Ludwig van Beethoven Themes And Variations For Flute And Piano, Op 107

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THEMES AND VARIATIONS FOR FLUTE AND PIANO, OP. 107
OP. 107, NO. 1 IN E FLAT (TYROLIAN AIR)
The theme, Moderato in 3/4 time, is followed by four variations. It resembles a Laendler, the first variation remarkable for the staccato writing in the piano part. The second variation is mostly orna- mental. The third, melancholic, is in the far-removed tonality of E minor. The last variation (Allegro) proceeds in rapid triplets.
OP. 107, NO. 2 IN F MAJOR (SCOTTISH AIR)
This melody, Allegretto quasi vivace in 2/4 time, and used again in Op. 108, No. 7, is followed by four variations and a coda. It is a dancing theme, whose first three variations are mostly orna- mental but well-contrasted. Silence...then the fourth variations springs a surprise. It is an elaborate Andante mosso quasi Siciliana in 6/8 time, composed above a pedal point. The brief coda is marked Allegro, concluding with another surprise: a sudden loud arpeggio descending over a soft pedal point!
OP. 107, NO. 3 IN G MAJOR (RUSSIAN AIR)
This composition is marked Vivace, is in 2/4 time, and is followed by six variations and a reprise which is developed from the theme. It is a very simple theme, just as is the first variation. The second, for piano alone, is a study in dotted rhythms. The third is spontaneous, the fourth strongly contrasted in its intensities. The fifth is a brief moment of immobility, and the sixth is a highly-developed variation. Next we hear the reprise of the theme, remarkable especially for its adventurous modulations. Together, the variations are beautifully constructed.
OP. 107, NO. 4 IN F MAJOR (IRISH AIR ENTITLED “ST. PATRICK’S DAY”)
The theme, marked Allegretto icherzoso, is in 6/8 time followed by four variations. It is a very buoyant theme. The first variation is restrained and is for piano alone. The second is remark- able for its melodic caprices. The third variation, Poco adagio, is in minor; the fourth, marked Vivace, is highly developed. There is a brief reprise, at the end, of the theme in its original form.
OP. 107, NO. 5 IN F MAJOR (TYROLIAN AIR)
This is Moderato in 3/4 time followed by four variations. One of the most interesting pieces of the series, the theme is developed but fairly simple. The first variation is at once impressive by its rhythms and unexpected modulations. The second, more brilliant, puts two protagonists in Opposition to each other. A trill in the left hand on the piano permeates the third variation. A brief interlude, Maestoso, and then the fourth variation, Allegro in 6/8 time, complete the piece in elegant style.
OP. 107, NO. 6 IN E FLAT (WELSH AIR ENTITLED “MERCH MEGAN”)
The rather simple theme, Andante comodo in 6/8 time, is followed by four variations. The first two variations merely provide ornamentation. The third is rather virtuoso-like and the theme here is not so identifiable. The fourth variation, Vivace, in 2/4 time, concludes the piece softly and Poco adagio.
OP. 107, NO. 7 IN A MINOR (RUSSIAN AIR)
An extremely simple Andante theme, in 2/4 time, followed by seven variations (or six and a long coda), this piece is one of the most remarkable in the entire Op. 107. By the first variation the theme is already completely unrecognizable. The second variation is strongly rhythmic, the third brilliant, the fourth of a very light quality. The fifth (Andante moderato in 6/8 time) intro- duces a dreamlike sequence. The sixth, A//egro in 2/4 time, is huge in proportion. It leads to an Andante in F, which is but a brie