Beethoven's "Diabelli Variations," Op. 120

[Lance]

The 33 Variations in C Major on a Waltz by Diabelli, Op. 120 was composed by Beethoven in 1823, his final work for the piano, and it is considered one of his greatest works for the keyboard.

Can one imagine the genius of Beethoven, then 53 years old with less than three years to live, taking this little waltz figure of Diabelli and making writing 33 variations?

I've been listening to the performance by American pianist Julius Katchen, recorded in 1953 (mono only), part of British Decca's new eight-CD collection [475.7221] I announced a while back on this board. Katchen's playing is thoroughly studied and most convincing with impeccable keyboard workmanship and interpretive craftsmanship. The pauses between sections is minimal, probably due to editing. It is unfortunate that I find the piano not in absolute perfect tune, though it is more acceptable than not, but I am always quite disturbed by out-of-tune pianos in commercial recordings as it doesn't have to be. It only seems to be on a few of the upper notes where one doesn't hear perfectly in-tune unisons. The sound quality is quite good for the monaural recording techniques at the time, though occasionally one is reminded of tape deterioration 53 after the tapes were made. It is good these performances are being digitized before further deterioration occurs.

In the Variations, there's a huge variety of tempi, moods, harmonic alterations and rhythms. Herr Diabelli invited quite a few composers to come forth to write variations on his simple tune, including Franz Schubert. I believe some of them came up with just one variation, but Beethoven presented 33 of them! Quite a feat.

Julius Katchen was a man for all seasons and music. It is a pity he died so prematurely [1926-1969, cancer] while at the height of his career.

[val]

In this variations, Brendel always seemed to me the best interpreter, in any of his three versions.
But regarding the 4 last variations - the most inspired - the version of Rudolf Serkin is extraordinary.

[michael renardy]

Herr Diabelli invited quite a few composers to come forth to write variations on his simple tune, including Franz Schubert. I believe some of them came up with just one variation,

Diabelli's original plan was to publish one variation each from prominent composers. He intended this as a promotion for his music publishing business. This volume did indeed appear and included about fifty contributions, including submissions from Schubert, Liszt, and Hummel. Beethoven was initially uninterested and missed the original deadline. His variations were later published separately.

[jbuck919]

As usual, I don't have a number of recordings of this, but at the risk of making an unoriginal observation, I am always struck by the idiotic simplicity of the theme, which one would think could never inspire a Beethoven, let alone to one of the greatest masterpieces. The second greatest theme and variations, the Goldberg if I must state it, is based on the composer's own theme, which is inherently complex and very beautiful.

[Holden Fourth]

As usual, I don't have a number of recordings of this, but at the risk of making an unoriginal observation, I am always struck by the idiotic simplicity of the theme, which one would think could never inspire a Beethoven, let alone to one of the greatest masterpieces. The second greatest theme and variations, the Goldberg if I must state it, is based on the composer's own theme, which is inherently complex and very beautiful.

Which is the genius of Beethoven. Another good example of a simple theme that you'd wonder "What the hell can you do with that?" are the C minor variations WoO80. I love listening to them and I enjoy playing them even more!

[Niki]

What a wonderful piece!
My choice would be Caludio Arrau

[Lance]

It's rather amazing the number of versions on CD of Beethoven's Diabelli Variations. I was doing some research on this and found these - pianist and label:

• Dino Ciani - Arkadia and Dynamic
• Maria Yudina - Arlecchino, Vista Vera, and Russian Disc
• Charles Rosen - Carlton Classics
• Daniel Barenboim - MCA
• John Browning - MSR Classics
• Sviatoslav Richter - Music & Arts and Regis
• Konstantin Scherbakov - Naxos
• Artur Schnabel - EMI and Pearl
• Rudolf Serkin - Private Issue
• Alfred Brendel - Vox.

Those being on private or independent labels, Then on the majors:

• Rudolf Serkin - Columbia/Sony Classical
• Wilhelm Backhaus - Decca/London
• Julius Katchen - Decca/London
• Yvonne Lefebure - EMI
• Artur Schnabel - Philips (Great Pianists)
• Claudio Arrau - Philips.

There are, of course, many more. The Diabelli Variations prove to be a most popular piece amongst pianists, past and present. Are there others that stand out as being exemplary?

[Michael]

I love Katchen's playing. There is the glorious Brahms cycle that he recorded for Decca and especially beautiful are the violin sonatas with Josef Suk. I used to own the Charles Rosen recoding of the Diabelli Vars and greatly enjoyed it but now have a good version by Stephen Bishop.

[Haydnseek]

I usually listen to Brendel play this (either his last studio recording or a live performance he did for the BBC that was also released by Philips) but I also have an LP from the mid 1970's by Charles Rosen. I heard him play the Variations plus the Hammerklavier Sonata in one evening in the early 1980's and it was one of my most memorable experiences of live classical music.

