Ludwig van BEETHOVEN (1770-1827)
Thirty-three Variations in C major on a Waltz by Anton Diabelli Op. 120 [46:37]
Polonaise
in C major Op. 89 [5:05]
Piano Sonata No. 32 in C minor Op. 111 [25:26]
Julius Katchen (piano)
rec. West Hampstead (Variations and Sonata) and Kingsway Hall (Polonaise) in
1953 (Variations), 1968 (Polonaise), 1955 (Sonata)
DECCA HERITAGE MASTERS 478 1727 [77:08]
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 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