Feldpartita haydn biography
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When Brahms was forty he decided to write a set of variations (one version for orchestra and one version for two pianos), based on one of Haydn’s wind Divertimenti, called a “Feldpartitai”. The composer’s selection for the foundational subject was “Choral St. Antoni.” Some have questioned the authenticity of Haydn’s authorship of the choral work, and in 1951 the noted scholar H.C Robbins Landon proclaimed in the Saturday Review of Literature that “the Feldpartita used by Brahms is spurious…not one note was by Haydn. One of his students perhaps Pleyel, was the real author.”
Regardless of authorship, Brahms was taken by the tune and its irregular structure, built on five rather than the usual four measures in length. This became the basic theme for his eight variations with a concluding passacaglia and finale. Jonathan Kramer wrote that the orchestral version of the Variations on a Theme by Haydn is unique because it is “apparently the first set of independent (not part of a larger work) variations ever composed by anyone for orchestra.” After the success of his Variations (for orchestra), Brahms finally felt equipped and ready to write for the orchestral medium. This confidence marked a fertile re-direction in his career.
Opus 56 is structured as follows:
Opening presentati
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Feldpartita
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Variations on a Theme by Haydn
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