VARIATIONS AND FUGUE

IN E-FLAT MAJOR, OP. 35 (“EROICA”)

LUDWIG VAN BEETHOVEN (1770-1827)

Though composed around the same time as the Op. 33 Bagatelles, Beethoven’s Op. 35 is unquestionably the weightier and more substantial of the two. Beethoven wrote the “Eroica” variations – so-called because he later reworked them into the finale of his Third Symphony, the “Eroica” – in 1802 while living in the Viennese suburb of Heiligenstadt (it was there the composer penned the Heiligenstadt Testament in which he ruminated on his ever-worsening deafness and asserted his will to go on living and composing despite his affliction). Musicologists often point to 1802 as the cusp between Beethoven’s early classically-influenced compositional period and middle “heroic” period. Indeed, Beethoven himself acknowledged the stylistic shift in a letter to his publisher about the Variations: “I have composed two sets of Variations [Opp. 34 and 35] that are worked out in quite a new manner…. Usually I have to wait for other people to tell me when I have new ideas….But this time I myself can assure you that in both these works the manner is quite new.”

The Op. 35 Variations were immediately well-received. A review written in February 1804 praised the work’s “inexhaustible imagination, original humor, and deep, intimate, even passionate feeling” as well as citing its innovative formal structure which, the critic wrote, pointed to the composer’s “unmistakable genius.” Instead of opening with a clear statement of the main theme and immediately launching into variations thereof as is traditional in a theme and variations work, Beethoven begins with a statement of the main theme’s bass line only – and subsequently presents three playful variations of it. Only then does he at last state the principal theme. He also concludes the piece in an unconventional manner with a lively three-voice fugue built on the first four notes of the bass line heard at the outset.

The 15 variations that make up the main body of the work run the expressive and stylistic gamut: flowing lyricism, boisterous humor, refined elegance, light playfulness, and tense melancholy are all present within the diverse array of thematic iterations. Written as it was to demonstrate Beethoven’s own virtuosity as a performer, the work also places significant technical demands on the soloist. It requires not only brilliant control to execute the necessary shifts in speed and volume, but also enough sensitive musicality to showcase the composer’s intricate counterpoint with a full range of color and expression.

Program notes by Laney Boyd

ANABETH H. COX

As the only member of the Piano Circle without a history on the piano, I must admit that my love of piano performance comes as a result of my sister, MarySue Harris. Her love of the piano, her 40+ years of teaching piano, and her joy in the performance on the piano, have sealed my commitment to perpetuating that love for the children, and the children at heart, in the beauty of the music written for the piano. I’m grateful to be a part of bringing that beauty to the Lincoln community. I can’t play the piano, but I can love it!

Marysue Harris

The Piano Series, offered by the Lied Center, is truly an opportunity to hear first-rate piano performances throughout the year! Before the Piano Series, we had some poor attendance at piano concerts, but there is so much interest now, both in the Series and in the active response to the pianists, it is most gratifying and fulfilling!! There is an increased awareness of the excellent pianism and an expectation from the audience of a higher standard of performance overall!

As a life-long, performing pianist who taught piano for over 40 years, and had many students win top honors in competitions, I am so thrilled with the resounding success of the Piano Series; and I look forward to another outstanding year with the powerful pianistic performances the series offers.

MarySue has moved to the West Coast to be close to her son and daughter.

MRS. LARRY H. LUSK

The piano and music have played an important part in my life. From my early childhood piano lessons, through high school, college and beyond, there has always been music and especially the piano. Once again, the Lied Piano Series brings beautiful music and outstanding artists to the Lied stage, showcasing the endless variety, creativity and beauty of this grand and glorious instrument.

We welcome these artists to the Lied stage for all to enjoy!