This is Damase's second piano piece, following his Piano Sonata (1953). Approximately 40 years after the publication of this work, Damase composed a piece of the same name for harp (1995), whose theme is based on the melody presented in the 12th variation of the piano version of Theme and Variations, making it, in a sense, a sequel to this work. Like the Piano Sonata, it adheres to traditional forms, but the variations in compositional technique are significantly expanded compared to the previous work, and figurations that create brilliant effects, as if showcasing his own piano virtuosity, also appear. In 1957, Damase himself made a recording for Decca, and since he also wrote short piano pieces in that year and the following year, it is possible that Damase considered his piano compositional style to have achieved a certain level of establishment with the completion of this work.

Theme (Andante)

• A simple melody is presented in C major.

Variation 1 (Allegro moderato)

• A jazz-like rhythm is overlaid with sixteenth-note embellishing figurations.

Variation 2 (Poco più mosso)

• Characterized by repeated chords. The melody alternates between the right and left hands.

Variation 3 (Plus calme)

• A smooth melody rests upon a barcarolle-like rhythm in 5/8 time.

Variation 4 (Tempo du thème)

• The opening theme is recapitulated with somewhat elaborate harmonies.

Variation 5 (Allegro)

• In the latter half, thirty-second-note glissando-like figurations are played improvisationally.

Variation 6 (Moderato)

• Light syncopation and clashing intervals are characteristic of Damase.

Variation 7 (Poco più lento)

• Like the Theme and Variation 4, it is characterized by a harmonic texture.

Variation 8 (Allegretto tranquillo)

• Repeated thirds in the left hand bridge the gap between the relaxed Variation 7 and the dynamic Variation 9.

Variation 9 (A tempo poco più mosso)

• Without time signature. All eighth notes move fluidly.

Variation 10 (Moderato)

• The 3+2 meter recalls Variation 3, and the syncopation recalls Variation 6.

Variation 11 (Poco più mosso)

• The melody is extremely simplified, leading to the appearance of a new theme in Variation 12.

Variation 12 (Allegro ma non troppo)

• Functions as a coda together with Variation 13. Thirty-second-note runs gradually become glissando-like ascending and descending figurations.

Variation 13 (Molto moderato)

• A melody that sparkles in the high register leads to a modest conclusion.