Notes and Editorial Reviews
The Diabelli Variations are often seen as a kind of equivalent
of the Goldberg Variations in showing the composer’s mastery
of the form and ability to make much of little musical material.
In the case of Beethoven although the relationship to the original
Waltz is always audible it is stretched far beyond anything a
lesser composer might have thought possible. Indeed we know that
this is the case as the Waltz was also the subject of interesting
but frankly far inferior Variations from a group of other composers
of the time. Beethoven’s set is one of the great pinnacles
of the piano
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literature, and it is notable that of the many recordings
made of them those which are demand repeated listening are from
players rightly thought of primarily as wise musicians rather
than as virtuosi. Julius Katchen was still in his 20s when he
recorded this performance (he recorded it again in 1960) and
his approach here is essentially straightforward. He plays all
the notes - no mean feat in itself in this work, and generally
observes Beethoven’s directions. The result is impressive
but frankly left me somewhat disappointed. Somehow the overwhelming
cumulative effect that other pianists manage to produce in this
work is missing as is the essential overriding sense we get with
Schnabel or Brendel that the composer is surprising him and us
in demonstrating what unexpected musical depths can be produced
from Diabelli’s almost absurdly simple tune. Having said
this, I must repeat that Julius Katchen is always equal to the
purely pianistic challenges of the work, and that this is by
no means to be taken for granted. You may indeed prefer a performance
which draws less attention to itself and which rather allows
the listener to draw their own conclusions about the piece and
Beethoven’s intentions. If that is the case this is certainly
a recording that you should hear.
The Sonata, despite similar pianistic and interpretative difficulties,
fares much better. Katchen drives the first movement forward,
holding it together as a whole. The complex set of Variations
that comprise the second movement also emerge as a single conception.
This is a crucial requirement in this work and it is very well
met here. Again he recorded it twice but I have not heard the
later versions of either work. The little Polonaise was recorded
long after the main works and is played with great charm and
understanding.
Overall despite my reservations in respect of the Variations
this is a disc worth considering if the programme - all in C
major or minor! - attracts you. Although the main works were
recorded over fifty years ago the recording never gets in the
way of listening to the music. Decca’s presentation is
poor - just a list of tracks (one for each variation or movement)
and no notes on the music or the performer. A pity, as this may
reduce the attraction of the disc as well as its enjoyment to
those unfamiliar with either.
-- John Sheppard, MusicWeb International
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Works on This Recording
1.
Variations (33) for Piano on a Waltz by Diabelli in C major, Op. 120 by Ludwig van Beethoven
Performer:
Julius Katchen (Piano)
Period: Classical
Written: 1819-1823; Vienna, Austria
2.
Polonaise for Piano in C major, Op. 89 by Ludwig van Beethoven
Performer:
Julius Katchen (Piano)
Period: Classical
Written: 1814; Vienna, Austria
3.
Sonata for Piano no 32 in C minor, Op. 111 by Ludwig van Beethoven
Performer:
Julius Katchen (Piano)
Period: Classical
Written: 1821-1822; Vienna, Austria
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