# Greatest / favourite keyboard variations



## LancsMan

I have just listened to Bach's Goldberg variations - again, but I never seem to tire of them. Aren't these the greatest set of keyboard variations ever written? - they certainly are my favourite.

What other contenders are there (excluding variation movements from multi movement works)?

The Beethoven Diabelli may be next in line, but I have to admit that I 'admire' rather than 'love' these.

The Brahms Handel variations are probably not as 'great' as the Diabelli variations, but I find them a more enjoyable listen.

What keyboard variations float your boat?


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## hreichgott

I really like the Beethoven C minor and Eroica variations.
And of course the Haydn F minor.


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## maestro57

Like yours, Bach's Goldberg and Beethoven's Diabelli both "float my boat".


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## KenOC

For those who still think Beethoven was misunderstood or unappreciated in his own time, I insert this LONG passage from an AMZ review of his Eroica Variations. The variations were written in 1802; this review is from 1804 and was written from the sheet music.

"Inexhaustible imagination, original mood, profound inner feeling, and passion -- those are the individual features of the genial physiognomy that characterizes almost all of Hr. v. B's works. These works secure him one of the highest ranks among first-rate instrumental composers. In his later works, particularly, his care to keep to the chosen character of a work, his combination of the freest style with purity of phrasing, and, I would like to say, his ability to combine this with contrapuntal elegance are undeniable.

One can find all these traits to a high degree in this work. Even the form of the whole, which deviates so very much from common fare, bears witness to his undeniable genius. Before we hear the actual theme—a phrase from his ballet Gli uomini di Prometeo—there appears as introduction (after the striking of a full E-flat Major chord as key of the whole) the simple bass, and right after that the bass with one melody, and then as the middle part surrounded by two melodies, and finally in the higher register supported by three new melodies—thus in four parts.

One emerges out of the other beautifully and naturally. However, the reviewer cannot suppress the wish that the bass of the second part of the theme might have been brought out a little bit more. Even though this change would have been easy, without any harm to the rest of the beautiful treatment, Mr. v. B. dismissed it so that he could present the theme in the manner in which the public was used to hearing it in the ballet.

After this introduction with its gradually growing parts, the theme itself emerges. From it Hr. v. B. develops 15 splendid variations with his usual skill, followed by a fugal-style finale with two more very beautiful variations and an excursion.

This is a very important little work, not by the number of sheets alone—there are many operas about which one cannot say half as much. But to keep this review from growing into a book, the reviewer has to confine himself to that which is most important and to add a few reminiscences. Anyone who is familiar with Hr. v. B's works, however superficially, will already know that he offers neither used-up figures nor meager harmonies in accompaniment. However, Beethoven admirers—and I am inclined to believe that their number is quite large—even those with the highest expectations, will nevertheless be most pleasantly surprised by the highly genial figures, by the breaks and rhythm of the third variation, by the unexpected and unassuming return to E-flat Major in the last three bars of the sixth variation, and particularly by the spirited self-will of the tenth variation. Likewise, the twelfth Variation is comprised of a beautiful and very important figure.

Particularly well-written, in the reviewer's opinion, are the Minore of Variation 14, the Largo of Variation 15, and the Finale fugato. In the Minore, the bass of the theme initially serves as the upper register and then, in the repetition, as the lower register. Through this reversal and with the addition of a small tie, the already beautiful harmonic progressions in the 7th bar attain a very special charm. This Minore can be assured of its effect as a separate small tone piece on account of its constant, deeply moving character. The Largo, with its treasure of splendid new ideas, will certainly provide great pleasure to anyone who is able to conquer its difficulties so that the execution conceals any strain in playing it. It must be mentioned that this variation does not tolerate any awkwardness or unevenness in tone. Everything has to flow easily and evenly as if it were fun. Of course, what is being discussed here is only finger-mechanics. From the expression, one can at least discern the seriousness.

