that lovely sustained theme is of a conspicuously lively
character; when the composer invented it he could hardly have
thought of it as immediately following the theme, or as being in
direct contact with it. The component parts of the Variation-form
are each complete in themselves, and perhaps the composer was
unconsciously influenced by this fact. But, when the entire piece
is played, the parts appear in uninterrupted succession. We know
from other movements of the master's (for instance the second
movement of the C minor symphony, the Adagio of the great quartet
in E flat, and above all from the wonderful second movement of
the great sonata in C minor, Op. III), which are all written in
the form of Variations, but in which the parts are conceived as
standing in immediate connection, how deftly and delicately the
links between the different variations can be contrived. A player
who, in a case like that of the so-called "Kreutzer-Sonata,"
claims the honour of representing the master in full, might, at
least, attempt to establish some sort of relation and connection
between the sentiment of the theme and that of the first
variation; he might begin the latter at a more moderate pace, and
gradually lead up to the lively movement. Pianoforte and violin
players are firmly persuaded that the character of this variation
differs considerably from that of the theme. Let them then
interpret it with artistic discrimination, and treat the first
part of the variation as a gradual approach to the new tempo;
thus adding a charm to the interest the part already possesses
per se.

A stronger case, of similar import, will be found in the
beginning of the first Allegro 6-8 after the long introductory
Adagio of the string quartet in C sharp minor. [FOOTNOTE: Op.