# Diabelli Variations: Recordings and General Discussion



## DiesIraeCX (Jul 21, 2014)

Beethoven's _Diabelli Variations, Op. 120_. Alfred Brendel described it as "the greatest of all piano works", Schoenberg called it Beethoven's "most adventurous work" with regard to its harmony. There have been a couple of old threads on this work, but here's a new one for new members and anyone interested or intrigued by this work. Like it, don't like it? Any general thoughts, favorite recordings, analysis, let us know!

Personally, I think it's his finest solo piano work. While not as emotionally powerful, or intimate as the late sonatas, I'm able to appreciate them more on an intellectual level. Whether Beethoven wanted to impress other contemporaries, critics, Diabelli himself, or whether he just wanted to outdo the other composers that were also invited to do variations, doesn't matter. He takes a simplistic theme and ennobles it, parodies it, endows it with humor, wit, transcendence, solemnity, homages to the great composers who came before, such as the Don Giovanni "Notte e Giorno Faticar" quotation in Variation #21. The Fughetta Andante in Variation #24 is "expressed in a voice that owes much to Bach's _Goldberg Variations_" (Solomon). While the variations continue to transform and deviate from the original Diabelli Waltz, a sense of unity and coherence is never lost. I don't think these variations "mean" anything or represent anything, I'm just in awe of the _music_, and of the fact that they are _just_ variations but simultaneously so much more (see above).

PetrB, describing the variations, wrote, "One reason the Diabelli Variations are so admired is they start with the theme, and each variation that follows becomes a near-entity, and from theme through all the set, the material gets further and further away from both theme and original harmonization, each variation becoming a further variant of what went before. The piece "never goes home."

That departing from the theme or harmonic frame and going further and further away and never returning to it, I believe, was quite radical for the time, and may still be an outstanding feature which makes them nearly unique in the literature."

Maynard Solomon, in his essay, "_The Shape Of A Journey_" (_Late Beethoven: Music, Thought, Imagination_) puts extra emphasis on the word "shape", that is, an "upward trajectory". He writes, "Upward motion is present in virtually every variation, not surprisingly, because an upward direction governs the opening measures of the theme is implicit in the very idea of the "cobbler's patch" itself". The variations merely go from "here to there", but "here to higher".

Just like late period Beethoven, they represent both the Romantic and the Classical. Solomon writes, "They are supreme embodiments of the Romantic aphorism" yet the Classical Beethoven forces them into "larger designs... the most coherent variation cycle since Bach" ("Beyond Classicism", Solomon)

*Favorite Recording:*

Maurizio Pollini, of all the pianists that I've heard (Ugorski, Richter), I feel Pollini gives the set the strongest unity and a sense of inevitability, the trajectory is upward and stays on that path (which, I realize, may not be a strong point for everyone). The recording that's currently on my wish list is András Schiff, which comes with two recordings of it; one on a Fortepiano and the other on a Bechstein Grand.


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## Guest (Apr 7, 2015)

DiesIraeVIX said:


>


This is all I want and need


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## KenOC (Mar 7, 2011)

I've always enjoyed and admired the Diabellis. To me, they start out almost like a mosaic, with each variation being its own musical universe, unrelated to the others. As the work progresses, they coalesce into a very powerful dramatic shape. And at the end, Beethoven achieves an effect similar to the Goldbergs, but by far different (and more difficult) means. My own thoughts, since I've never heard anybody else speak or write of them this way!

I really like the Kovacevic and, on fortepiano, the Staier. There are plenty of other good ones! Is it the greatest piano work ever written? Maybe so. I won't argue that it's not, for sure.

Truth in advertising, for a change: "We present here to the world Variations of no ordinary type, but a great and important masterpiece worthy to be ranked with the imperishable creations of the old Classics -- such a work as only Beethoven, the greatest living representative of true art -- only Beethoven, and no other, can produce. The most original structures and ideas, the boldest musical idioms and harmonies are here exhausted; every pianoforte effect based on a solid technique is employed, and this work is the more interesting from the fact that it is elicited from a theme which no one would otherwise have supposed capable of a working-out of that character in which our exalted Master stands alone among his contemporaries. The splendid Fugues, Nos. 24 and 32, will astonish all friends and connoisseurs of serious style, as will Nos. 2, 6, 16, 17, 23, &c. the brilliant pianists; indeed all these variations, through the novelty of their ideas, care in working-out, and beauty in the most artful of their transitions, will entitle the work to a place beside Sebastian Bach's famous masterpiece in the same form."


