There has been some speculation based on Brahms' correspondence that this is in fact a much earlier work than the dating of 1856 that Brahms gave it. The theme itself is interesting only in its alternation of three-four and four-four meter, and is only eight measures long. Unlike the other set of variations in this Opus, the minor key ones are grouped together at the beginning of the work, Numbers one through five. Brahms then returns to the major for the remainder of the thirteen variations and extended Finale. The rather unsophisticated treatment of the theme supports the earlier date, but it is to be noted that Brahms' interest in Hungarian music stems from the year 1856, so we must accept that date, albeit with reservations. In general, this set is less interesting and mature than either the first set of this Opus, or the Schumann Variations Opus 9. In the right hands, however, the brilliant Finale, and the straightforward variations can be effective. Even at his weakest, Brahms is still better than any of his contemporaries are.

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