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.
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 means of expression music became a living language of communication, ready for that development which, through the genius of the Classic and