Variations on a Theme by Haydn, Op. 56a
Johannes Brahms (1833-1897)

THE STORY

One of Johannes Brahms’s most charming and dazzling compositions, Variations on a Theme by Joseph Haydn owes its origins to Carl Ferdinand Pohl, a music historian and librarian who had a special interest in Haydn. In 1870, Pohl excitedly shared with his friend Brahms a work he had transcribed, believing it to have been composed by the late Viennese master. Future music historians would discover that the piece was actually written by one of Haydn’s students, but no matter—Brahms was particularly taken with a melody in the second movement: a stately, slightly disjointed theme. 

Three years later Brahms began a set of variations on the theme. The work was originally composed for two pianos, but it seems Brahms had always envisioned the work for orchestra; he began the process of orchestrating almost immediately. Brahms’ use of the orchestra in this work is of particular import and the diversity of sound is striking. Each variation not only brilliantly mutates the primary theme in a technical sense, but also in character and effect; each of the nine short iterations is its own universe. 

This piece holds a special place in Brahms’ development as a composer—there is a shift in focus toward composing works for orchestra, including his first venture into the genre of the symphony, a medium he had previously and conspicuously avoided. Brahms had finally found his confidence and identity in composing for the orchestra.

LISTEN FOR

• The main theme itself, played by the woodwinds, which begins the work and runs for roughly the first two minutes
• The final variation in which Brahms honors the lineage of Western classical composers through his use of counterpoint: interweaving, independent musical lines that play simultaneously

INSTRUMENTATION

Piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, timpani, percussion, strings