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## ArtMusic (Jan 5, 2013)

Beautiful, great music by Beethoven as usual.


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## DiesIraeCX (Jul 21, 2014)

KenOC said:


> I really like the Kovacevic and, on fortepiano, the Staier.


I've had my eye on the Kovacevic, and I'm checking out and sampling the Staier-fortepiano right now. I love that he includes variations based upon Diabelli from other composers of the time (including a 13 year old Liszt, Hummel, and Schubert!), that was a great choice and it's incredibly insightful. The sound is quite beautiful for a fortepiano. Ok, I'm convinced, just bought a copy on Amazon, this thread has already proven fruitful.


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## KenOC (Mar 7, 2011)

I used to have a Musical Heritage Society stereo LP with the "other" 50 Diabelli variations. They were mildly interesting, but the gulf between them and Beethoven's effort was apparent (to put it mildly). Staier has chosen some of the more interesting of them to fill out his recording.


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## Heliogabo (Dec 29, 2014)

I really love the Diabelli variations. Can't say which is my favorite version. My first listening was Maria Yudina's recording, which I still enjoy a lot. Then I knew other recordings like Brendel (Vox, haven't heard the later Phillips), very strong and energetic; Arrau, very elegant and almost singing performance; and recently Geza Anda, a very personal approach with unusual tempi and plenty of space.
Two years ago I saw Andras Schiff in concert playing the Diabelli variations, but I must say that I didn't feel interested in exploring his recordings of this marvelous work.


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## Mandryka (Feb 22, 2013)

DiesIraeVIX said:


> I've had my eye on the Kovacevic, and I'm checking out and sampling the Staier-fortepiano right now. I love that he includes variations based upon Diabelli from other composers of the time (including a 13 year old Liszt, Hummel, and Schubert!), that was a great choice and it's incredibly insightful. The sound is quite beautiful for a fortepiano. Ok, I'm convinced, just bought a copy on Amazon, this thread has already proven fruitful.


Kovacevic recorded it three times, once for Philips, once for Onyx and once on a concert video. The live video would be my choice, though the Onyx is also outstanding. I'm sorry to say that I never found Staier particularly rewarding, the the piano effects are fun to hear.


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## Mandryka (Feb 22, 2013)

DiesIraeVIX said:


> Beethoven's _Diabelli Variations, Op. 120_. Alfred Brendel described it as "the greatest of all piano works", Schoenberg called it Beethoven's "most adventurous work" with regard to its harmony. There have been a couple of old threads on this work, but here's a new one for new members and anyone interested or intrigued by this work. Like it, don't like it? Any general thoughts, favorite recordings, analysis, let us know!
> 
> Personally, I think it's his finest solo piano work. While not as emotionally powerful, or intimate as the late sonatas, I'm able to appreciate them more on an intellectual level. Whether Beethoven wanted to impress other contemporaries, critics, Diabelli himself, or whether he just wanted to outdo the other composers that were also invited to do variations, doesn't matter. He takes a simplistic theme and ennobles it, parodies it, endows it with humor, wit, transcendence, solemnity, homages to the great composers who came before, such as the Don Giovanni "Notte e Giorno Faticar" quotation in Variation #21. The Fughetta Andante in Variation #24 is "expressed in a voice that owes much to Bach's _Goldberg Variations_" (Solomon). While the variations continue to transform and deviate from the original Diabelli Waltz, a sense of unity and coherence is never lost. I don't think these variations "mean" anything or represent anything, I'm just in awe of the _music_, and of the fact that they are _just_ variations but simultaneously so much more (see above).
> 
> ...


I agree with you about Pollini, who brings a sense of journey and adventure. There's the studio recording you cite, and also a commercial live performamce from Edinburgh which is even better interpretively, and certainly a less harsh piano sound.


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## DavidA (Dec 14, 2012)

Of the recordings I have:
Kovacevick's first recording is outatanding - I didn't like his later one which just seemed rushed.
Brendel is good - he introduced me to this work on his old Vox recording.
Richter's won a Gramophone Award - great live playing.
Anda is extremely personal approach - more Anda than LvB perhaps
Don't forget the unheralded Benjamin Frith who turns in a really splendid performance which matches up to any.
Andersewski gives one of the best modern performances
Serkin is terrific - a lifetime distilled - as is Schnabel (wrong notes and all!)


