etc.
[Listen]
are introduced by diminution into the middle voice:
The work is astounding in its evidence of the mastery already achieved by the young composer over the technique of variation form, in which he uses the complicated resources of contrapuntal science with absolute playfulness. For one illustration of this the reader may again be referred to the tenth variation, in which the original bass of Schumann's theme is used as the melody of the upper part and its inversion as the bass part, whilst the original melody (quoted on p. [159]) is imitated by diminution in the middle part.
etc.
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We must resist the temptation to linger over the many interesting details of this noble work, as the aim of our pages is not a technical one; but we may note in passing that, of the sixteen variations which it contains, five are written in keys varying from that of the theme, a circumstance which again brings it into a certain association with Schumann.[48] Brahms, in his five other independent sets of variations for pianoforte, nearly follows the practice of the earlier masters, who confined themselves to the major and minor modes of one key.
Johannes had meanwhile, according to custom, sent the completed manuscript of his trio to Marxsen, and had speedily received it back again with his master's critical remarks. These he acknowledged on June 28 in a letter from which the following brief extracts are taken, sending Marxsen, at the same time, a collection of short pieces written at odds and ends of time, which he proposed to call 'Leaves from the Journal of a Musician, published by the Young Kreisler.'
'Let me thank you very much for having vouchsafed such a long letter, such a detailed examination to my trio. I will write about the proposed little alterations when I send you the printed copy. I have allowed the trio to lie in order to accustom myself to them.'