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Where There’s a Waltz There’s a Way: Exploring the Secrets of Beethoven’s Diabelli Variations

Robin Wallace (School of Music, Baylor University)

Ludwig van Beethoven receives a waltz by Anton Diabelli in early 1819, about a year after getting his new Broadwood piano and well into the final decline of his hearing. The piece initially seems unpromising to him, but it feels amazing on this new instrument, whose keys have unprecedented tactile depth and whose frame is uncommonly reactive to vibration across its width. In the first eight measures the melody plunges three and a half octaves into the bass, and the pattern of sequences that follows culminates in a stretch covering three quarters of the keyboard. He realizes that this is material that will allow his sense of touch to lead him in novel directions.

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