Ed Zubrow ([log in to unmask]) wrote:

>The interesting thing to me about this particular set of variations is
>that it is unusual in having a long introduction --almost a sonatina of
>sorts--introducing and developing the theme.  A brief simple restatment
>of the theme follows, which is where most variation sets would
>commence.

To be pedantic, Beethoven begins with a statement (actually isn't there
a flourish at the veru beginning? it's been a while) of the *bass*, which
he changed slightly but significantly from the bass line as use in the
Kontretanze (and IIRC Premetheus) which later appears in the finale of the
Eroica.  The line begins Eb-Bb-Bb-Eb but in the original the two Bbs are
the same pitch, in the variations he drops the second Bb an octave.  Op.35
then proceeds to have several variations "col basso del tema" before the
statement of the main theme.

In the symphony this is, of course, done on a far larger scale: a
very large flourish for orchestra, the bass line on the basses, several
variations on that and then - masterstroke!  - the Kontretanze *note for
note from the original* is the statement of the main theme.

Deryk Barker
[log in to unmask]