The woodwind section begins with Presto Variation A; the flute and piccolo easilt flit

around the notes with their quick arrpegios and scales. In variation B Lento, the oboe
demonstrates its soloistic abilities creating very long, sustained, and flowing lines. Followed by
the clarinets in the Variation C gives the opportunity to show their vast range, trills dynamic
range. The bassoon often characterized as “clown” of the orchestra, shows that it can both be
clownish and serious after the clarinet section ends. Namely the Allegro alla marcia Variation D,
but also a proficiency at making large leaps, and variations in character, from bouncy and clown-
like, to luscious, full, and flowing.

The string sections lead afterwards ; violins Variation E, Brillante: alla polacca; violas
Variation F, cellos Variation G, Meno mosso; double basses at Variation H, Cominciando lento
ma poco a poco accel. al Allegro; ending with harp at Variation I, Maestoso. The string section
as a whole shows off its wide range and its ability to sound completely mellifluous as a section
like one instrument although there are many playing. The harp demonstrates several abilities
unique to harp, from glissandi, to extended chords, in addition to a few shared with piano: rolled,
cracked, and strait chords, and the possibility of playing many strings and two lines of music at
once.

Brass does not hold back with its entrances. Variation J showcases the french horns,
L’istesso tempo; trumpets in Variation K, Vivace; and trombones along with bass tuba at
Variation L, Allegro pomposo. The french horns demonstrate an extensive note and dynamic
range and the ease and beauty in creating a fanfare. For trumpets, the impressive skill they
demonstrate is an incredibly fast double tongue that cannot be matched in speed by nearly any
other instrument. Trombones and bass tuba are grouped together and have an underlying
counterpoint from the woodwinds and strings. These instruments are less well represented in
their abilities as the trombones slide a little and the tuba shows how low it can go.

In Variation M the percussion section must demonstrate twelve instruments, Moderato,

meaning that each is given less time to show its strengths. Regardless Britten, works to then a
key characteristic of percussion instruments their distinctive sound. He then layers them on top
of each other. The timpani begins by exhibiting a large full sound that can change pitch, unlike
the bass drum which cannot. Coupled with the bass drum is the crash cymbal ringing at different
volumes for changing lengths of time. The tambourine and triangle are within the same pitch
range and thus complement each other. In between the percussion instruments is a motif played
by the orchestra at different pitches, volumes, and instrumentations. Since most percussion
instruments are unpitched, the motif propels the percussion variation, providing harmonies and
tonal context to better exhibit the instruments. Britten uses orchestra dynamics to show the snare
drum, wood blocks, and later the whip’s volume and accenting capabilities as well as their
characteristic sounds. The xylophone enters which is the first pitched instrument after the
timpani, it joins the orchestra demonstrating it can accompany other instruments or create its
own melody. After the castanets, gong and tam-tam are featured, finally the percussion section
joins together in the orchestral motif before the piece moves on to the fugal final section.

In the fugue which ends the piece, each instrument again plays its own variation of the
melody, starting at a different times until all are playing at once and the French horns join in with
the original melody. Each instrument’s variation fits in with the others around it; they
complement each other and work together creating a dense contrapuntal structure. Though the
variations are interesting on their own when they come together into a whole, the true wonder of
the piece is shown. Since the audience now understands the characteristic parts that contributes
to the whole. When the horns come in with the original melody, it shows the journey the piece
takes listeners on from beginning to end, through many changes to the melody, and back to the
beginning. The last iteration of the theme reveals every step of the journey taken in the creation
of the piece and is therefore extremely powerful.