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Many of the extremely slow and lightening fast tempos we have become so accustomed to are automatically invalidated simply by honoring Bach's fermatas and implied tempo relationships.
The rests, fermatas and sudden dynamic changes help to provide an element of surprise.
Unfortunately, most editors have tried to ‘correct’ Bach's ‘inconsistencies’ by adding fermatas where Bach did not indicate them.
The final two bars, with their fermatas and sforzandos, are much more theatrical and formidable than Schubert's.
More specifically, Variations 16 and 17, which have no fermata between them, function as the midpoint, and to either side lie three singles, four groups (either as pairs or groups of three), two singles and Aria.
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