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The Variations in E-flat major piano trio, Op. 44, by Ludwig van Beethoven, is a series of fourteen variations on a theme, written for piano, violin and cello. Although this may be one of Beethoven's early works (written circa 1792, i.e., at around age 22) it was assigned its opus number when it was published by Hoffmeister in Leipzig, more than a decade after Beethoven began writing it.[citation needed]
Following common practice at the time, in this work Beethoven incorporated variations on popular themes from opera, notably from Das rote Käppchen (literally translated as The Red Cap), a Singspiel by Carl Ditters von Dittersdorf, which had its premiere in Vienna in 1788. The opera reached Bonn in 1792, during the last months that Beethoven stayed there. Beethoven took one of the most popular pieces of this opera, a small segment of melody of Ja, ich muss mich von ihr scheiden[1] (Yes, I must leave her), as the starting point for this trio. This line is from an aria sung by the village mayor Hans Christoph Nitsche, who is announces that he must leave his wife.[2] Beethoven's variations were probably finished when he left Bonn – a short sketch from 1792 has survived[3] – but were published as Op. 44 in 1804.
The theme is a series of simple unadorned arpeggios in octave unisons by all three players.[4][5] Beethoven then develops fourteen variations, decorative in the tradition of the eighteenth century but with contrasting spirit and textures employed. The tenth variation, syncopated and vigorous, is followed by an almost exaggeratedly reserved dialogue while the twelfth variation's gentle ambling is interrupted by a burst of coarse fortissimo.[6] This work includes two slow variations in E-flat minor (Nos 7 and 13). The final variation begins allegro in 6/8, dynamic and joyful, interrupted by a brief interlude marked andante. The conclusion is marked presto, led by the piano.[7]
The playing time of these variations is usually 13 to 14 minutes.
On it Beethoven builds fourteen variations, decorative in the eighteenth-century tradition (the theme is always easily recognizable), but entertainingly contrasted in spirit and texture. The lusty, syncopated tenth variation, for instance, is followed by an almost exaggeratedly demure dialogue for the strings, while the delicately tripping twelfth is disrupted by an uncouth fortissimo outburst – Beethoven gleefully sticking out his tongue at rococo decorum. There are two slow variations in E flat minor (No 7 and No 13), a jolly, 'hunting-style' 6/8 final variation and a coda that recalls No 13, now in C minor, before a brief Presto send-off.
The first of the following fourteen variations allows the piano to embellish the melody and to proceed to a second variation for piano alone. The third variation sets violin triplets above a contrasting piano rhythm and the fourth is a running cello variation. In the fifth version of the theme the piano plays triplets, the sixth opens with all three instruments in agreement and the seventh is an E flat minor Largo opened by the cello. The eighth variation, marked Un poco adagio, has violin and cello accompanying a singing piano melody with continuing triplets, and this is followed by a more sharply defined ninth version of the theme and a capricious tenth. The next variation is marked by the characteristic opening figure entrusted to the cello and the twelfth uses the three instruments antiphonally over a piano left-hand triplet accompaniment. The E flat minor Adagio of the penultimate version of the material, with its sudden changes in dynamics, leads to a final Allegro, interrupted by a brief Andante interlude then capped by a concluding Presto.
