Beethoven. Diabelli Variations. Op. 120

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  • pastoralguy
    Full Member
    • Nov 2010
    • 7759

    Beethoven. Diabelli Variations. Op. 120

    I recently purchased the new Mitsuko Uchida recording of this masterpiece having heard her play it at the Edinburgh Festival three years ago. It’s a work I really struggle with and I’d hoped this new recording might give me an appreciation of it. However, it’s just not working for me.

    I ordered the Uchida cd from Presto along with a cd that’s not released until the beginning of May so I’m still awaiting the physical disc but I have been listening to it repeatedly on my iPhone whilst doing particularly mind numbing tasks while on night shift at my place of employment. Not the best environment to gain appreciation of one of the great masterpieces but it’s what I’ve got.

    My next move is to borrow the music from the public library where perhaps the eye will assist the ear. What am I not getting about this piece? Goodness knows, I love the piano sonatas so this should be easy.
  • Mandryka
    Full Member
    • Feb 2021
    • 1535

    #2
    I too have been listening to Uchida’s new release. The thing about it is this: she plays it as a series of etudes almost. There doesn’t seem to be a sense of any architecture within the set of variations, and there doesn’t seem to be any fluidity from one variation to the next. I’m not saying that’s a weakness by the way, it’s a perfectly reasonable point of view IMO - no one has managed to really explain Beethoven’s ordering - though it clearly was important to him, no one knows why.

    One way into the music is to see it as a long difficult journey, marked by various moments of reflection. A sort of Winterreise, - though not necessarily winter! From this point of view the end is particularly enigmatic - after all that struggle to get to the end we are left with a sort of whimsical joke in the final variation. That to me adds to the interest of the piece.

    Comment

    • pastoralguy
      Full Member
      • Nov 2010
      • 7759

      #3
      Many thanks for your reply, Mandryka. I should have added that I’ve several other recordings and none of them have provided much more clarity.

      Comment

      • Mandryka
        Full Member
        • Feb 2021
        • 1535

        #4
        Here’s my list of favourite recordings - nothing follows about the quality of the performances, and anyway it’s about 5 years since I last updated the list. I should also say that I’m not normally much of a Beethoven person, but there are one or two pieces which have caught my attention as being interesting over the years - this, op 131, some of the violin sonatas, maybe others.

        Top recordings


        Koroliov
        Leonard Shure (Epic)
        Michael Oelbaum
        Rosen
        Kuerti
        Sokolov
        Pollini (live preferably)
        Horszowski
        Daria Rabotkina
        Bernard Roberts
        S Richter (Prague)
        Nikolayeve 1979
        Brendel 2001
        Kovacevich (Onyx)
        Hans Petermandl

        Need to revisit to get my head round

        Vieru
        Arrau (2 recordings)
        Cooper
        Gulda (2 recordings)
        Ciani
        Katchen
        R Serkin (live and.studio)
        Pludermacher
        Rangell
        Sheppard
        John Browning
        Mustonen




        Fine but not special for me

        Schiff
        Anderszewski
        Lefébure
        Frith
        Lewis
        Yudina
        Ugorski



        Don't much want to hear again

        Schnabel
        Backhaus
        S Richter (1950s)
        Komen
        Afanassiev
        Kinderman
        Korstick
        Richter-Haaser
        Brendel 1977
        Leonard Shure (audiofon)


        Haven't heard and want to hear

        Nikolayeva 1981
        Kovacevich (Philips)
        Amadeus Webersinke
        Last edited by Mandryka; 25-04-22, 17:58.

        Comment

        • Mandryka
          Full Member
          • Feb 2021
          • 1535

          #5
          And here’s an essay on structure which I thought was valuable , by Filippo Gorini

          In 1819, Anton Diabelli, composer, publisher and copyist, asked a number of Viennese musicians
          to contribute one variation each on a theme of his own composition. Beethoven, while at first
          apparently disregarding this project, decided instead to compose a monumental cycle of 33
          variations, a work now commonly compared to Bach’s Goldberg Variations for its originality,
          mastery and size. It was completed and published in 1823. Meanwhile, Beethoven had composed
          such masterpieces as the last three piano sonatas and the Missa Solemnis, and was about to
          finish the Ninth Symphony just one year later.

          While the Goldberg Variations restate the Aria at the end, giving a cyclic, orphic shape to the
          whole set, the Diabelli are more directional in their architecture, leading us from the mundane
          foundations of the theme to the pinnacle of the celestial minuet. Throughout this journey,
          Beethoven explores the human nature in its diversity, not disregarding the use of traditionally
          incompatible modes of expression: from dance to frenzy, from mockery to sober contemplation,
          from bold energy to mysterious depths, from grieving to joy. In this mixed tone, the variations
          could also be taken as the supreme example of comedy in music, a comedy of positive (but not
          necessarily light) character that ranges from humble to sublime. There is a redemptive quality to
          this spiralling dance that seems to lift us to the heavens, and reminds us of Beethoven’s love and
          hope for humanity, emblematic in Schiller’s Ode to Joy.