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## Mandryka (Feb 22, 2013)

DavidA said:


> Of the recordings I have:
> Kovacevick's first recording is outatanding - I didn't like his later one which just seemed rushed.
> Brendel is good - he introduced me to this work on his old Vox recording.
> Richter's won a Gramophone Award - great live playing.
> ...


In fact, to me that Philips on Vox sounds rushed! There's an amazing one by Brendel though, live from RFH London in 2001. There's a live on from Serkin which I prefered to his studio recording. As far as Schnabel goes, I could never get into it. As far as I can ever hear, he just never makes it come off the page.


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## GioCar (Oct 30, 2013)

DIVIX, thank you for starting this thread.

I love the Diabelli Variations! I agree with your words, but I'd also like to add that, to me, they actually are as emotionally powerful as the late sonatas. The minuetto... oh, that final minuetto... It is just divine that the wonderful journey of the theme ends in such a way. It makes me shiver all the times.

You should really listen to the amazing Schiff recording. What he's able to do with two different instruments is a miracle.


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## DavidA (Dec 14, 2012)

Mandryka said:


> In fact, to me that Philips on Vox sounds rushed! There's an amazing one by Brendel though, live from RFH London in 2001. There's a live on from Serkin which I prefered to his studio recording. As far as Schnabel goes, I could never get into it. As far as I can ever hear, he just never makes it come off the page.


That Phillips on Vox??? Sorry????

I haven't heard Serkin's live performance but he was one of those artists who was better (if less accurate) live.

Sorry you can't get into Schnabel. I can! He's absolutely fantastic in this piece.


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## Mandryka (Feb 22, 2013)

The Brendel on Vox, I don't know why I can't enjoy the Schnabel, I just find it uninteresting. I have the same problem with both Arrau's recordings - though in the case of the first the sound may be the reason. 

Did you enjoy Sokolov?


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## Mandryka (Feb 22, 2013)

The Diabelli Variations is one of the pieces I'm really interested in from the point of view of reception and performance. I keep a record of my impressions. Here's a summary, slightly out of date since I'now heard Webersinke, but I dodn't update it.

*Top recordings*

Leonard Shure (Epic)
Michael Oelbaum
Rosen
Kuerti
Sokolov
Pollini (live preferably)
Horszowski
Daria Rabotkina
Bernard Roberts
S Richter (Prague)
Nikolayeve 1979
Brendel 2001
Kovacevich (Live preferably, or Onyx)
Hans Petermand
Andreï Vieru

*Need to revisit to get my head round*

Daniel-Ben Pienaar
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
Kovacevich (Philips)
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 (does it really exist?)
Koroliov
Amadeus Webersinke


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## joen_cph (Jan 17, 2010)

My collection:

- CD Kuerti/fleurs de lys 96 fl 24010
- LP Schnabel/angel 3lp mono ic6067
- LP Anda/dg 72 centenary edition
- LP Webster Aitken/delos 2lp del 24101-02
- LP Serkin/cbs mono 57-xx ph font 699 024 (Cover: M.Keuris)
- LP Yudina/eurod 301 445
- LP Brendel/vox-murray hill 21lp s3456

Not the result of in-depth research however, I prefer the sonatas, and longer movements in piano pieces.


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## Blancrocher (Jul 6, 2013)

Mandryka said:


> Rosen


I haven't heard that one, but I'm not surprised you think it's special--Rosen's late sonatas (especially his really distinctive Hammerklavier) are fascinating. I wish that in addition to the recent box set they'd re-release more individual cds by this pianist.


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## Mandryka (Feb 22, 2013)

joen_cph said:


> My collection:
> 
> - CD Kuerti/fleurs de lys 96 fl 24010
> - LP Schnabel/angel 3lp mono ic6067
> ...


I'd love to hear the Webster. I've started to really appreciate his Hammerklavier recently.

I wish I could delete my post above (which is now in white.) I was confusing Webster Aitken with Beveridge Webster.


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## Triplets (Sep 4, 2014)

My favorite is by Charles Rosen. It may be out of print currently. I think he catches the gruff humor and the homeage to Bach's Goldbergs better than any other version that I have heard.


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## DavidA (Dec 14, 2012)

Triplets said:


> My favorite is by Charles Rosen. It may be out of print currently. I think he catches the gruff humor and the homeage to Bach's Goldbergs better than any other version that I have heard.


Only we're discussing Beethoven's Diabelli Variations!


