Clara Schumann and Mendelssohn's Variations

Both sets of variations by Clara Schumann and Mendelssohn have some interesting similarities and differences. Both pieces are written less obscurely (not as harmonically and rhythmically complicated and as Beethoven's and Brahms' variations), meaning that the variations written following the theme are quite straightforward. The theme is often times clearly stated and it is usually in the top voice. Clara Schumann's variations, compared to Mendelssohn's, are more sectionalized between variations. There is a clear beginning and ending for each variation. Mendelssohn's, on the other hand, has more connection between variations. For example, the beginning of Variation 11 sounds more like a continuation of Variation 10, instead of a new idea. This connection is also further enhanced through the persistent key of D minor throughout the piece (notice that almost every variation ends with a D minor chord and begins with some kind of D minor figuration). The only exception of this is in Variation 14, where it is in the relative major of the original key. Clara also uses the relative major key for several of the variations. Harmonically, it is less adventurous than Mendelssohn's. The theme of Mendelssohn's variation introduces chromaticism right from the start. In Variation 10, the contrapuntal writing here chromaticized the piece even more. We can also see here of Bach's influence behind Mendelssohn's writing.

Comparing textures, Mendelssohn seems to have more things going on. He creates thicker texture and is not afraid to venture out from the middle of the keyboard. Clara's tends to resemble her husband's writing more: more timid in extremes on the piano. The broken chords is a very Mendelssohn-like is the figuration in Variation 17: (right hand on the down beat playing the first chord of the triplet, the rests with the left hand). This creats a flowy and fluent texture. We can see influences of Schumann in both sets of variations. Clara writes more for the middle of the keyboard and chorale-like passages (Variation II and III). Mendelssohn writes off beat melodies (Variation 5 and the end of Variation 17). I also thought that Variation V (ascending octaves and octaves unison on both hands) of Clara's and Variations 3 (octaves), 6 (virtuosic leaps) and 12 (more octave leaps) of Mendelssohn's resemble some of Brahm's virtuosic variation writings.