Abstract
Two critiques of Brahms's Variations on an Original Theme, Op. 21, No. 1, written by Joseph Joachim in letters to the composer, show that the form of this work passed through at least three distinct versions. A hitherto overlooked remark by Clara Schumann suggests that the variations were essentially finished by the end of 1858. An examination of the music reveals the influence of Joachim's Variations on an Original Theme, Op. 10, and the variation movement of Beethoven's Piano Sonata, Op. 111, the latter serving as an antecedent especially for Brahms's eleventh variation and coda.
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