JAVS Fall 1997

20

was a sensible choice: the melody is rather long for typical variation treatment, and the cadences of the first and third strain are identical, taxing any composer's powers of invention to keep them distinct in the listener's mind. In addition, keeping back the second and third strains of Dowland's song keeps them fresh to the listener when they do appear. 10 Lachrymae is laid out as follows:

SECTION

TEMPO MARKING

MEASURES

BEGINNING

Introduction

Lento

8

m. 1 m.9 No.1 No.2 No.3 No.4 No.5 No.6 No.7 No.8 No.9

Theme

20 35 15 24 54 18 41 32 24 15 18 16 8

Variation 1 Variation 2 Variation 3 Variation 4 Variation 5 Variation 6 Variation 7 Variation 8 Variation 9 Variation 10

Allegretto molto comodo

Animato

Tranquillo

Allegro con moto

Largamente Appassionato

Alia valse moderato

Allegro marcia

Lento

L'istesso tempo

No. 10

Theme

No. 10 + 16 mm. No. 10 + 34 mm.

Coda

Variation sets appear frequently in Britten's music, as early as his Sinfonietta, opus 1. Sian Pouncy has identified five characteristic features of Britten's variation technique: the use of a fragmentary or motivic theme; the development of variations from fragments or motives rather

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