Ludwig van Beethoven Themes And Variations For Flute And Piano, Op 105

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Jean-Pierre Rampal, Flute Robert Veyron-Lacroix, Piano
OP. 105, NO. 1 IN G (WELSH AIR ENTITLED ‘‘THE COTTAGE MAID”)
This is an Andantino quasi allegretto in 2/4 time followed by three variations. The first varia- tion is for piano alone. The second is entrusted to the flute. The third, marked Allegro, after a few measures of Adagio, has a central episode in minor.
OP. 105, NO. 2 IN C MINOR (SCOTTISH AIR)
This is an Allegretto scherzoso in 4/4 time followed by three variations. The theme is more elaborate than the preceding one. The first variation for the most part is ornamental, the second complicated rhythmically. The third, an Allegretto, opens in 6/8 time in the major key and ends with the marking Allegro in the minor on a seventeen-measure trill.
OP. 105, NO. 3 IN C (AUSTRIAN AIR ENTITLED “A SCHUSSEL UND A REINDEL IS ALL MEIN KUCHELG’SCHIRR’’)
This is an Andantino in 2/4 time followed by six variations, and one of the most successful Pieces in the series. The main theme is fairly simple, and the variations are in their turn melodic, comic, singing, martial (piano solo) serious (Adagio sostenuto ma non troppo in C), and sym- phonic (Andante con moto in the major key). i
OP. 105, NO. 4 IN E FLAT (IRISH AIR ENTITLED ‘’THE LAST ROSE”)
Andante expressivo in 3/4 time followed by three variations. Beethoven also set this tune and the next two with piano, violin and cello accompaniment. The theme is characteristic, with its accent syncopated. The first variation is in legato triplets (piano only). Through the next two, the theme is given to the flute while the piano accompanies.
OP. 105, NO. 5IN E FLAT (IRISH AIR)
This is an Allegretto spiritoso in 6/8 time followed by three variations. The theme has the air of a country dance, and the first variation, with displaced accent, is handled with great skill. The second is for piano solo. The third (Allegro assai in 2/4) brings the piece to its conclusion in a gay mood.
OP. 105, NO. 6 IN D (IRISH AIR)
Allegretto più tosto vivace in 6/8 time followed by four variations. The theme is similar to the preceding one, but here the first variation is for piano alone. In the second, the theme is enforced by incisive strokes in triple croches on the piano accompanied by the flute. The third, dolce and sempre legato, is curiously in G Sharp. The fourth returns to D Major, and to the Allegretto feeling of the beginning — it is a kind of study in rhythms.