With light variations of this kind, it is allowable to introduce various ornaments, provided they are in good taste and nicely executed.

The case is quite different in the performance of the compositions of Beethoven, Mozart, Weber, and others, where reverence for the composer requires a stricter interpretation, although even this is sometimes carried to a point of exaggeration and pedantry.

Now try the first variation once more.

That is better: you already play the skipping bass with more precision, more briskly and evenly.

We begin to perceive the correct speaking tone in the bass, and a certain delicacy and freedom in the treble.