Variations on Rule Britannia for piano

A very different kind of fantasia takes place in Ludwig van Beethoven’s (1770-1827) variations on the theme “Rule Britannia.” Something inspired him to compose two variations sets on British themes, including “God Save the King” and “Rule Britannia.” The former tune was much better known at the time, and it’s unlikely that many people in Beethoven’s Vienna would have been familiar with “Rule Britannia.” The piece was written during his most productive period, which started around 1800-02 with his search for a new direction (inspired by the personal crisis of increased hearing loss) and which culminated with the creation of Symphonies 3-7, the “heroic” style piano sonatas, the middle string quartets, and Fidelio. Beethoven had already composed over a dozen variation sets on original themes, folksongs, and famous melodies from operas. With the later examples of the C-minor variations and the famous “Diabelli” collection, it is clear that Beethoven’s variation sets exist on two different planes. Some were tossed off rather quickly, others engrossed all of the composer’s energies for an extended period. The Five Variations on “Rule Britannia” in D major (composed in 1803 but not published) are certainly of the lighter variety. Listeners may not recognize the tune at first, but by the middle of the opening theme we hear the familiar strains. The first variation is already quite “abstract” in comparison to the theme, the second becomes more rhythmically interesting, and third downright virtuosic. Variation IV makes the requisite turn to minor, followed by the fifth variation and improvisatory coda back in major. Such variations amount to fashionable parlor games, subjecting a popular melody to all manner of textural and stylistic changes.

(c) Jason Stell