III. “R.B.T.” Allegretto, G major, 3-8. Fragments of the theme are played by oboe and violins (pizzicato) against a counter theme for wood-wind.
IV. “W.M.B.” A spirited, vigorous variation. Allegro di molto, G minor-major 3-4. Strings, wood-wind, and horns proclaim the theme. The last measures call for the full strength of the orchestra.
V. “R.P.A.” Moderato, C minor, 12-8 (4-4). A counter melody is developed against the theme (bassoons, violoncellos, and double basses), first above the theme and then below it.
VI. “Ysobel.” Andantino, C major 3-2. A lyrical movement with a cantilena for solo viola, while gentle phrases are given to the woodwind and horns.
VII. “Troyte.” Presto, C major, 4-4. Wood-wind and violins have a bold figure over a basso ostinato for violoncellos, double basses, kettledrums. This figure, changed, is afterwards given to the basses.
VIII. “W.N.” Allegretto, G major, 6-8. Clarinets vary the theme.
IX. “Nimrod.” Moderato, E flat major, 3-4. This and the next variations are in strong contrast to each other and to those that precede. “Nimrod” is a tribute to Elgar’s friend Jaeger. Elgar’s Variations were performed at a memorial concert to Jaeger in London on January 24, 1910. Hans Richter conducted. Elgar wrote this note for the programme: “The Variations are not all ‘portraits.’... Something ardent and mercurial, in addition to the slow movement (No. IX), would have been needful to portray the character and temperament of A. J. Jaeger. The variation is a record of a long summer evening talk, when my friend grew nobly eloquent (as only he could) on the grandeur of Beethoven, and especially of his slow movements.” The strings (2d violins, violas, and violoncellos divided) sing the theme, pianississimo. Later the wood-wind and brass enlarge it.
X. “Dorabella—Intermezzo.” Allegretto, G major, 3-4, a sparkling, joyous variation, scored lightly for muted strings and wood-wind; a horn is heard in one measure, and there are a few strokes on the kettledrums.
XI. “G.R.S.” Allegro di molto, G minor, 2-2. An English reviewer says of this variation: “The furious pedaling in the basses seems to confirm our suspicion that this is the ‘picture’ of a well-known Cathedral organist.” This organist is probably Dr. George Roberton Sinclair, a friend and neighbor of Elgar at Hereford. The basses play a staccato variation of the theme. Later the brass has it fortissimo.
XII. “B.G.N.” Andante, G minor, 4-4. A song for violoncellos in which violas join later with first violins for the climax.