:50 第11変奏
11:35 第12変奏
12:15 第13変奏
13:00 第14変奏
14:44 第15変奏 Largo - attacca Coda
19:38 フーガ Allegro con brio

[somehow]

The great Ludwig and the great Gilels.

[GryphonWahle]

Pardon me, but this is absolutely fucking magnificent. How is it I went so far in my life never hearing this, doesn't matter, my musical life is changed now. This is Beethoven showing us his royal flush of a hand, elaborately and over time. I imagine you can find bits and pieces from a whole series of compositions in here. This gives everyone permission to be as wild as you can be in composing. I'm going to attempt to channel my inner batshit zany Beethoven energy and make a string quartet arrangement of this.

[wtzhangwtzhang]

Variation 11 is easily my fav variation, so catchy and not too difficult to play either

[kmk]

Eroica variations
Diabelli variations
C minor variations

The greatest sets of variations by Beethoven

[davemiller]

Almost inconceivable that a person actually wrote this. But he did. Ludwig van Beethoven

[Kyubiwan]

Title: 15 variations
Actual piece: 18 variations

[barbarossa]

When I was a kid I bought this on wax, listened to it over and over.

[hernanr]

Con solo escuchar las cuatro notas locas que expone al principio te das cuenta de la gloria que se avecina, jaja grande amigo Ludwig.

[caterscarrots]

It's amazing what Beethoven is able to do in these variations. I love them all, but especially the C minor variation 6(or at least it starts in C minor), the Eb minor variation 14, and the C minor coda to Variation 15. Only reason I love those more is because I have a natural bias towards minor keys. I also love the fugue he wrote using the bass theme.

My favorite set of variations by Beethoven would have to be his 32 Variations in C minor(I always forget whether it's 30 or 32 when I search for it, so I'll search "30 Variations in C minor" and find what I'm looking for which is 32 Variations in C minor.

[jcbsrm]

Idil Biret and Emil Gilels are two Beethoven giants. I cannot listen his music from any other pianist. Thanks for sharing this beautiful piece. Some parts resemble to the parts of the fuga of his piano sonata 31.

[thomasjohn]

Variation 8 reminds me of the 3rd movement of the Waldstein Sonata.

[A_Gamers_Playground]

He used the main theme of this for his Symphony No. 3 (Eroica), Op. 55

[davidnguyen]

This is the best piano piece Beethoven has ever written, even better than his Diabelli variations and Hammerklavier, change my mind.

[georgenorris]

The fugue is magnificent but sort of stranded there with a very whimsical throw away final coda. I suppose he was determined to end one way or another on his second theme.

[ericrakestraw]

This work clearly influenced Brahms when he wrote his Variations and Fugue on a Theme by Handel.

[ilovemycatrussell]

This amazing performance deserves more views. This is better than Nelson G who played this at ‘Chopin and his Europe.’ Although there were incorrect dynamics. Some parts were too loud and other parts were too weak, but at least the tempo wasn’t all over the place like Nelson G.

[wuyipiano]

What an incredible piece, but I just don't understand why it's called Eroica, it sounds so playful to me.