Variations on a Theme of Joseph Haydn, Op. 56

Variations on a Theme by Joseph Haydn, Op. 56 A: Variation IV - Andante con moto
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Variations on a Theme by Joseph Haydn

Variaties op een thema van Haydn: Thema. Andante The London Classical Players feat. Joseph Haydn, 1. Johannes Brahms. Arturo Toscanini. Staatskapelle Dresden , Claudio Abbado. Variations for Orchestra on a Theme by Haydn: Andante.

About the Work

Anthony Variations Theme: Chorale St. Anthony: Andante. Anthony Variations": Theme: Chorale St. London Philharmonic Orchestra , Marin Alsop. Variations on a Theme by Haydn: Theme. New York Philharmonic , Arturo Toscanini.

New York Philharmonic , Zubin Mehta. Royal Concertgebouw Orchestra , Bernard Haitink. Variations on a Theme of Haydn. Eduard van Beinum , Koninklijk Concertgebouworkest. Variations on a Theme of Haydn: Theme. Variations on a theme of Joseph Haydn, Op. Thema: Chorale St. Anthoni: Andante. New York Philharmonic , Kurt Masur.

Variations on a Theme, op. Radio-Symphonieorchester Wien. Variations on the St Anthony Chorale: Theme excerpt. The Cleveland Orchestra , Vladimir Ashkenazy. Variations on the St. Anthony Chorale: Theme. Keith John. Haydn , now also called the Saint Anthony Variations , is a work in the form of a theme and variations , composed by Johannes Brahms in the summer of at Tutzing in Bavaria. The work was published in two versions: for two pianos , written first but designated Op.

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 The piece usually takes about 18 minutes to perform. The first performance of the orchestral version was given on 2 November by the Vienna Philharmonic Orchestra under Brahms's baton. Brahms composed the work on a theme entitled "Chorale St.

Past Performances

Antoni", which Brahms found in a wind ensemble composition. When Brahms discovered it, the wind ensemble piece carried an attribution to the composer Joseph Haydn. Brahms titled his own composition accordingly, crediting Haydn for the theme. However, music publishers in the early nineteenth century often attached the names of famous composers to works by unknown or lesser-known composers, to make the pieces more saleable. Subsequent research has concluded that the wind piece Brahms used as a source does not fit Haydn's style.

The wind ensemble piece remains without clear attribution. As a result, Brahms's piece is sometimes referred to today, in recordings and concert programs, as the St.

  • Variations on a Theme of Haydn, for orchestra in B flat major ("St. Anthony Variations"), Op. 56a;
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Anthony Variations , in addition to the original title that Brahms gave it. The second movement bore the heading "St. The other instruments add a delicate and sensitive accompaniment, with some exquisite dissonances that lend a special flavor to this quite, pastoral passage. Variation 8, which visits the minor mode once more, is fast and mysterious, and has a special sound quality owing to the muted strings. A contrapuntal finale immediately follows-a passacaglia over the bass line of the theme's first five measures.

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The Variations on a Theme by Joseph Haydn now also called the Saint Anthony Variations, is a Where the tempo markings of the two versions differ, the one for Op. 56b is shown in parentheses. Theme. Chorale St. Antoni. Andante. Variations on a Theme by Haydn, Op. 56, work for two pianos, also scored in a some six decades after Joseph Haydn's death, that Classical master's works.

What this means is that the basses keep repeating those five measures while the rest of the orchestra plays ever-changing counter-melodies to that stable "ground. Eventually, the ground is taken over by higher-pitched instruments such as the horn and the oboe, and also moves temporarily to the minor mode.

The work closes with the original form of the St. Anthony Chorale played by the entire orchestra in a triumphant fortissimo. Brahms returned to the idea of ending an orchestral work with a passacaglia when he wrote his Fourth Symphony in , which also ends with a set of variations on a ground bass, though on a much larger scale than the closing section of the Haydn Variations.

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Variations on a Theme by Haydn, Op. 56a

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Brahms / Herbert von Karajan, 1957: Variations On A Theme By Haydn, Op. 56a - Complete

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