EXAMPLE FOR ANALYSIS, No. 11.
Haydn: Andante with Variations in F-Minor.
It is unusual for a variation theme to be in two distinct parts, as is the case here. The chief theme in F-minor is followed by a "trio" theme in F-major of quite a distinct character. This is one of the many interesting experiments of Haydn in devising new forms or combining old ones. The weakness of this arrangement is that the whole theme is a little too long; it lacks the conciseness that is necessary to a theme that is to be treated in a long series of variations. The trio theme is also less interesting than the first theme and does not lend itself so readily to variations.
An important principle of musical development is involved here. It will be found from an examination of the music of the great composers that the most perfect lyric melodies do not germinate, whereas themes like the first theme of this andante, the first theme of Beethoven's Fifth Symphony—which are not by any means beautiful lyric melodies—are pregnant with possibilities. Any perfect melody like "Annie Laurie," for example, is a complete thing; nothing can be added to it or taken away from it. The two themes just mentioned, on the contrary, are made up of motives which are characterized by some individual quality and which contain certain potentialities that are realized only as the piece progresses. And in general it may be noted that the distinctly lyric composers, such as Schubert, Schumann, and Grieg, have not been conspicuously successful in those larger forms where this principle is most operative.
The little motive of five notes with which the right hand part of the andante by Haydn begins illustrates this. There is hardly a measure of the original theme and of its variations in which this motive is not heard, and the variety Haydn imparts to it is quite remarkable. The trio theme, on the other hand, is more lyric—more song-like, and, as a consequence, we find the variations consist of elaborate ornamentations of the theme rather than of new ideas germinated from it.
Variation I is a particularly interesting example of Haydn's style. The syncopation in the right hand part, with its delicacy of utterance, and its occasional tender poignancy (as at measure 52) gives to this portion of the piece an unusual charm. The transposition of the syncopation to the left hand (at measure 56) is particularly interesting because of the delicate dissonances that result. The passage at measures 83-88 might almost have been written by Rameau or Couperin, so full is it of trills and other ornaments. This is in the old harpsichord style of the generation before Haydn.
Variation II preserves the harmony of the original theme, but supplants its melody by a fluent and interesting passage in sixteenth notes that passes at will from one hand to the other.
These two free variations, through which the original theme has dimly shone, are now succeeded by a finale, so called, in which the theme is presented in its simple form as if to bring the listener home again after his excursions afield. And here, it should be specially noted, Haydn omits all reference to the trio theme, as if conscious of its inferiority. The whole finale (from measure 147) is a kind of dramatic summing up of the story, and serves much the same purpose as that of the restatement in ternary form.
The passage between measures 195 and 200 is an interesting example of a process common in pure music. Here the motive of three notes (in right hand), derived from the original five note motive in measure 1, gradually loses its physiognomy until its characteristic outline has entirely disappeared and it has become a purely conventional figure. A celebrated example of this process is shown in Figure XXXIII from the first movement of Beethoven's String Quartet, op. 59, No. 1.
First phrase of Theme from Beethoven's Quartet, op. 59, No. 1.
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Passage from Development Section.
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FIGURE XXXIII.
The passage from which the second of the quotations is taken is one of the most beautiful in all chamber music, and the whole development section in this wonderful movement will repay the closest study.
Haydn's andante ends with a few tender allusions to the persistent motive of the original theme, which faintly echoes in pathetic cadence. Such passages endear Haydn to us because of their genuineness. There is nothing false in his sentiment; he is always straightforward, he always writes unaffectedly. Among the great composers he stands apart as a simple-hearted man, who was without guile, and who retained to the end of his life the same childlike na?et?.