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## hpowders (Dec 23, 2013)

Heliogabo said:


> I really love the Diabelli variations. Can't say which is my favorite version. My first listening was Maria Yudina's recording, which I still enjoy a lot. Then I knew other recordings like Brendel (Vox, haven't heard the later Phillips), very strong and energetic; Arrau, very elegant and almost singing performance; and recently Geza Anda, a very personal approach with unusual tempi and plenty of space.
> Two years ago I saw Andras Schiff in concert playing the Diabelli variations, but I must say that I didn't feel interested in exploring his recordings of this marvelous work.


One of Vladimir Ashkenazy's finest performances is of the Diabelli Variations.


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## DiesIraeCX (Jul 21, 2014)

GioCar said:


> DIVIX, thank you for starting this thread.
> 
> I love the Diabelli Variations! I agree with your words, but I'd also like to add that, to me, they actually are as emotionally powerful as the late sonatas. The minuetto... oh, that final minuetto... It is just divine that the wonderful journey of the theme ends in such a way. It makes me shiver all the times.
> 
> You should really listen to the amazing Schiff recording. What he's able to do with two different instruments is a miracle.


Thank you, GioCar, and I agree of course that there is plenty of emotional depth to be found in the Diabelli Variations, take variation #14 "Grave e Maestoso", #31 "Largo, Molto Espressivo" ("Largo" wasn't used often by Beethoven, another great LvB Largo being the innovative "Largo e Mesto" of the Op. 10, No. 3 Piano Sonata), and the Minuetto, as you rightly say.

I will definitely check out the Schiff recording as soon as I can, it's been on my wishlist for while, I'm just waiting on the price to go down on Amazon, it's a bit steep for me right now and it's not on Spotify, unfortunately. The Staier fortepiano recording will hold me over until then. 



Triplets said:


> My favorite is by Charles Rosen. It may be out of print currently. I think he catches the gruff humor and the homeage to Bach's Goldbergs better than any other version that I have heard.





DavidA said:


> Only we're discussing Beethoven's Diabelli Variations!


DavidA, I believe he was just referring to the homage to Bach's Goldberg Variations, which there definitely is in the Diabelli's.


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## DiesIraeCX (Jul 21, 2014)

Here is some insightful information from The Guardian on Andras Schiff's performances on both a 1820 "Franz Brodmann" Fortepiano as well as 1921 Bechstein. As well as the Andreas Staier performances, this one on a Conrad Graf Fortepiano from Beethoven's time.

Schiff is resisting the "globalization" of piano music, in which everyone plays on Steinway. In addition to the music on the recording itself, he also makes a case by saying, "In the right hands [it][Steinway] is a marvellous piano... but not for everything. Haydn, Mozart, Beethoven and Schubert require something more than power, brilliance and cool objectivity.". According to The Guardian, the performance benefits greatly from the lack of homogeneity in sound, "with its distinctly different character in each register, and with the ability to change those characteristics using the four pedals. Balances and perspectives shift constantly within the music, and Schiff exploits the effects quite wonderfully".

" Andreas Staier bases his performance on the autograph manuscript of the Diabelli Variations, which only became accessible when it was acquired by the Beethoven House in Bonn three years ago". There is some fascinating information as to how Staier makes great use of the extra bells and whistles that come with the Graf fortepiano, "There's the "moderator" pedal, which mutes the sound, a bassoon stop which provides a reedy buzz, and the janissary stop, intended to imitate the percussion of the "Turkish music" so popular around the turn of the 19th century. Staier uses those extra tone colours discreetly, but also with huge imagination, producing an unearthly, almost mystical effect in the 20th variation, or underlining the successive parodies of Mozart's Don Giovanni and a Czerny study in the 22nd and 23rd." The Guardian goes on to say that the performance is more than mere "special effects", stating that his variations of touch and tone with the pedals would also sound great on a modern grand piano.

While both performances are on fortepiano, they are refreshingly different, nevertheless they are fresh and according to the reviews, revelatory. With Schiff, "the whole world of the variations opens out, and though it is worlds away in sensibility from the whistles and bells of the extrovert fortepiano version by Andreas Staier that came out last year, Schiff's account is at least as revelatory.


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## Heliogabo (Dec 29, 2014)

I´ll search for the Pollini's and Ashkenazy´s performances.

