Variationen über einen beliebten Wiener-Walzer, (Variations based on a popularViennese Waltz by Franz Schubert), Op. 12

Carl Czerny

If you were to draw the scenery of a Viennese in Schubert's days, you would only have to imagine one immersing himself to the dances. And it goes without saying that it would be the Waltz, the most popular Viennese dance. The couples take their places, the violin gives the signal, the party can begin. In the more intimate surroundings of the salon it is often only a piano that strums the rhythm. It could easily be Franz Schubert at the keyboard, as he did on many occasions in the house of his friend Joseph von Spaun.

Their coming together was for the constantly renewed pleasure of being together- to chat, to smoke, to laugh and drink light wines. In a word, the untranslatable 'Gemuetlichkeit'. But also for the pleasure of listening and even dancing, because music was not a separable part of these merry 'Schubertiads'.

It is unsurprising in the fact that Schubert had such an affection for these short pieces which many have not hesitated in disparaging as minor or even, indeed, as functional. Bach, Mozart and Beethoven, not to mention Haydn, were fond of them before him. The dance was to be a part of Schubert's output throughout his life, which some of them has been speculated as improvisation by the composer himself. In 1812 he composed the Twelve German Dances D. 128. Three years later some of the Waltzes D. 146. Between 1818 and 1821 more Waltzes, bearing the number D. 365. Among these Waltzes, is Opus 9 no. 2, which the publisher Diabelli was to dub with the odd nick-name Trauer-Waltz (Mournful Waltz).

The Thirty Four Valzes Sentimentales D. 779, seem to have been written in 1823-24, three years before the Twelve Graz Waltzes, D. 924. The last Waltzes were composed in September 1827, preceded only a few months by the Valses Nobles, D. 969. All these fancy titles were given to them by publishers putting together collections of scattered pieces, in order to appeal to the buyers. The problem of dating them remains in almost every case. But the inspiration is the same, whether they are called Laendler, German Dances or Waltzer. It is always simplicity that dominates, in the choice of key, in the melodic gracefulness, in the good-natured mood.

These miniature pieces had indeed inspired other composers to further expand them in a more elaborate style. Especially those with catchy tunes. Here, Czerny adopted one of Schubert's simple waltz (the original composition consists barely around 16 bars) and make it into an unashamedly showy and virtuosic pianistic gesture. Written in variation form, Czerny added an elaborate intro before the main theme, and another well-stretched coda at the end of the last variation. In fact, I personally feel it is a bit over the top, but this is the maximalist at best. Just sit back and enjoy the roller-coaster ride!