Recontextualizing Brahms'sHandel Variations, Op. 24 through Robert Volkmann and Emanuel Moór

Abstract

Brahms'sHandel Variations, Op. 24 (1861) stands out for its direct quotation of the Baroque master's Harpsichord Suite No. 1 in B-flat (HWV434), as well as its treatment of the theme in ‘old forms’. While the composer's knowledge of antiquated forms finds expression through canonic treatment, a siciliano, musette and fugal finale, the 25 variations written in the strict Baroque variation style further underscore his commitment to tradition.Several earlier revivals of Handel include settings by Louis Spohr, Ignaz Moscheles and Robert Volkmann of Handel's familiar ‘Harmonious Blacksmith’ tune. In 1856, Volkmann treated the theme to the fantasy variation, winning approval from performers and critics alike. Unnoticed, however, was the finale's remarkable modernization of Baroque keyboard styles through the revival of harpsichord texture, timbre, harmony, rhythm and melodic figurations. The unprecedented fidelity to the keyboard medium, literature, as well as expressive modes deserves a re-evaluation in relation to Brahms's setting.Brahms's return to the Baroque style variation served as a model for later composers. One case study is that by the neglected Hungarian composer Emanuel Moór (1863–1931). A former student of Volkmann and an ardent admirer of Brahms, Moór composed his Variations and Fugue on a Hungarian Theme. Op. 24 in 1890, which coincidentally bears the same opus number, as well as a Baroque fugal finale. This article examines Brahms's musical predecessors in the Handel revival, as well as his influence on Moór, allowing us to reassess the historical context and import of Brahms's Handel Variations, Op. 24.