the fantastic accents on weak beats in measures 18, 22, 23, and
24.) In the third variation comes a complete contrast in mood;
the key is changed to A-flat minor and the theme is transformed
into an elegy, all its joy crushed out. The movement abounds in
impassioned dissonances, always emphasized bysf marks, and
the throbbing pulsations of the bass—in the second phrase—
give a tragic intensity of feeling. With the fourth variation there
enters that spirit of playfulness so characteristic of Beethoven—
the movement being, in fact, a miniature Scherzo. The fifth and
last variation is an idyllic revery in which the composer reviews
and amplifies the many beautiful fancies which his imagination
has conceived, and closes with a coda, based on the motive of
the main theme, of tranquillity and satisfaction.
[Footnote 85: These compositions are not printed in the Supple-
ment, as it may be assumed that the student can readily procure
them. They are published in a number of editions.]
[Footnote 86: For some illuminating comments on the whole
Sonata see Baxter Perry’sDescriptive Analysis of Pianoforte
Works. (The Theodore Presser Co.)]
The set in F major, op. 34, is a striking illustration of Beethoven’s
fondness for mediant relationship, since no two variations are in
the same key; the tonic of each being athirdbelow that of the
preceding. The Key-scheme is F, D, B-flat, G, E-flat, C minor;
and then, through the descent of a fifth, back to the home-key,
or in actual notes:
[Music]
The first variation is a highly embellished treatment of the open-
ing theme; the melodic outline being merely hinted at in unim-
portant parts of the phraseology,e.g.
[Music: original theme]
[Music: 1st Variation]
Written in the old ornate style, it is of interest chiefly for the
pianistic effect. In the second Variation we have a change both
of time and key; the impression being that of a distant march for
men’s voices or for soft trombones. The third Variation, again
with change of time and key, illustrates Beethoven’s fondness
for a subtle outlining of the theme. In the fourth Variation the
theme is transformed into a Minuet of graceful swing; and in