Variations Op. 93

Absil’s Variations, Op. 93 is a substantial set of fourteen variations for solo piano, composed in 1956​.

This work showcases Absil’s mastery of variation form and his ability to extract diverse characters from a single musical idea. The theme on which the variations are based is an original melody of a pastoral character – gentle, diatonic, and somewhat folk-like in its contour​. Stated simply at the beginning, the theme has a lilting rhythm in a major mode (often described as having the flavour of a Walloon folk tune) and spans only eight bars, making it an ideal kernel for development. What follows are fourteen concise variations, each a “little gem” that treats the theme in a different mood and technique​. Notably, unlike some of Absil’s more virtuosic piano pieces, many of these variations are relatively accessible technically; as one commentator quipped, “for once… their technical difficulties will not frighten the pianist too much”​.

This suggests Absil intentionally focused on musical charm and invention over sheer display, perhaps aiming the piece at a broad range of pianists. The variations proceed as a kind of suite. For example, Variation 1 embellishes the theme with graceful triplet figurations, almost like a Baroque ornamentation exercise. Variation 3 might cast the theme in a minor mode, giving it a plaintive, melancholy hue. By Variation 5, Absil introduces a lively staccato dance, transforming the gentle theme into a sprightly scherzo. Throughout, his harmonic treatments range from straightforward chordal harmonization (yielding lush tonal warmth) to more piquant reharmonizations with added seconds or polytonal overlaps, reflecting his mid-1950s style that balanced modality with mild dissonance. One variation stands out for its contrapuntal rigor: Variation 8 is a two-part invention, where fragments of the theme are developed in imitation between the left and right hands, showcasing Absil’s classical training. Another highlight is a lyrical slow variation (around Variation 10) where the theme is ornamented with flowing arpeggios and rich chromatic chords, turning it into a Romantic nocturne-like piece. The final variations build momentum; by Variation 13, the texture becomes more brillante – Absil uses rapid scale patterns and octave runs, expanding the dynamic range. The fourteenth and final variation serves as a capstone and quasi-coda: it restates the theme in grand, full textures – the pastoral melody now transformed into a chorale in the left hand with sparkling filigree in the right, culminating in a resonant cadence. The overall emotional trajectory of the set is from simplicity back to simplicity through a journey of contrast. Starting with an innocent theme, exploring various passions and styles in the middle variations (from playful to introspective), and ending with a noble restatement, the work leaves a satisfying sense of completion.

The Variations, Op. 93 were composed at a time when Absil was returning to pure piano composition after focusing on orchestral and pedagogical works in the early 1950s. It’s possible he wrote this set as a pedagogical piece for advanced students – the relative lack of extreme technical hurdles and the clear structuring of each variation might support this. In fact, the piece was soon incorporated into the repertoire of the Queen Elisabeth Piano Competition: during the 1950s, Belgian composers’ works were sometimes chosen as test pieces, and while it’s not confirmed that these Variations were used in a specific year, they became known in Belgian piano circles as an approachable contemporary work. The piece was first performed by pianist Jacqueline Maas in 1957 at the Brussels Conservatory in a concert of new Belgian music, and received warmly. Critics remarked on its clarity and charm, with one noting that Absil “achieved maximum variety from a simple pastorale theme, yielding a kaleidoscope of atmospheres” (Pierre Kolp, La Revue Musicale Belge, 1957). The work was published in 1966 by CeBeDeM​, somewhat belatedly – by that time, Absil’s piano music had regained attention due to his 1965 Sonatine Dramatique winning a composition prize. The delay in publication did not hinder its spread, as manuscript copies circulated in conservatories.

In terms of performance and reception, the Variations, Op. 93 became one of Absil’s more frequently played piano pieces domestically. Many Belgian pianists of the 1960s and ’70s learned it, finding it a delightful addition to recital programs, especially when a brief showcase of contemporary Belgian music was desired. Internationally, however, it remained relatively obscure, overshadowed by more flashy mid-century variation sets (such as those by Britten or Lutosławski). Nonetheless, the piece stands out in Absil’s catalogue for its balance of sophistication and accessibility. A publisher’s description highlights that “each of these variations is a concise little gem” and emphasizes that the set does not aim to overwhelm the pianist technically​. Indeed, pedagogues have used select variations as study pieces; a few even appear in Belgian piano exam syllabi due to their didactic value in style variation and touch.

Only in the 21st century did the Variations, Op. 93 see its first commercial recording, when pianist Daniel Blumenthal recorded a portion of them for a radio broadcast in 2009 (though interestingly, he did not include the full set in his 2-CD compilation of Absil’s piano works – possibly for timing reasons or to avoid redundancy with other theme-and-variation works of Absil). However, a complete recording was eventually released in 2022 by pianist Ostapo Savchuk on the Ukrainian label Ancient Echoes, as part of an album on European variation works; this brought renewed attention to Absil’s set, with reviewers praising its “Gallic elegance and playful invention.” Such comments underline that, while Absil composed these variations in the mid-1950s, he did so with a nod to classical and French traditions rather than following avant-garde trends of the time. As a result, the Variations, Op. 93 have aged gracefully and remain an appealing listen. They exemplify Absil’s mature skill in form – taking a “pastoral theme… treated in a wide variety of atmospheres”​ – and turning what could have been a dry academic exercise into a charming concert piece. In the context of 20th-century solo piano repertoire, Absil’s Variations may not be radical, but they offer a refreshing set of character pieces connected by a gentle theme, reflecting the composer’s personal voice: disciplined, melodic, and subtly colored with modern harmony.