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.