The Fifteen Variations (with Fugue) op. 35 composed in 1802 are known primarily by their sobriquet Eroica Variations because the theme is also used in the finale of the Third Symphony. Together with its sister work, opus 34, thiscomposition marks the breakthrough of character variations. Not without pride did the composer stress to his publisher that both works were arranged in a truly quite new fashion. For the first time ever, the Eroica Variations areavailable in a standalone edition. The mus