          Beethoven approaches the theme with unparalleled audacity, at times maintaining only its most
          basic structural elements in the variations. With the exception of one double variation, each of the pieces springs up with its particular character and function within an architecture that, in
          our opinion, can be divided into four large arcs. The theme itself is a simple waltz, bold and
          unpretentious. What characterizes it in particular are its upbeat figures, harmonic structure,
          dance rhythm, repeated chords and division into two distinct halves, each with repeats – features
          that are selectively used by Beethoven as a basis for the variations.
          This first of these arcs is of a bright character that leaves little room for introverted thought. The
          opening march (var. 1), immediately attacks the theme head-on, disregarding its metre, tempo
          and temperament, and setting up the grandeur necessary to open such a large-scale work. The
          subsequent variations start with the light, vibrant landscape of var. 2, and mutate slowly, becoming
          first more expressive and then gradually more excited and energetic. After an intermezzo (nr. 8)
          that breaks the accumulated tension with a softly sung melody over gentle, rocking arpeggios,
          nr. 9 erupts in spectacular fashion: one of the rare c minor pieces, its brusque character is based
          entirely on the upbeat figure of the theme. The explosive conclusion to this arc comes with nr. 10,
          a virtuosic parade of staccato chords and octaves over suspended tremoli.

          The second arc is very different from the first: instead of creating one long climactic series of
          variations, it jolts with bursts of energy that are quickly interrupted by slower pieces, and ends
          in complete mystery. It starts, as it were, from nothing, with the very soft and expressive var.
          11 and a mobile, luminescent nr. 12, interrupted by the humoristic nr. 13, a parody of a waltz
          stripped of its melody and left bare with only its rhythms, harmonies and silences. After a very
          serious, sublime var. 14, the following pieces are at first lighthearted, then virtuosic and filled
          with tremendous energy. An extremely expressive nr. 18 and the dazzling canon of nr. 19 give
          room to the mysterious nr. 20: a slow piece made of grave chords with impenetrable harmonies.
          It concludes this second arc in a shroud of enigma.

          The third arc is the most capricious, with cunning parodies, a sublime fughetta and the tour de
          force of variations 27 and 28. It begins, after the inner sanctuary of var. 20, with nr. 21 in a wellnigh comic alternation of energetic outbursts and plaintive elements. Nr. 22, the most obvious
          parody within the Diabelli, turns Mozart’s famous aria “Notte e giorno faticar” into a sneeze; on a
          more subtle level, “working night and day for someone who appreciates nothing” is also a hidden
          jab at Diabelli for pressuring him to finish the set. After var. 23, a stunning parody of technical
          exercises, var. 24, a fughetta, makes a drastic leap in character and transports us into a spiritual
          world. As refined as rigorous in craft, it is one of the most breathtaking events in the set. A lively
          German dance (nr. 25) and an atmospheric var. 26 precede the frenetic nrs. 27 and 28 that
          conclude this arc with incredible power.

          The last arc is sublime, leading to the celestial conclusion. Var. 29 begins a series of three slow
          variations in c minor: a faint but insistent sob is followed by a contemplative, flowing song of
          dignified grief. Var. 31, the great Largo with its free and flourished singing, is a desperate prayer
          in an hour of darkness, a veritable de profundis. Var. 32, a double fugue, then marks a stunning
          rebirth: in E Flat, it comes as a dramatic surprise. Its insistent rhythm and bold nature accumulate
          momentum before crashing on a dissonance. Following a few suspended chords, the minuet (var.
          33) unfolds, a graceful dance filled with the voices of angels. Long gone is the rough enthusiasm
          of the theme: we have arrived in a realm of spirit and beauty. The coda appears to peter out into
          a void; however, as our voyage has finally found its destination, a sonorous chord brings us firmly
          back to earth.

          Comment

          • Bryn
            Banned
            • Mar 2007
            • 24688

            #6
            A favourite work for me. There are, as Mandryka suggests, many approaches to it. Andreas Staier even went for 'bells and whistles' on his Conrad Graf copy. As I opined at the time of Uchida's new recording being introduced on Record Review a few weeks ago, I found what I heard as rather mannered. However, I am currently importing it from QOBUZ in order to get to hear the whole thing.

            Comment

            • Lordgeous
              Full Member
              • Dec 2012
              • 831

              #7
              Originally posted by Mandryka View Post
              Here’s my list of favourite recordings - nothing follows about the quality of the performances, and anyway it’s about 5 years since I last updated the list. I should also say that I’m not normally much of a Beethoven person, but there are one or two pieces which have caught my attention as being interesting over the years - this, op 131, some of the violin sonatas, maybe others.

