d rich harmonic texture are
eloquently manifested. (3), The _Istar_ Variations 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 is
_reversed_ and the variations come _first_, 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 on _three_ 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 the _Enigma Variations_
for 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's _Appreciation of Music_ series.]

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 the _Six 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 interest in the second variation which, with
the theme in the bass, may be likened to a 'cello solo of a mildly
bravura nature. (Note the fantastic accents on weak beats in measures
18, 22, 23, and 24.) In the third variation comes a complete contrast
in mood; the key is changed to A-flat minor and the theme is
transformed into an elegy, all its joy crushed out. The movement
abounds in impassioned dissonances, always emphasized by _sf_ marks,
and the throbbing pulsations of