7 Variationen über ein Originalthema

Little is known about the genesis of the 7 Variations on an Original Theme, op. 9 (WeV R.7), composed in 1808; they were written during Weber’s poorly documented stay in Stuttgart, where he was employed as secretary to Duke Ludwig of Württemberg. It is Weber’s first work to be published by Johann André’s Offenbach Publishing House. The first edition, announced in May 1810, probably did not appear before the beginning of the year.
Following the publication of the first edition, two positive reviews of the work can be found. In October 1810, the Allgemeine musikalische Zeitung in Leipzig wrote with reference to a comparison with Beethoven’s variations:
’After this little work [...], the reviewer almost reproaches himself for not having become acquainted with the four preceding ones [sc. Weber’s collections of variations] and presented them to the public – so well done does he find this one. The variations clearly demonstrate originality in their invention, already established artistry and refined taste, commendable diligence in their execution, and good experience in terms of effect. In terms of style, the rev. believes they can best be compared to Beethoven’s larger variations, except that Beethoven did not always put as much effort into this genre as even his exceptional genius required in order to produce something truly outstanding. Among these variations, the most excellent are the Spanish, No. 4, the Fantasia, No. 6, and the brilliant No. 7 with its very effective coda. The rev. finds fault primarily with the extremely exaggerated wide span, for which even the hands are not sufficient, which, for example, can reach everything in Cramer’s works. Is it not strange that good composers narrow their audience so much through such eccentricities, or at least cause their pieces to be performed almost everywhere in an uncertain or arbitrarily altered manner?’

The Königlich privilegirte Berlinische Zeitung emphasised in its review in January 1811:
’The well-known and popular composer and brilliant pianist Baron von Weber presents here a [...] glorious work of variations. It is difficult to perform and requires a great deal of confidence and practice in double stops, octave passages and leaps. Furthermore, these variations are full of invention and genius, even if they lack actual hard work.’

- Markus Bandur