Seven Variations in E flat major for cello and piano on the aria Bei M\u00e4nnern welche Liebe f\u00fchlen from Mozart\u2019s opera The Magic Flute
\nOf Beethoven\u2019s three collections of variations for cello and piano, two were written on themes from Mozart\u2019s Magic Flute. All belonged to the composer’s early works and were destined for the salon: their technical difficulty was adapted to the potential of amateur performance.
\nThe cycle of seven variations, a piece with no opus number, on the theme Bei M\u00e4nnern, welche Liebe f\u00fchlen (\u201cIn men, who feel love\u201d) was created in 1801 and published in the following year. Exact circumstances of its origin are unknown; only the dedication shows that it was a gift to Count Johann von Brown-Camus, described by the author as \u201cthe first patron of my muse\u201d.
\nThe theme of the variation, taken from the duet of Pamina and Papageno in the first act of Mozart\u2019s opera, allowed the instruments to conduct a dialogue on equal terms. The structure of the cycle is straightforward and conventional: the middle variation stands out with its minor mode (E flat minor), the last three are all in different time. The melody of the theme (Andantino, E flat major), with its dancing features, all but vanishes in virtuosic figurations in both instruments and only returns in the final variation. The most song-like and lyrical variation (Adagio) precedes a joyful and extensive finale (Allegro).
\nEwa Siemdaj<\/b><\/p>","protected":false},"excerpt":{"rendered":"
Seven Variations in E flat major for cello and piano on the aria Bei M\u00e4nnern welche Liebe f\u00fchlen from Mozart\u2019s opera The Magic Flute Of Beethoven\u2019s three collections of variations for cello and piano, two were written on themes from Mozart\u2019s Magic Flute. All belonged to the composer’s early works and were destined for the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-229","post","type-post","status-publish","format-standard","hentry","category-b"],"_links":{"self":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts\/229","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/comments?post=229"}],"version-history":[{"count":2,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts\/229\/revisions"}],"predecessor-version":[{"id":360,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/posts\/229\/revisions\/360"}],"wp:attachment":[{"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/media?parent=229"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/categories?post=229"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/beethoven.org.pl\/encyklopedia\/en\/wp-json\/wp\/v2\/tags?post=229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}