Here is a sampler of Charles Rosen´s performance. Certainly the Diabellis suites very well to his style.

http://www.allmusic.com/album/beethoven-diabelli-variations-mw0001399918


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## Mandryka (Feb 22, 2013)

Inspired by this thread I listened to Andreï Vieru's recording today. I couldn't help but think of the sort of tragi-comedy you have in Samuel Beckett. In Happy Days. Where there's a smile in Vieru's performance, which there often is, it's rictus. Humour is always tainted by anxiety. The whole thing punctuated by visions of the void. An outstanding performance by an outstanding pianist. His Goldberg Variations are no less special. 

When Beethoven wrote this music, he was on a spiritual quest. He was exploring eastern religions, stuff like that. And we know he was concerned about the order of the variations. I think that the music is a metaphor for Beethoven's ideas about spiritual development - a sort of Pilgrim's Progress. The final variation is particularly intetesting from this point of view - a rejection of transcendence.


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## Triplets (Sep 4, 2014)

DavidA said:


> Only we're discussing Beethoven's Diabelli Variations!


Yes and in Rosen's recording of BEETHOVEN'S DIABELLI VARIATIONS, he does an excellent job of capturing (Beethoven's) gruff humor and the homage that (Beethoven) pays to BACH'S GOLDBERG VARIATIONS.


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## hpowders (Dec 23, 2013)

The Diabelli Variations is Beethoven at his wittiest. The parody variation of 
Mozart's Don Giovanni, ( variation 22, I believe) is worth the price of admission all by itself!


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## KenOC (Mar 7, 2011)

If you can read music, even barely, the Wiki article has a variation-by-variation description with score and comments. Worth reading.

https://en.wikipedia.org/wiki/Diabelli_Variations


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## ando (Apr 18, 2021)

*Igor Levit* (2016, Sony)


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## 59540 (May 16, 2021)

Piotr Anderszewski's recording of that work is my preferred one at the moment.


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## SanAntone (May 10, 2020)

DiesIraeCX said:


> Here is some insightful information from The Guardian on Andras Schiff's performances on both a 1820 "Franz Brodmann" Fortepiano as well as 1921 Bechstein.
> 
> Schiff is resisting the "globalization" of piano music, in which everyone plays on Steinway. In addition to the music on the recording itself, he also makes a case by saying, "In the right hands [it][Steinway] is a marvellous piano... but not for everything. Haydn, Mozart, Beethoven and Schubert require something more than power, brilliance and cool objectivity.". According to The Guardian, the performance benefits greatly from the lack of homogeneity in sound, "with its distinctly different character in each register, and with the ability to change those characteristics using the four pedals. Balances and perspectives shift constantly within the music, and Schiff exploits the effects quite wonderfully".


I made an almost identical post recently concerning the attributes of Schiff's fortepiano recordings, and his recording on ECM is my current go-to recording.


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## 59540 (May 16, 2021)

From the above post:


> Schiff is resisting the "globalization" of piano music, in which everyone plays on Steinway.


I think that's a wonderful idea and maybe at least a century overdue. I'll have to check out the Schiff fortepiano recording.


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## Holden4th (Jul 14, 2017)

The Diabelli's are one of Beethoven's greatest works, if not his greatest for the piano. I absolutely love them! The question is - how do you approach them interpretatively? The theme aside, they could be looked at as 33 little vignettes connected by a theme and a key. However, they are more than that and developing the theme is what makes LvB the genius that he was. Many have thought that having an integral approach where one variation moves naturally forward from the previous one is important. The trick is making it happen - not easy and not many succeed in creating that sense of this being a whole integrated work that leads to a natural conclusion. 

It's also possible to break the work into three distinct sections each one ending with a clear break - a climax if you will - and the next section while still thematically linked, starts to go down a different path. For me those sections are variations 1- 10, 11 - 24 and 25 - 33. If looked at this way, the pianist can create that sense of unity. 

To achieve this, it's important that how the theme is played is followed in the rest of the variations. How was the theme phrased? What emphases were put on certain notes? What tempo was adopted, etc? What I'm saying is that the pianist must be very deliberate in how they recreate that little waltz, not just toss it off as a simple tune. There are so many ways you could play it but once you've chosen a particular 'path' (bad word I know) then that is what should determine what follows. And for me, the pianists who can adhere to that are the ones who do it well.

This now leads me to my favourite recordings and all are informed by what I've just written. I have about 14 recordings of this work and not all of them manage to achieve what I've described above.

