{"content":"\n    <div class=\"detail-content\">\n        \n        <strong>About work:</strong> <p>I've created the Variations in 1993 on the base of the well known theme from finaleof the 4. part of the Beethoven`s piano sonata in C-major op. 2, No. 3. This excellent theme in fast tempo is for variations almost ideal. It consists of two significantly different parts put into an a-b-a form - a: climbing sextchords, -b: figurations of the dominant. In the first variation is the whole theme varied in a classical figurational way, the second variation is basedon the processing of increasing and descending chords (1st part of the theme). The third variationis directed to the figurational 2nd part of the theme. No. 4 is the only variation containing slow music with a shifted melody stress. The fifth variation is chordic in it`s full acoustic power, the next is designed as a scherzo \"á la Beethoven\" and flows over to the seventh variation as fugato with a theme which is just a combination of the main motives of the two parts of the original theme. Atacca comes the last, eighth variation, which functions as a fast brilliant coda. All variations are closed by cadencies, but their process is intended to be continual, without any pause between them. The sense and purpose of composing this work is more or less pragmatic - I was a successful pianist in my youth, so just I wanted to prove my feeling for the instrument as well as my composition skills.</p><br>\n        <em>(author, in: Bulletin New Slovak Music 1994)</em><br>\n        <br>\n        \n\n        <p>\n                <p><strong>First performance in Slovakia</strong></p>\n                \n                \n                24.11.1994,\n                New Slovak Music,\n                SK\n\n<br><span class=\"type\">Performers: </span>Stanislav Zamborský (pf)\n                <br>\n\n\n            </p>\n    </div>\n"}