During Dohnányi’s time in Berlin (his second creative period), the composer’s sphere of interest expanded, and he returned to a childhood passion for writing songs and works for the stage. It was in this era that he composed Variations on a Nursery Tune (op. 25) between 1913 and 1914, the success of which continues unbroken today.

The introduction to these variations of children’s songs composed for piano and orchestra is earnest and grows increasingly dark and incandescent. It is almost the sound of a drama of global proportions waiting to unfold; or perhaps the building anticipation of a new ode to joy. Instead, we hear an innocent little tune (“Twinkle Twinkle Little Star”) that can be played as a child does with a single finger, mocking every form of false sincerity and revealing an ancient and oft-forgotten truth through the power of art: the art of music – if its creator so wishes – is nothing but a game. A genuine and pleasing, humorous game. This is Dohnányi’s ars poetica.

Variations on a Nursery Tune may reveal more about Dohnányi and better reflect his identity as an artist than the handful of recordings of his piano playing. The composition written in 1914 is characterised by gleaming clarity, unparalleled mastery of his craft and superior virtuosity. It is clear that this music does not light the way to the future, nor has it ever done so. Yet it is a veritable treasure trove of innovations in instrumentation, individual harmonic creativity, and the refined art of scoring music for different parts. And, above all else, of humour. “For the enjoyment of humorous people and for the annoyance of others,” the eternal prankster wrote above the score. It appears those disposed to humour are in the ascendency as the work continues to win over audiences in all the world’s concert halls even now.