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 Supplement, 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's _Descriptive 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 a _third_ below 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 opening
theme; the melodic outline being merely hinted at in unimportant 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 the next Variation
a strong contrast is afforded by the Funeral March, the minor mode
being used for the first time. The last Variation--in the
home-key--gives a brilliant summing up of the characteristic features
of the theme. Note especially the reminiscent effect of the closing
measures.

CHAPTER IX

THE SONATA-FORM AND ITS FOUNDERS, EMMANUEL BACH AND HAYDN

We have now set forth, with representative illustrations, all the
fundamental forms of instrumental music, _i.e._, the Canon, Fugue and
Invention, the Two and Three-part forms, the Rondo and the Varied Air.
Through the perfecting of these mean