Greatest Hits: Selections from Paul Weller's Modern Classics by Paul Weller

By Paul Weller

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J r œ bœ œœ œœ! œœ! œ œ œ œ! œ! œ ! œœ! n œœ œ nœ dim. œ! œ! œœ œ. ∑ œœœ œ. œœ œ. œœ œ. œ. œ. œ. œ. œœ œ œ œœ! œ œœ! œ ! œœœ œ! œ! œ! œ! ∑ œ œœ œ œ ∑ Ÿ œ œ œ œ nœ . nœ œ . œœ! œ œœ œ. ∑ œ ! œœœ j œœ œœ œœ ‰ ‰ œ n œ œ œ πfl œ ˘ ‰ ‰ Jœ œ œ œ œ œœ! œ œ! œ! ∑ œ œ œœ! œ œ! œœ! œ œ! ˘œ J œ œ œ. n œ. n œ. œ. ‰ œj fl œ ˘ ‰ œJ œ œœ! œ! ∑ ∑ ∑ ˘œ J œ. ∑ œ nŸœ . n œ œ ˙ œœ œœ œœ! œ œ œ œ œ ! œ ∑ œ œ nœ . œ œ . J π dim. œ. œœ! œ ? b œ bb ! œœ ... œœ œ œ fl . œ. œ. œ. œ. œ > . œœ œ. ∑ ∑ œ. p ∑ ˙ b & b b œœ! œ ?

N œ œ ˙ œœ œœ œœ! œ œ œ œ œ ! œ ∑ œ œ nœ . œ œ . J π dim. œ. œœ! œ ? b œ bb ! œœ ... œœ œ œ fl . œ. œ. œ. œ. œ > . œœ œ. ∑ ∑ œ. p ∑ ˙ b & b b œœ! œ ? b b œ! b ? bb œœ ... œœ œ œ fl . œ. >. œ. ∑ œ œ. œœ œ œ. œ œœ œ. œ œœ œ. œ œ. œ. œ. (continued)   ’      Example -. continued b &b b 18 ∑ ∑ ? b b œ œ œ œ œ œ. œ. œ. b >œ œ. cresc. b ! & b b œœœ .. bb ! b œ .. n œœ .. cresc. œ. œ! œ ! œ œœ! œ ! œ ∑ œ œ œ œ . œœ œ. œ. œ. flœ . π œ œ œ œ œ œ œ. œ. œ œ œ œ . . >. œ .

To do so, however, would be ill advised, for it is precisely here that Schubert realizes the explosive potential of his main theme. In retrospect, the digression turns out to be the affective center of the movement. The foundation for Schubert’s techniques of incremental addition is the variation principle. Bound by no fixed law of continuation, a chain of variations is capable of infinite expansion and thus a favored agency of heavenly length. While the theme-and-variations form is common enough in the slow movements of multimovement cycles, Schubert often transferred this approach to sites within the cyclic structure where we would least expect it, namely, to the main sections of the sonata-allegro design.

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