My first recording was Schnabel's and in many ways he imparts that whole work approach. When I heard Kovacevich on Philips it was like hearing Schnabel again but in stereo. Then along came Richter! One of SR's gifts as a pianist was his ability to see the bigger picture in any work he played and this has served his Diabelli's very well. I can see why many rank him as number one. I've also got an early Rudolf Serkin that sticks to the script and is up there with the best.

However, the interpretation I value the most is from Claudio Arrau. That sense of the next variation moving seamlessly along from the previous yet sounding connected is amazing. He sticks to the script that was determined by his playing of the waltz. The best example is to listen to how he melds variations 29-31 together.

I've not heard the Pollini but I admire his late LvB so I'll have to hunt it out. Great thread!


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## marlow (11 mo ago)

I think if you look at the Genesis of these variations you see that they were not conceived all at one time but over a period of time and then Beethoven put them in the order we have when he had collected 33 of them. Now whether he saw a definite order in them or they can be put in ‘sections’ is a matter of speculation.


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## SanAntone (May 10, 2020)

marlow said:


> I think if you look at the Genesis of these variations you see that they were not conceived all at one time but over a period of time and then Beethoven put them in the order we have when he had collected 33 of them. Now whether he saw a definite order in them or they can be put in 'sections' is a matter of speculation.


I don't think you are correct with this claim.

Here is a quote from a book about the work by Rudolf Buchbinder concerning their plan and construction:

_"It is perhaps not unimportant to note that, with the 16th variation, we have reached the middle of the cycle. It is surely no accident that Beethoven connects the 16th and 17th in a kind of double variation: the 16th has no real ending; its musical statements are never really concluded, but segue directly into the 17th. One might say the 16th variation ends with a comma, and the 17th with a period. All this shows that Beethoven left nothing to chance in constructing his cycle. The halfway point of 33 variations lies between the 16th and 17th, and at exactly this point Beethoven joins the two parts, refers motivically (for the first time in the entire cycle) back to the first variation, and presents "boogie-woogie" material reminiscent of Op. 111-that final sonata, which we will meet once again in the 33rd variation. All this cannot possibly be coincidence. Beethoven weaves the variations together on so many levels-both on the surface and in various subtexts-that hardly another work in all of classical music can be said to be as thoroughly conceived and planned, or as brilliantly constructed, as the Diabelli Variations."_

- _The Last Waltz: 33 Stories About Beethoven, Diabelli and Piano Playing_ by Rudolf Buchbinder


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## marlow (11 mo ago)

SanAntone said:


> I don't think you are correct with this claim.
> 
> Here is a quote from a book about the work by Rudolf Buchbinder concerning their plan and construction:
> 
> ...


I'm actually talking about the order in which he composed the variations which is over a period of time. See Swafford biography


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## Kreisler jr (Apr 21, 2021)

As it is impossible to compose 33 pieces at once, there is no alternative to compose them over a period of time 

The point of contention rather seems to be how much of a plan Beethoven had when beginning the composition. I don't think we know enough about that but it seems that he was drawn into the project and it grew considerably beyond what he might have had in mind at the beginning. And of course he might have re-arranged the variations or revised certain pieces during the compositonal process.

But this is also a moot point because in its final form it is hardly deniable that the variations do not follow haphazardly as this is not even the case in early variations Beethoven wrote as a teenager or in his earlier mature variations like opp. 34 and 35.


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## marlow (11 mo ago)

^^

By the summer of 1819, LvB had completed twenty-three of the set of thirty-three. In February 1820, in a letter to the publisher Simrock, he mentioned "grand variations", as yet incomplete. Then he laid the work aside for several years – something Beethoven rarely did – while he returned to the Missa Solemnis and the late piano sonatas. By March or April 1823, the full set of thirty-three variations was finished. By April 30 a copy was ready to send to Ries in London. Beethoven kept the original set of twenty-three in order, but inserted nos. 1 (the opening march), 2, 15, 23 (sometimes called a parody of a Cramer finger exercise), 24 (a lyrical fughetta), 25, 26, 28, 29 (the first of the series of three slow variations leading to the final fugue and minuet), 31 (the third, highly expressive slow variation leading directly into the final fugue and minuet) and 33 (the concluding minuet). (Wiki)

That doesn’t mean to say that the variations don’t make a logical sense in Beethoven’s final order but it’s that they were not conceived that way. As Swafford says in the end it’s as if Beethoven is saying that he could’ve gone on writing variations for ever!


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