Variations for Piano

I have always loved the Theme and Variations structure as it is by its very nature a musical form in praise of the imagination. It poses an interesting challenge for a composer, as the work progresses not by the continual invention of new musical ideas, but rather by the re-invention of the same idea. The Theme, poised promisingly, continually prompts the question, “What if...?” And the possible transformations are virtually endless.

In creating this set of variations I chose the Classical “sectional” structure, a design which was prominent, for example, in the variations of Mozart, and which can be found in works throughout the nineteenth and twentieth centuries, in the latter in variations by Stravinsky, Bernstein, and many others. In this structure, the Theme and each Variation is a complete, relatively short piece in its own right, performed in my variations without pause.

The Theme in this work is a lyrical Adagio based on a single, simple motive of four descending notes (ECBA), presented immediately at the outset of the piece. This motive is developed slightly over the course of the 16-measure Theme, but is presented again, starkly and quietly, to close the section. The subsequent variations range from quiet to crashing, jazzy to jagged. Two of them have specific origins: Variation II draws on the characteristic rhythmic syncopations of jazz; Variation IV is dedicated to Aaron Copland, and makes use of the angular, dotted rhythms found in that composer’s own Variations for Piano. The work closes with a chorale-style variation which casts the theme in its most uncomplicated, peaceful light.

The Variations were premiered in July, 1997, by pianist Eric Zivian at the Ernest Bloch Festival in Newport, Oregon. Along with Trucco for string quartet, the work was part of a submission which garnered the Academy Award in Music from the American Academy of Arts and Letters.

E.M.