[Lance]

I love Katchen's playing. There is the glorious Brahms cycle that he recorded for Decca and especially beautiful are the violin sonatas with Josef Suk. I used to own the Charles Rosen recoding of the Diabelli Vars and greatly it but now have a good version by Stephen Bishop.

Yes, the list is almost endless of pianists who have recorded it though it is one I don't have. Katchen was a great pianist who was taken from us far too soon. I think it's grand that, with the re-release of all his Decca-derived recordings that interest in his playing is renewed. Kudos to British Decca for making this happen!

[Werner]

A quibble, Lance: you describe the "Diabelli" Variations, Op. 120, as Beethoven's final work for the piano, which leads me to think of the Bagatelles, Op. 126, with which I've had a chance to become familiar.

A cursory check in the Thayer-Elliott Forbes Beethoven biography (a treasured gift from Bruce Hungerford) shows that both works were composed in 1823. The Variations were published that year; the Bagatelles in 1824.

[Lance]

A quibble, Lance: you describe the "Diabelli" Variations, Op. 120, as Beethoven's final work for the piano, which leads me to think of the Bagatelles, Op. 126, with which I've had a chance to become familiar.

A cursory check in the Thayer-Elliott Forbes Beethoven biography (a treasured gift from Bruce Hungerford) shows that both works were composed in 1823. The Variations were published that year; the Bagatelles in 1824.

Hi Werner:

I was thinking of massive one-piece works rather than sets of pieces. If you talk just piano compositions then the Bagatelles would be his last work for piano if memory serves though I'm not sure which came first in 1823, the chicken or the egg!

[Werner]

I see your point, and thought that was what you had in mind. On the other hand, I have come to see these six Bagatelles with Donald as a logical unified work, the equivalent of another sonata, or, more likely, a suite.

[SamLowry]

Maybe this is a good place to ask this question. I haven't done a lot of listening to music composed late in Beethoven's career. A few months ago I bought a recording of the Diabelli by Pollini which I've listened to two or three times. I own a recording of a few late sonatas including the Hammerklavier. I've listened a little to parts of the late string quartets.

I haven't liked any of the above very much. So far.

His 9th symphony I thoroughly enjoy. Is it composed in a way which is more "immediately likable"?

I certainly enjoy other famous sonatas such as Appassionata, Waldstein, Pathetique.

Maybe the differences between his late piano music and that composed earlier, are much more radical than comparing the 9th to his other symphonies? At least on a level for non-connoisseurs?

I hope I'm making sense from a chronological point of view at least. And I will guess in time I'll start "taking to" some of these other late works.

[Lance]

Maybe this is a good place to ask this question. I haven't done a lot of listening to music composed late in Beethoven's career. A few months ago I bought a recording of the Diabelli by Pollini which I've listened to two or three times. I own a recording of a few late sonatas including the Hammerklavier. I've listened a little to parts of the late string quartets.

I haven't liked any of the above very much. So far.

His 9th symphony I thoroughly enjoy. Is it composed in a way which is more "immediately likable"?

I certainly enjoy other famous sonatas such as Appassionata, Waldstein, Pathetique.

Maybe the differences between his late piano music and that composed earlier, are much more radical than comparing the 9th to his other symphonies? At least on a level for non-connoisseurs?

I hope I'm making sense from a chronological point of view at least. And I will guess in time I'll start "taking to" some of these other late works.

Well, one great composer's music—early, middle, or late periods—may not appeal to everyone. However, I can't help but think that it is often the performers themselves who may not touch the hearts of listeners. Certainly the last three piano sonatas of Beethoven are considered magnum opuses. To Beethoven we could speak in plural terms of magnum opuses while many composers may have just one work that stands out above all the rest and would take the term "magnum."

If you were to listen to, for example:

Opp. 109/110 with someone like Dame Myra Hess or Solomon, you might change your mind given their musicianship and legendary interpretive skills. The same would apply for Beethoven's last sonata, Op. 110. IMHO, pianists such as Solomon and Michelangeli particularly stand out for this work. Then again, the Artur Schnabel 1930s recordings have been the "Bible" for all three of these sonatas, and most of the others. The Dutch/American pianist, Egon Petri recorded the "Hammerklavier" for Westminster Records that was one of the finest I've ever heard. It is unfortunate that this old mono recording [outstanding piano sound, incidentally] was never reissued, though another earlier recording was reissued, if memory serves, I think on the Appian (APR) label. While I respect a pianist like Maurizio Pollini, he has never musically touched me in the way any of those mentioned above have. I find his playing generally lacking sentiment and expressiveness that make them come off "coldly." Naturally, there will be a multitude of opinions on what recorded performances one should acquire and nobody will ever agree on everything, as it should be. It comes down to a personal opinion in the end, taking into account your own musical skills and appreciation. So, late works or not, many times it comes down to the person who makes the music. Good luck on your searches!