Sometimes small things can lead to significant changes and results! This is most certainly true for Beethoven’s two variations numbered opus 34. (6 variations for piano) and opus 35. (The Eroica Variations). Following our previous article on Musical theme and variations, in this piece we will discover, what is the role and significance of opus 35., The Eroica Variations in Beethoven’s life.
First, let us listen to the theme in subject!
This little tune we call the Eroica variations theme has a long and rich history in Beethoven’s life. It is called like this, because mostly it became well known by the Third symphony, the Eroica, in which this little theme appears in the last movement. This is, however, not the origin of the content. Previously it appeared twice, importantly in Beethoven’s only ballet composition, The Creatures of Prometheus (the libretto of Salvatore Viganò).
|Related: The history of Beethoven’s Third Symphony (Eroica)
The Creatures of Prometheus was a great hit. It was played fourteen times in 1801 and nine more times in 1802. Until this Beethoven was mostly known in Vienna for some concertos, piano works, chamber music and a symphony. It was his first major stage work and it is easy to understand he was delighted by the success! Beyond the popularity it bears an even more significant importance for the composer! This was the beginning of his new path, the finding of his own voice as a composer!
The turning point for Beethoven in his quest for his own artistic approach and style was The Heiligenstadt Testament, a letter he wrote (and never sent) in 1802 to his brothers, in which he reveals the tragic fact that he will go deaf and sees no other reason to live on than his art; and his quest to enrich and uplift humanity with his art. Just as Prometheus did in the play. Freed from any long term plans he could finally compose as he felt, not as the contemporary taste would dictate.
Just twelve days after this testament he writes to his publisher about these two variations, opus 34. and 35.: “I have composed two sets of variations, one consisting of eight variations and the other of thirty. Both sets are worked out in quite a new manner, and each in a separate and different way. . . . Usually I have to wait for other people to tell me when I have new ideas, because I never know this myself. But this time—I myself can assure you that in both these works the method is quite new so far as I am concerned.”
Another letter to his publisher shows, how important even the naming was for him! He never intended to call opus 35. The Eroica Variations, instead The Prometheus Variations. He writes: “In the grand variations you have forgotten to mention that the theme has been taken from an allegorical ballet for which I composed the music, namely: Prometheus, or, in Italian, Prometeo. This should have been stated on the title-page. And I beg you to do this if it is still possible, that is to say, if the work has not yet appeared. If the title-page has to be altered, well, let it be done at my expense…”
Beethoven paid attention to PR and very carefully separated the simple works intended for amateurs (like variations on piano) and his major compositions. For this he used separate numbering. The fact that these two variations received opus numbers (that he used for important compositions only) shows he regarded them highly.
Beethoven used this little theme three times, first in Twelve Contredanses for orchestra (WoO 14.), then in The creatures of Prometheus, and finally in the Eroica symphony. It shows that not only did he like this simple, little tune, but felt he can extract more and more new ideas from it.
