Beethoven 12 Variations on ‘Ein Mädchen oder Weibchen,’ in F Major, Opus 66

The variations on Mozart’s theme from The Magic Flute are typical of what is called Beethoven’s early period, a range of dates lasting until 1802. Mozart himself was a deep influence on Beethoven during this period. While Beethoven’s reputation is as brooding and intense, this characterization often stems from interpretations of his later compositions. His music from the early period is more often joyful, playful, and clever.

The 12 Variations can be understood as a character study. In the opera, the theme is an aria sung by the buffoonish character Papageno who is single-minded in his desire for a woman companion. Beethoven takes us through the varying moods that the odd but hopelessly regular and constantly underachieving Papageno might endure while considering this prospect, from brazen to timid to sullen. The variations begin with the theme itself stated without adornment, the piano leading with the melody while the cello harmonizes. From variation to variation, sudden shifts in mood occur for humorous effect. Beethoven is careful to never ease the listener into a pattern. Whenever the piece feels like it is leading in one direction, the tempo, key, or meter will suddenly change to jolt the listener to attention. The first six variations are the steadiest in mood, modulating between lively and regal. Variation seven marks a change to wistfulness that bleeds into the still lively variations eight and nine. Suddenly, variation ten becomes somber, almost melodramatically so, and leads into the dramatic minor waltz of variation eleven, as if Papageno laments that he will never find his longed-for woman. The final variation remains in ¾ time but springs back to virtuosic splendor. The listener feels that this burst should climax at the end when, abruptly, near-silent staccato notes finish the piece. With this, Beethoven sews a button on the humor of the rest of the work.

copyright Connor Buckley