Beethoven: 8 Variations on 'Tändeln und Scherzen', WoO 76

Introduction

These variations derive from the trio "Tändeln und Scherzen," from Süssmayer's opera Soliman II. Beethoven had often done takeoffs on arias and other items in popular stage works of his day, like the Thirteen Variations for Piano, in A major, WoO 66, based on the arietta, "Es war einmal ein alter Mann," from Dittersdorf's opera Das rothe Käppchen. In the early 1800s Beethoven began losing his hearing, thereafter becoming reclusive. Because he obviously could no longer attend the opera, he was thenceforth cut off from a prime source of inspiration for his variation works. True, he could have obtained the score to whatever was in fashion and used it as a springboard, but apparently did not feel motivated to do so. This set is among the last he wrote having an operatic source.

Süssmayer's theme is not particularly attractive, sounding stiff and a bit bland. Beethoven, however, enlivens it, plumbing its depths to yield much color and subtlety. The moment the voice of Süssmayer ends and that of Beethoven begins, the music takes wing. The first four variations are lively and short, with the next two slowing, the ebb being reached with the Adagio of the seventh variation, a rather dark and profound utterance.

The eighth variation begins in a sprightly mood as a fugue, then forsakes the contrapuntal elements and shifts into a hurried and happy mode for the remainder of the work.

Beethoven dedicated this set of variations to Countess von Browne. A typical performance of the work lasts about six minutes.