Beethoven: "Kakadu Variations" in G major, Op. 121a (with Score)

Beethoven: 10 Variations on 'Ich bin der Schneider Kakadu' (Kakadu Variations; Piano Trio No. 11), Op. 121a (with Score)
Composed: 1803?, (rev. 1816)
Violin: Pinchas Zukerman
Violoncello: Jacqueline du Pré
Piano: Daniel Barenboim

0:00 Introduction. Adagio assai (G minor)
6:10 Theme. Allegretto (G major)
6:52 Variation 1 (G major)
7:32 Variation 2 (G major)
8:16 Variation 3 (G major)
9:05 Variation 4 (G major)
9:48 Variation 5 (G major)
10:33 Variation 6 (G major)
11:12 Variation 7 (G major)
12:13 Variation 8 (G major)
12:55 Variation 9. Adagio espressivo (G minor)
15:15 Variation 10. Presto (G major)
17:06 Coda. Allegretto (G major)

10 Variations on 'Ich bin der Schneider Kakadu', Op. 121a was published in 1824, the last of Beethoven's piano trios to be published. The work is notable for the contrast between its solemn introduction and the lightweight variations that follow.

Despite the late publication date, the Kakadu Variations is often described as an early work, thought to have been composed around 1803, and left unpublished for the next two decades. Although the first full autograph dates from 1816, the earlier composition date is supported by correspondence in 1803 from Beethoven's brother Karl, which appears to describe the Variations, and by the fact that the composer himself later described it as "among my early works".

Commentator Lewis Lockwood, a leading authority on Beethoven, has argued, however, that the Kakadu Variations has a more complex history. Lockwood proposes that the 1816 autograph reflects a substantial reworking of an earlier draft, including a major revision of the introduction. Given that it was not published until 1824, it is even possible that Beethoven made further revisions at the time of publication, a period when he was producing some of his greatest works, including the Diabelli Variations, the Missa Solemnis and the Ninth Symphony. Direct evidence for this comes, among other elements, in the form of the extremely energetic and tight counterpoint of the double fugue in G minor that makes up the transition from variation X to the allegretto finale. This double fugue is highly reminiscent, both of that in the finale of the 9th Symphony linking the tenor solo to the recapitulation of the "Freude..", and of the Handelian fugue near the end of the Diabelli Variations. The presence of such tight and dramatic fugal writing is one of the hallmarks of Beethoven's late style.
(https://en.wikipedia.org/wiki/Kakadu_Variations)

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