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michael_langlois
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Abegg Variations
« on: May 16, 2006, 05:57:27 PM »

Does anyone have any interesting info on the Abegg Variations of Schumann?  Beyond, of course, the fact that the theme stems from someone's name.

Thanks,
Michael
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piano sheet music of Variations on the name
pianistimo
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Re: Abegg Variations
« Reply #1 on: May 16, 2006, 06:09:23 PM »

page 207 of 'music in the romantic era' by alfred einstein says, "in his variations, op.1, onthe name abegg he utilized the theme A B (Bb) E G G to form the opening motif."

  (number 6 of the intermezzi frauline abegg once again raises her head)

"later, schumann chose to refrain from such distinct hints.  like all other romantics, he loved the mask, so that he might behave all the more sentimentally and exhuberantly.  he was too completely the artist to present his confessions baldly and openly."
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'all that is necessary for the triumph of evil is for good men to do nothing.'  edmund burke
presto agitato
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Re: Abegg Variations
« Reply #2 on: May 16, 2006, 06:10:13 PM »

I dont like them at all. One of the worst compositions by Schumann IMO

As you see i dont have no info to provide you..sorry Smiley
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pianistimo
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Re: Abegg Variations
« Reply #3 on: May 16, 2006, 06:18:31 PM »

from my own perspective there is a simplicity to it - which mirrors what is said about his studies of palestrina and handel in wikipedia.  when you play brahm's handel variations and then the abegg variations you can sort of feel the binding cord of handel at least (and yet open chords of palestrina - much more open than other composers).
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'all that is necessary for the triumph of evil is for good men to do nothing.'  edmund burke
mutedstring
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Re: Abegg Variations
« Reply #4 on: May 16, 2006, 06:33:55 PM »

i tried to put letters A~Z all into notes, with "H" going back to "A"... and write a song by my name, but it didn't sound good  Cry I need to change my name  Smiley
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mikey6
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Re: Abegg Variations
« Reply #5 on: May 17, 2006, 01:25:19 AM »

I wrote program notes on this for my recital, but i've deleted it now.  From what I can remember, The Countess Pauline d'Abegg was a mythical person (it's dedicatee).  Schumann met someone name  (can't remember her name exactly) at a masked ball - perhaps a reason for the psyeudonym.  (this was obviously pre-Clara days)
It's writing isn't mature Schumann (obviously, op.1!), it's shows influences of Weber and Hummel.  (When Schumann realised he couldn't keep up with the 'note spiining' of Mendelssohn and Herz, he changed his compositional style).  There are later compositional style that are apparent - some typical harmonic progressions, the youthful passion, the basing a theme on something external.
That's about all I can remember
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michael_langlois
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Re: Abegg Variations
« Reply #6 on: May 19, 2006, 06:58:40 PM »

Does anyone have any thoughts on the second variation, which continues to puzzle me?
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