32 Variations in C minor (Beethoven)

32 Variations on an Original Theme in C minor, WoO 80 (German: 32 Variationen über ein eigenes Thema), is a solo piano work by Ludwig van Beethoven. It was composed in 1806.

The work consists of an eight-bar main theme and 32 variations. A chord progression in the left hand, based upon a descending chromatic bass, serves as an important structural device. The short and sparse melodic theme, as well as the emphasis on the bass line, reflect a possible influence of the chaconne and the Folia. The variations differ in character, technical difficulty and dynamics.

Var. I, II, III consist of arpeggios and repeating notes. The only difference among these three variations is which hands play the arpeggios; in Var. I, the right hand does so, Var. II, the left hand, and Var. III, both hands.

Var. IV is a variation looking into precision of staccato, and the descending bass line is quite prominent.

Var. V is a quiet variation looking at the contrast between staccato and legato.

Var. VI is a turbulent variation marked fortissimo as well as "sempre staccato e sforzato." The sforzatos are indicated in the music.

Var. VII and VIII are markedly quieter variations than Var. VI but musically are more difficult.

Var. IX is a variation with many slurs.

Var. X and XI are marked ^sempre forte^ with an inversion of the main theme, with the only difference between them being that Var. X's thirty-second notes are played with the left hand, and Var. XI's thirty-second notes with the right hand.

Var. XII-XVI mark the Maggiore (Italian for "major") and are thus emotionally different from the other variations. Var. XII is marked "semplice", so it should not be overplayed, while XIII is even quieter. Var. XIV has staccato thirds, and XV and XVI contain numerous, albeit slow, octaves.

Var. XVII marks the return of the minor and is marked "dolce", implying that it should be played more quietly.

Var. XVIII offers a stark contrast to Var. XVII, with very rapid right hand scales.

Var. XIX is a variation with arpeggios in the form of sixteenth triplets, as in the Waldstein Sonata.

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