The finale fugato conveys solid contrapuntal knowledge chastened by refined taste. These will bring joy to the connoisseur and to the educated art lover. After the theme has shown itself as middle part here and as upper part there, always correctly supported by its accompaniment, an excellent and fortunate idea shows itself in the passage in which the theme appears as al rovescio. It is the last measure of the 5th system on the 17th page. Also, among so much excellence, the sequence of thoughts up to the insertion in B-flat at the end on the same page deserves special mention.

However, enough of this. What has already been mentioned may suffice to arouse the curiosity of connoisseurs and educated art lovers. I want to call these variations, among the latest fruits of this genre, the variations par excellence."


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## elgar's ghost

From more modern times I'm quite taken with Robert Simpson's Variations & Finale on a Theme of Haydn. This was the work which was the precursor for the epic 9th string quartet based on the same subject.

But it's the Goldbergs and Diabellis which do it for me every time...


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## Klavierspieler

Faure - Theme and variations
Schumann - "Abegg" Variations, Symphonic Studies, Geistervariationen
Webern - Variations for piano


Also, Antonio de Cabezon wrote many fine works in the form.


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## Pantheon

Liszt's Rhapsody Espagnole and Rachmaninov's Variations on a Theme by Corelli (both Follia variations, I might add -).
Otherwise Goldberg's Variations are sublime... Also thinking of Haendel's Passacaglia from Suite n7 for Harpsichord


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## Aramis

Szymanowski's B minor op. 3:











And op. 10:


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## maestro57

Another:

Beethoven - Piano Sonata No. 12 in A-flat major, Op. 26 ("Funeral March"), (I) Andante con variazioni


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## KenOC

Just watched this today -- a draining experience, but most impressive.


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## Cosmos

Bach Goldberg
Schumann "Abegg"
Rachmaninov Chopin Variations
Brahms Variations on Paganini
Beethoven Erioca
Mozart Piano Sonata 11 in A flat (?), mov. 1
Schumann Symphonic Etudes


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## Cosmos

Aramis said:


> Szymanowski's B minor op. 3:


Thank you for introducing this piece! I'm not too familiar with Symanowski, and these variations are awesome!


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## KenOC

For some fun and adrenalin: Lutoslawski's Paganini Variations. Here's Argerich and Kissin


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## Animato

please listen to Chopin's varations "La ci darem la mano" and to Mozart's c-minor Pianoconcerto. You will find some fine "figurative" Variations there.


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## maestro267

Rzewski's The People United Will Never Be Defeated. 36 variations on a Chilean popular song, lasting around an hour in performance. Lots of extended techniques for both the instrument and the pianist. It also includes space after the final variation for an improvised cadenza, before a final restatement of the Theme.


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## Rachmanijohn

There are MANY great sets of keyboard variations but my top three would be:

Beethoven: Diabelli Variations
Rachmaninoff: Chopin Variations
Brahms: Handel Variations


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## kangxi

It depends how you define 'variations' of course. Bach's Passacaglia & Fugue in c minor for organ could come under this heading, and can hold its own again all competition. Come to that so could the Chaconne. & if you want to limit that to keyboard you have at one extreme Brahm's sublime transcription for the left hand and at the other Busoni's monster for 2 hands and, from the sound of it, every other bone, organ & muscle in the body as well.


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## Ravndal

Grieg - Ballade
Brahms - Variations on a theme by Schumann
Bach - Goldberg
Bach - Aria Variata BWV 989
Schumann - Symphonic etudes
Schumann - Variations on a theme by Beethoven
Schubert - op 142 Impromptu in B flat
Faure - Theme & Variations in C sharp minor

from the top of my head


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## Jonathan Wrachford

Oh boy! You guys sometimes make me feel guilty!!! I've never listened to the Goldberg Variations all the way before. I've heard bits and pieces I think, because I LOVE Glenn Gould the pianist. Maybe I should try buying a recording of his work on the Goldberg Variations. I've heard that the Goldberg Variations is quite popular!


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