Symphonic Variations, Op.78

In 1887, when he witnessed the remarkable success of the first Vienna performance of the Symphonic Variations, Brahms presented Dvorak with a handsome cigar-holder. The older composer knew (even if the public did not) that the work had been written ten years earlier and that it had taken no more than the four years between the Symphony No.3 in E flat and the Symphonic Variations for Dvorak to grow out of his wagnerian tendencies an into a more classical, even Brahmsian way of thought.

Of the 27 variations, the first three present the theme in its original shape (much as Dvorak wrote it in his male-voice chorus I am a fiddle, poor as can be) and as many as the first sixteen retain its C major tonality and its 2/4 metre. Of course, there are tempo changes and all kinds of variety in colour, texture and character - as in the wistful violin solo of variation 12, the shy manners of variation 14 and the heavy caricature of variation 15. But Dvorak sets his imagination free only when he adopts a different metre for the triple-time scherzo of variation 17 and changes the key for the lovely D major Larghetto version of the theme on horns in variation 18.

After the waltz in B flat major in variation 19, there is a fascinating group of variations in B flat minor, including the wittily parodistic variation 22 and the touching tribute to Brahms in variation 24. By way of G flat major and D major in the charmingly lyrical variations 25 and 26 the tonality returns to C major for variation 27 - which last is no more than a stealthy introduction to the finale. Classical precedents demand a fugue at this point but not even the reformed Dvorak is a composer to restrict himself to that sort of thing when there is a brilliant conclusion to be made.