by the striking example for organ in C minor by Bach on the
following theme:
[Music]
Whoever has heard this majestic theme, which seems to bear the
sorrows of the world on its shoulders, announced on the deep-
sounding pedals will gain a lasting impression of the grandeur
of Bach’s style.
[Footnote 82: For the derivation of the term consult the inter-
esting article in Grove’s Dictionary, Vol. IV.]
[Footnote 83: A work before which Schumann said every musi-
cian should prostrate himself in adoration.]
By the time of Haydn, the technical skill of composers had im-
proved sufficiently so that we find in his works some genuinely
interesting examples of the Variation form,e.g., the set on the
well-known Austrian hymn from theKaiser Quartet in C ma-
jor—in which each of the five variations has a real individuality—
and theVariations in F minor for Pianoforte: remarkable as
an early example of the varied treatment oftwothemes.
Most of Mozart’s Variations are based upon popular themes
and, in general, may be considered as virtuoso pieces to show
off the agility of the performer. We find occasional examples, as
in the Clarinet Quintette and in the Sonata in D major, which
are of more intrinsic worth.
The genius of Beethoven first revealed the full possibilities of
the form. In fact, so remarkable was his work that such cre-
ative composers as César Franck and d’Indy consider the basic
principles for our modern development of music to be found in
the Fugue of Bach and the Varied Air of Beethoven. For, deadly
dull as is the Variation form when treated in a stereotyped man-
ner, by very reason of its freedom from arbitrary rules it may
be a most elastic medium for the expression of poetic genius.
The composer has but to invent a striking characteristic theme,
rich in potential development, and then to let it develop for
as long as he can retain the interest of his hearers. Likewise
for a great orator the simple rule is to state a theme on which
something worth while may be said and then by presenting it
in new lights and with copious illustrations to drive the truth
home. The principal and significant changes which we owe to
Beethoven are the following: complete freedom in variety of key,