so that at times (as in his op. 34) each variation is in a new key;
a frequent omission of the rigid stops at the end of each varia-
tion,e.g., the Slow movement of theFifth Symphonyand the
third movement of theTrio, op. 96, so that a continuous flow of
thought is preserved; the practice, so often followed in modern
literature, of founding variations on a double theme—of which
the Finale of theHeroic Symphonyis a striking example. But
the chief advance in Beethoven is the entirely new conception of
what variations should be; not, according to him, mere mechan-
ical manipulations of the subject matter, but vital products of
the imagination, as varied as the members of a human family
having the same mother. Beethoven’s variations, in fact, often
seem like a series of character-pieces, each with its own indi-
viduality and yet retaining an organic relationship to the main
thought. His fondness for the form and his mastery over it is
seen by the frequency of its use in the last Sonatas and String-
Quartets. Every composer since Beethoven has written one or
more works in the Variation form; but we can mention only the
most beautiful examples and then pass on to the daring concep-
tions of the modern school. The Variations by Schubert in his
String-Quartet in D minor on the Song,Death and the Maiden,
will amply repay study, and so will theVariations Sérieuses,
op. 54, for the pianoforte by Mendelssohn. As for Schumann,
he was very happy in the use of this form, and hisSymphonic
Études, op. 13—in wealth of fancy and freedom of treatment—
are quite unparalleled. His Variations for two pianofortes, op.
46, deserve also to be known. Among the finest examples since
Beethoven are the numerous sets by Brahms, remarkable alike
for emotional power, for free and yet logical treatment of the
material and for solidity of workmanship. They include the
Variations on a theme from Handelfor pianoforte, op. 24; the
set for orchestra, op. 56a, on theSt. Anthony Choralof Haydn;
and the two sets, op. 35, on themes from Paganini—universally
conceded to be the most brilliant examples for the pianoforte in
recent literature.
To speak now particularly of the modern school, there are five
compositions in this form which, for their daring novelty and
sustained eloquence, should be familiar to every music-lover and
heard as often as possible. For they are elaborate works which
must be thoroughly known to be understood and loved. (1),
There is the set in Tchaikowsky’s Pianoforte Trio in A minor,
op. 50; noteworthy for freedom of modulation and for the strik-