The Raymond Variations for Piano (Set 1), received its world premiere on 2nd December 2015 at the 1901 Arts Club London, performed by Lorraine Womack-Banning as part of a memorial tribute concert to her late husband Raymond Banning (Former professor of pianoforte at Trinity College London).

    The Variations are based on the three Andantino themes which form a central part of the Raymond Overture written in 1851 by French composer Ambroise Thomas: 1811-1896, (although the third andantino theme in the overture is in itself a variant of the second theme). There are nine piano variations in total, these include a mix of both full and short partial variations (including a very short declamatory two chord introductory variation). The variations are not numbered or set-apart in a conventional manner, rather they form part of a continuous whole, and are separated only by bridge passages and/or cadence points; they last around eight minutes in duration, and strongly exploit the passionate elements of Thomas’s themes. They have been written for the most part in an easily accessible tonal style (with a passing nod to Messrs. Beethoven and J.S. Bach) and are based predominately in the home key of D minor, but also take advantage of many 20th and 21st century harmonic techniques where deemed appropriate: e.g. added note chords; cluster chords; percussive chords, and melodic deflection. (There is also some judicious use of consecutive perfect fifths for completeness!) In particular, the interval of the major 7th and its enharmonic equivalent(s) (the most distinctive interval in the main andantino theme from the overture) is heard in various different guises throughout the variations: this includes its inversion the minor 2nd which has a very distinctive sharp dissonant quality, much play is made of these intervals – especially to humorous effect in variation 8 (the joker in the pack) heard some three quarters into the set, here the dissonant interval is pounded out double forte before leading into some boisterous cluster harmonic instability; then quietly begins variation 9 which duly brings the set to a close.

    The actual andantino themes from the overture in their original form, are not heard directly in the variations, although the short eight bar 2nd variation heard immediately after the introduction, is the most similar to the main andantino theme (and inspired by piano tutor William Artus).  As such, these are very much ‘Variations’ and not ‘Theme(s) and Variations’; they were some two and a half years in the making.

A more in-depth analysis of the variations can be found at:  http://open.academia.edu/StephenGPotts