              Top recordings


              Koroliov
              Leonard Shure (Epic)
              Michael Oelbaum
              Rosen
              Kuerti
              Sokolov
              Pollini (live preferably)
              Horszowski
              Daria Rabotkina
              Bernard Roberts
              S Richter (Prague)
              Nikolayeve 1979
              Brendel 2001
              Kovacevich (Onyx)
              Hans Petermandl

              Need to revisit to get my head round

              Vieru
              Arrau (2 recordings)
              Cooper
              Gulda (2 recordings)
              Ciani
              Katchen
              R Serkin (live and.studio)
              Pludermacher
              Rangell
              Sheppard
              John Browning
              Mustonen




              Fine but not special for me

              Schiff
              Anderszewski
              Lefébure
              Frith
              Lewis
              Yudina
              Ugorski



              Don't much want to hear again

              Schnabel
              Backhaus
              S Richter (1950s)
              Komen
              Afanassiev
              Kinderman
              Korstick
              Richter-Haaser
              Brendel 1977
              Leonard Shure (audiofon)


              Haven't heard and want to hear

              Nikolayeva 1981
              Kovacevich (Philips)
              Amadeus Webersinke
              Stephen B Kovacevich (Philips) is magnificent, much prefered to his later version, though that's also pretty good. Wonderful piece, following Beethoven's train of thought as the work progresses is fascinating.

              Comment

              • pastoralguy
                Full Member
                • Nov 2010
                • 7759

                #8
                Many thanks for the replies and help.

                Comment

                • richardfinegold
                  Full Member
                  • Sep 2012
                  • 7666

                  #9
                  It’s always been Rosen for me.

                  Comment

                  • Bryn
                    Banned
                    • Mar 2007
                    • 24688

                    #10
                    Originally posted by richardfinegold View Post
                    It’s always been Rosen for me.
                    I recall getting that when it was released on LP, then buying the bargain CD when that appeared. A very fine performance, though necessarily lacking the timbral variations of register found in the instruments Beethoven was familiar with and exploited. Hearing the Demus recording (Graf 1839, similar in construction to Beethoven's last piano) was a revelation for me:



                    and I jumped at the opportunity to get it on CD, too, when the Australian Eloquence label released it a few years ago:



                    That said, it has largely been eclipsed by more recent recordings on the sort of instrument it was composed for, such as those from Brautigam, Staier, Schiff (coupled with a recording on modern piano), et al.

                    I listened to the Uchida last night and hearing the full work moderated my criticism, somewhat, though its import will soon be deleted, I fear.
                    Last edited by Bryn; 26-04-22, 09:52. Reason: Info on the instrument used by Demus, added.

                    Comment

                    • gradus
                      Full Member
                      • Nov 2010
                      • 5609

                      #11
                      A few years Uchida performed the Diabelli and afterwards gave a lecture on her approach to the work. I saw her in Cambridge but I think she repeated it at various venues. Unfortunately It is not a work that I have lived with for donkeys years so have no other versions in my head with which to compare her interpretation, but as a novice I found her approach captivating as is almost everything that she plays.

                      Comment

                      • Bryn
                        Banned
                        • Mar 2007
                        • 24688

                        #12
                        Further to the update to #10, there is a recording on CD, by Paul Komen, which used Beethoven's last Graf at the Beethoven-Haus, Bonn:

                        Comment

                        • Bryn
                          Banned
                          • Mar 2007
                          • 24688

                          #13
                          The booklet notes to Staier's recording are well worth reading, especially the questions to and answers from Staier, the blatant inaccuracy regarding the asserted lack of recordings using a fortepiano notwithstanding:

                          Comment

                          • richardfinegold
                            Full Member
                            • Sep 2012
                            • 7666

                            #14
                            I only have a few Diabelli recordings so I can’t claim anywhere near the breadth of experience others have. The first was Brendel on Vox. I think I read that he learned the piece for the recording. I have the big Brendel box containing his Phillips work and I believe that it has two recordings, both so much more knowing than the Vox. I have Arrau, in mono, and Rosen. I have heard recordings by Backhaus and Schnabel that liked, also in mono. Rosen for me seems to capture the bumptious humor the best. I might try to stream an HIPP recording pace Bryn, as I have never heard one

                            Comment

                            • Bryn
                              Banned
                              • Mar 2007
                              • 24688

                              #15
                              Originally posted by richardfinegold View Post
                              I only have a few Diabelli recordings so I can’t claim anywhere near the breadth of experience others have. The first was Brendel on Vox. I think I read that he learned the piece for the recording. I have the big Brendel box containing his Phillips work and I believe that it has two recordings, both so much more knowing than the Vox. I have Arrau, in mono, and Rosen. I have heard recordings by Backhaus and Schnabel that liked, also in mono. Rosen for me seems to capture the bumptious humor the best. I might try to stream an HIPP recording pace Bryn, as I have never heard one
                              Regarding the false claim in one of the questions posed to Staier, the Demus, Battersby, Cooper and Komen recordings all predate the Staier, though none of them had the access to the manuscript that Staier had. Oh, and beware, Variariation 23 in the Staier might get you jumping out of your seat.

                              Comment

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