Sergei Rachmaninov: Variations on a Theme by Corelli op. 42 nr. 12-15 (Sander Leeuwenburgh)

In 1931, Sergei Rachmaninov composed his Corelli Variations, not only his final work for solo piano but also the only work for solo piano composed during the 25 years he lived in the USA. The title is somewhat misleading: the theme is not by Corelli, but the much older theme La Folia. This theme likely originated in the late Middle Ages or Renaissance on the Iberian Peninsula and was associated with a wild and furious dance. The word folia literally means “madness” or “folly”: music so exhiting that dancers risked losing themselves in ecstasy.

The combination of a fixed harmonic structure with an obsessive, almost compulsive repetition made La Folia an ideal theme for variations. Over the centuries, more than 150 composers have used the theme to display their creativity and craftsmanship, such as Corelli himself, Vivaldi, Bach, Liszt, and even, in modern times, Vangelis, who employed it in the title track for the movie ”1492: Conquest of Paradise”.

Rachmaninov discovered La Folia through his friend, violinist Fritz Kreisler, who played a violin sonata by Corelli. The fact that Rachmaninov named the work after Corelli is a historical misunderstanding, now inseparably linked to this masterpiece. The twenty variations together form an extraordinary emotional journey. Rachmaninov treats the theme with extreme freedom: sometimes La Folia is clearly recognizable, at other times the theme seems far away. From tender delicacy to pianistic virtuosity, every emotion is expressed.

Amid this emotional rollercoaster lie Variations 12 through 15. Variations 12 and 13 (0’33”) are marked by a strong sense of rhythm and an almost sarcastic energy. The music feels restless and biting, driven by nervous rhythms and sharp articulation, as if Rachmaninov is deliberately distorting the La Folia theme rather than developing it lyrically. Here, his late style is fully apparent: more sober, ironic, and less romantically expansive than in his earlier works. These nervous variations are subsequently followed by a sensual intermezzo with a Spanish character (1’09”), serving as a transition to the serene Variations 14 (2’22”) and 15 (3’17”).

These two variations form the breathtaking moment of stillness in the entire composition - the eye of the storm. Strikingly, Rachmaninov abandons the original key here: no longer the mournful and dramatic D minor, but the more optimistic key of D-flat major, which he often employed to convey moments of serene calm and lyricism. This creates an entirely different emotional world - warmer, gentler, and timeless. Rachmaninov seems, for a moment, to withdraw from all the preceding emotional agitation. For this reason, this passage feels to me like the emotional heart of what I consider the ultimate set of variations on La Folia.

0:00 Variation 12. L'istesso tempo
0:33 Variation 13. Agitato
1:09 Intermezzo
2:22 Variation 14. Andante (come prima)
3:17 Variation 15. L'istesso tempo

Recording date: June 15th 2025 (live recording)
Recording engineer: Wolfgang Maiwald
Recording location: Andreaskerk Naarden (BIJ ANDREAS)
Pianist: Sander Leeuwenburgh

Photo credit: Eric Scholten