treatment consisted of dressing up the theme with stereotyped
embellishment-figures and of systematic rhythmic animation—
produced by the addition of more and more notes to each time
unit. A standard illustration of this type of Variations is the
so-calledHarmonious Blacksmithof Handel from hisSuite in E
Major. This piece owes whatever popularity it may have pre-
served to the sturdy swing of the main theme and to the fact
that it makes no demand on the attention of the most untrained
listener. In fairness we should state that on the harpsichord—
with its contrasting stops and key-boards—for which the piece
was composed, there is possible more variety of effect than on
the modern pianoforte.
[Footnote 80: We would cite the piece entitledLes Buffonsby
Bull, and Byrd’s variations to the popular tune theCarman’s
Whistle, which latter have considerable archaic charm and dis-
tinction; for Byrd was a real genius. These are readily accessible
in popular editions.]
[Footnote 81: Consult the comprehensive article on Variations
in Grove’s Dictionary, Vol. V.]
Three collateral early forms deserve a passing mention because,
notwithstanding a certain rigidity of structure, they have been
used by the great masters for the expression of sublime thoughts.
These are the Ground Bass (or, as it is sometimes called, the
Basso Ostinato), the Chaconne and the Passacaglia[82] which, in
modern literature, is well represented by the magnificent “tour
de force” that serves as the Finale to Brahms’sFourth Sym-
phony. By a Ground Bass is meant a theme, continually re-
peated, in the lowest voice, each time with varied upper parts.
An excellent example (see Supplement No. 39) is the Aria
“When I am laid in earth” from Purcell’s OperaDido and Ae-
neas. It is evident that the persistent iteration of a striking
phrase in the bass gives an effect of dramatic intensity, as may be
seen in the sublime “Crucifixion” of Bach’sMass in B minor.[83]
The Chaconne and Passacaglia are old dance forms (examples of
the former being found in Gluck’s Ballet Music) and are closely
related to the Ground Bass; since, in the majority of cases, we
find the same procedure in the announcement of the theme and
in its subsequent treatment. Two examples of the Chaconne
from standard literature are the famous one of Bach in D minor
for solo violin and Beethoven’s thirty-two Variations in C mi-
nor for Pianoforte. The Passacaglia is of importance as shown