Variations on a Melancholy Theme was originally composed for the piano, commissioned by Kirill Gerstein and the Irving S. Gilmore Foundation in 2012. The version featured on this recording was arranged and orchestrated for the Orpheus Chamber Orchestra and recorded in 2013. Mehldau’s artistic vision for the work was based on the conceptual idea that “Brahms woke up one day and had the blues.” The pragmatic simplicity of the title is like a reflection of the main theme, which by classical or jazz standards is a simple, tuneful melody. The theme and basis for the rest of the work begins with Mehldau alone on the piano gradually joined by a small ensemble of woodwinds. The orchestration of woodwinds and piano perfectly complements the melancholy theme, feeling very familiar and nostalgic.
Mehldau’s use of modern compositional techniques brings forth some unexpected tonalities, far beyond those of melancholy. The first few variations introduce odd meters, and a spacious “American” sound reminiscent of Copland and Gershwin. The orchestration constantly shifts between smaller ensembles within the orchestra, never settling in any one texture for too long. “Variation 7” is for the orchestra only, and is based on the dissonant twelve-tone technique originally created by Schoenberg. This movement is very abstract, and the initial instrumentation of bassoon, strings and percussion sounds mysterious and ethereal. It concludes with a surprisingly consonant harmonic resolution, almost as if it were making fun of the complex puzzle of music that preceded it. The live final track, Encore: Variations “X” & “Y,” features Mehldau alone at the piano. This has an improvisational and exploratory sound but ultimately returns to the melancholic theme from the beginning of the composition.
The constantly evolving textures and tonalities found throughout the work make it feel perpetually fresh and interesting. Mehldau and the Orpheus Chamber Orchestra give a colorful and dynamic performance of this imaginative arrangement.