Author Topic: Diabelli Variations  (Read 21276 times)

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Offline Gordo

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Re: Diabelli Variations
« Reply #100 on: September 21, 2013, 08:43:03 PM »

Huh. I've never heard of the Hammerflugel workshop before.
:D ;D :D

It's almost so famous like the harpsichord workshop Cembalo.  :)
If you’ve got a T-shirt with bloodstains all over it, maybe laundry isn’t your biggest problem right now. 
--Jerry Seinfeld

Offline Mandryka

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Re: Diabelli Variations
« Reply #101 on: November 04, 2013, 02:33:06 AM »
I just want to maintain a list of the performances I've listened to, and this seems like as good a place as any. I seem to be on a major DV journey at the moment. I'll just keep modifying the list

Top recordings

Leonard Shure (Epic)
Michael Oelbaum
Rosen
Kuerti
Sokolov
Pollini (live preferably)
Horszowski
Daria Rabotkina
Bernard Roberts
S Richter (Prague)
Mustonen
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




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
Koroliov
Kovacevich (Philips)
John Browning
Amadeus Webersinke
« Last Edit: September 29, 2014, 08:16:35 AM by Mandryka »
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Offline Pat B

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Re: Diabelli Variations
« Reply #102 on: November 04, 2013, 10:18:18 AM »
Has your opinion on Komen changed? You seemed fairly enthusiastic about it in the Beethoven in Period Performances thread (as did everybody else) but that's several years ago now.

I like it, though I haven't heard very many other recordings. Mustonen is available at my library so I'll be sure to check that out.

Offline Mandryka

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Re: Diabelli Variations
« Reply #103 on: November 04, 2013, 10:52:14 AM »
Has your opinion on Komen changed? You seemed fairly enthusiastic about it in the Beethoven in Period Performances thread (as did everybody else) but that's several years ago now.

I like it, though I haven't heard very many other recordings. Mustonen is available at my library so I'll be sure to check that out.

I have indeed changed my mind about Komen.  I just don't notice anything really insightful or remarkable about it, and that makes me not want to hear it again. Maybe others have seen what I've missed.  When I made positive comments years ago I really wan't aware of what this music can be. And what I look for now is different from what impressed me then.

The Mustonen. I dithered about whether to mention that, because it's just so quirky and smart arse, iconoclastic almost. But I played it again a couple of times and I decided that the sheer liveliness and colourfulness was irresistable, it's like he's constantly making you prick up your ears, Even if his musical decisions are really sometimes his whims, I like to hear what he does. And for me, that's enough. I'm not saying it's deep or revealing or anything, I just enjoy it.  Generally I enjoy Mustonen, in Shostakovich and Scriabin for example.

As you can see the list is really personal and probably useless to anyone else, I made it for me really - I seem to be listening to so many of these things I need a way of keeping some sort of track.

« Last Edit: November 04, 2013, 10:58:33 AM by Mandryka »
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Offline Pat B

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Re: Diabelli Variations
« Reply #104 on: November 04, 2013, 12:54:45 PM »
Thanks for the elaborations. Of course you're correct that any such list is personal, but I have enjoyed some of the things you endorsed. In the case of Mustonen it won't cost me anything other than the time to listen to it. :)

As an aside I have Kovacevich '68 on order.

Offline Todd

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Re: Diabelli Variations
« Reply #105 on: September 06, 2014, 03:28:58 PM »



Finished up a first go-round with Mr Goodyear's Diabelli's today.  The disc is in much better sound than his sonata cycle, with just the right perspective and clarity and weight.  Goodyear is not much of a colorist; instead he focuses clarity of voices, rhythm, and dynamics.  He also plays fast, often very fast, much of the time, though he does slow way down in variation 20, playing it more as an Adagio than Andante, and he offers maximum possible contrast by then playing variation 21 at super-human speed.  A most enjoyable recording.  I shall listen again soon, very soon.
The universe is change; life is opinion.   Marcus Aurelius, Meditations

Offline Mandryka

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Re: Diabelli Variations
« Reply #106 on: September 29, 2014, 08:15:22 AM »
I'm going to put my own transfer of Hans Petermandl's very successful, very classical, Diabelli Varitions on symphonyshare. If you want it directly you can PM me. There is a poor commercial mp3 transfer but it is something to avoid like the plague because of the enormous pauses they put between each variation.

Petermandl is my big pianist discovery of the past couple of years, along with Peter Hill, who has also recorded these variations.
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Offline bigshot

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Re: Diabelli Variations
« Reply #107 on: September 29, 2014, 09:34:11 PM »
A faithful transfer of Schnabel for once...
http://www.vintageip.com/xfers/schnabeldiabellis.mp3
« Last Edit: September 29, 2014, 09:38:24 PM by bigshot »

Offline Mandryka

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Re: Diabelli Variations
« Reply #108 on: September 30, 2014, 08:26:35 PM »
Sound quality apart, does anyone like Schnabel's Diabelli Variations? (I've never enjoyed it, it never seems to take off somehow.)
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Offline Holden

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Re: Diabelli Variations
« Reply #109 on: September 30, 2014, 09:20:51 PM »
Yes I do but it's nowhere near the top performance for me. A similar approach but far superior interpretation is by Kovacevich.

As I've said earlier in this thread the Philips Arrau is my favourite.
Cheers

Holden

Offline Mandryka

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Re: Diabelli Variations
« Reply #110 on: October 01, 2014, 06:46:35 AM »
Yes I do but it's nowhere near the top performance for me. A similar approach but far superior interpretation is by Kovacevich.


Kovacevich on Philips you mean?  I like both his later recordings.

One other very old one which I really should go back and reappraise is Backhaus's. Only yesterday I was listening him play op 110 and op 111 and I thought it was so quirky it was fascinating. It would be good to understand what Backhaus was up to in late Beethoven.
« Last Edit: October 01, 2014, 07:47:07 AM by Mandryka »
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Offline torut

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Re: Diabelli Variations
« Reply #111 on: October 01, 2014, 07:49:19 AM »
One other very old one which I really should go back and reappraise is Backhaus's. Only yesterday I was listening him play op 110 and op 111 and I thought it was so quirky it was fascinating. It would be good to understand what Backhaus was up to in late Beethoven.
Backhaus's recording of Op. 109 was the very first classical music I listened to with great interest. It may be dry and cold, but still it's my favorite Op. 109 recording.
However, his performance of Diabelli Variations (included in the piano concertos set with Hans Schmidt-Isserstedt conducting Wiener Philharmoniker) was not memorable to me. (The piano concertos were good.)
Yesterday I got Staier's recording of Diabelli Variations, and I liked it a lot. The fortepiano's sound is rich and the performance is vivid. The other composers' variations are also interesting, especially Listz's and Schubert's.
I'll re-listen to Backhaus's Diabelli.

Offline Mandryka

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Re: Diabelli Variations
« Reply #112 on: October 01, 2014, 12:30:15 PM »
Yes, it's like materialist late Beethoven (Backhaus)

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Offline bigshot

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Re: Diabelli Variations
« Reply #113 on: October 02, 2014, 01:13:46 PM »
The unique thing about Schnabel is the tone he gets out of the notes, not the notes themselves. It isn't a technically perfect performance, but the variation in mood and tone is remarkable. If you listen carefully, each note seems to have a shape. I'm not sure how he achieved this, but the slightly distant recording acoustic flatters it. The only trick is getting all the surface noise out of the way so you can hear the shapes of the notes. Heavy handed noise reduction messes this up, so it's a fine line to tread.