Theme and Variations

[Ricordanza]

From the time of Bach to the late 20th Century, composers and their audiences have been drawn to the musical form, Theme and Variations. Sometimes it’s the composer’s own theme; sometimes it’s someone else’s. The theme may be uninspiring, but the inspiration comes to life in what the composer does with this theme.

Two of the greatest exponents of this form—Mozart and Beethoven—were featured in the Philadelphia Orchestra program on Saturday night, April 22. Since I’m always fascinated by the composer’s inventiveness displayed through this form, this concert was especially enjoyable.

For my own variation, I’m going to report on the pieces on this program in reverse order. The concluding work was Beethoven’s mighty Symphony No. 3, the Eroica. Guest conductor Osmo Vänskä led the opening movement at a brisk but not rushed pace. Every detail of this complex and dramatic movement was brought out, such as the magical passage where the theme is tossed from one wind instrument to another. The second movement, the Funeral March, is so sublime in its beauty that it moves the soul of the listener (at least this listener) every time it is heard. The Scherzo is yet another reminder that there are no weak links in this symphony; every movement is a masterpiece in itself. The Orchestra’s horn section was particularly noteworthy in this movement.

Finally, we come to the fourth movement with its famous theme and variations. The theme is Beethoven’s own, but as many composers have done, he borrowed from himself. He first used the theme in the ballet “The Creatures of Prometheus.” Then he used it in a set of variations for piano, now known as the Eroica Variations. In this symphony, Beethoven is even more ingenious and surprising—he doesn’t start with the theme but rather, with a variation. Only after several highly inventive variations does the orchestra play the theme “straight.” It’s as if crafty old Ludwig wanted to keep the listener in suspense, wondering when that theme would be heard. As many times as I’ve heard this symphony, I continue to marvel at Beethoven’s bold creation.

The second piece on the program was Mozart’s Piano Concerto No. 24 in C Minor (K. 491). Of Mozart’s 27 piano concertos, only two are in a minor key (the other is the D Minor, No. 20). But that’s not all that sets it apart from these other works. Mozart’s penchant for innovation in his more mature works is evident from the very beginning. The piece opens in the usual format, with a lengthy orchestral introduction. However, when the piano soloist begins to play, we hear an entirely different theme from the orchestral introduction. Another example of Mozart’s break from tradition is the concerto’s third movement where, instead of the usual Rondo, we hear a lively and delightful theme and variations.

In the right hands, this concerto is one of the most appealing in the repertoire. On Saturday night, those hands were certainly right--Israeli pianist Inon Barnatan got our attention from that very first passage and held it throughout the work. I’ve been a fan of Barnatan since first hearing him in a solo recital in 2017. This performance cemented my admiration for this pianist. Every component of Barnatan’s playing—articulation, phrasing, emotional content, and rapport with the orchestra—was exemplary.

As an encore, Barnatan treated the audience to a scintillating performance of Mendelssohn’s Rondo Capriccioso.

The evening began with a very short but intense and fascinating piece, Study for Orchestra by Julia Perry (1924-1979). The Philadelphia Orchestra has made an effort in recent years to program works by women and people of color, and Perry fits both categories. But listening to this piece dispels any notion that the Orchestra is simply “checking the boxes.” In its six-minute timeframe, this piece displays exciting orchestral color, along with sharply varying moods of anxiety and serenity. A good choice by the Orchestra to bring to life a nearly forgotten composer.

[Rach3]

Thanks !! I share your admiration for Barnatan. One wonders if Beethoven's PC # 3 was influenced by the Mozart # 24.

[Ricordanza]

One wonders if Beethoven's PC # 3 was influenced by the Mozart # 24.

Steve, you are right on point!
Here's an excerpt from the program notes by Paul J. Horsley:

The Concerto's first movement (Allegro) opens with a principal subject of marvelous interest and potential. The listener can hardly help thinking that Beethoven had this theme in his ear when he wrote his Third Concerto in C minor--a piece that bears more than a passing resemblance, in fact, to Mozart's Concerto. But Mozart's first subject is more elusive and unpredictable than Beethoven's, and it keeps us in suspense for a full 12 bars of motivic prolongation before arriving at a splashy tutti reiteration.