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Images 7 to 11
Page 40 is one of several examples that Beethoven used the end of many variations to try out different versions. This applies particularly to the prima and seconda volta, i.e. the difference between the first and the second version of the final measure that is to be played when repeating. The same is true for variation 19. The ensuing variation 20 is a fabulous piece of art and with its open harmony way ahead of its time. Even today it is still regarded as "modern" music. All this can be seen in Beethoven's handwriting. The chords are far apart and set with a lot of care, giving the important ones visual freedom.
The start of variation 24, a tribute to Johann Sebastian Bach in form of a fughetta, demonstrates the close relation between music and handwriting. The music's clarity and purity are expressed in a particular careful notation. At the end of the first part Beethoven had to put in some corrections, however, also these were done very carefully.
Variation 28 bears traces of experiments. At the end of the third curly bracket Beethoven just drafted three measures and then continued writing. When reviewing the page he started over twice. Upon realizing that the remaining space would not be sufficient, he used an insert. Today, this sheet is located at a wrong position in the manuscript. It is attached to page 29. Beethoven wrote: "Vi= eingelegtes Blatt" (Vi= inserted sheet) and added a crossed-out circle as additional reference.
The inserted sheet of variation 28
The many corrections in variation 31 indicate that Beethoven spent a lot of time on this composition. He scratched out large parts of the original notation with a razorblade. In doing so he must have been extra careful: there are no holes in the paper. Then he wrote down the second version in pencil. Once he was happy with the result, he traced the notation with ink.
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