ing individuality given to the different transformations of the
theme—two of the changes being to a Waltz and a Mazurka.
(2), The Symphonic Variationsfor Pianoforte and Orchestra
of César Franck, based on two contrasting themes, one in the
minor mode and one with modulations to the major. The varia-
tions are not numbered and there are no rigid stops; throughout
the work Franck’s marvellous power of modulation and rich har-
monic texture are eloquently manifested. (3), TheIstarVaria-
tions for orchestra by d’Indy is one of the most original works in
the whole field; in that, for dramatic reasons connected with the
subject, the usual order isreversedand the variations comefirst,
gradually becoming more and more simple until we reach the
theme itself, pure and unadorned. (4), The Symphonic Poem,
Don Quixote, of R. Strauss, a complex set of Variations onthree
themes which typify respectively the characters of Cervantes’
story; the Knight, his attendant, Sancho Panza and Dulcinea.
The variations are not confined to a merely abstract or formal
treatment of the material but set before us a picture of the
attributes of the characters and a description of some of their
spectacular adventures. (5), Lastly theEnigma Variationsfor
orchestra by Elgar, so-called because the identity of the basic
theme is not revealed. The variations are character-pieces which
for individuality and charm are a lasting glory to the genius of
the composer.[84]
[Footnote 84: For a detailed account see the third volume of
D.G. Mason’sAppreciation of Musicseries.]
We shall now analyze, with suggestive comments, two[85] of the
well-known sets of Beethoven: the first movement of the Sonata,
op. 26, and theSix Variations on an original theme, op. 34.
The variations from the Sonata are an early work; but, although
definitely sectionalized and with only one change of tonality,
they clearly reveal Beethoven’s freedom of conception and his
aversion to stereotyped treatment. The theme itself is a suave,
appealing melody, already cited as an example of a sixteen-
measure sentence, and admirably suited for variation purposes,
since it arouses at once the expectation of the listener.[86] The
first variation is a kind of shadowy, mysterious outline of the
theme just presented, as if the composer were musing upon the
latent possibilities of his material. There is a quickening of in-
terest in the second variation which, with the theme in the bass,
may be likened to a ’cello solo of a mildly bravura nature. (Note