Johannes Brahms composed the Variations & Fugue on a Theme by Handel
in 1861 for Clara Schumann's forty-second birthday; she gave its first
performance in Hamburg later that year.  The work is based on a theme from
Handel's Keyboard Suite in B flat where the theme is followed by a series
of five variations.  Brahms enlarged the scope to twenty-five variations
with a concluding and extended fugue.

We could endlessly debate the quality of the Handel Variations in
comparison to Bach's Goldberg Variations or Beethoven's Diabelli
Variations.  For my part, I love these three works and consider them my
favorite piano works of variation character.  Each provides a wide and
inspirational variety of music revolving around a single theme, and each
is a staple of the classical music repertoire for keyboard.

For this review project, I will cover three recordings in each Part.
My plan is for at least one of the three to represent a highly esteemed
interpretation from a well-known artist and for one to come from a
relatively unknown performer.  The versions reviewed in Part 1 are:

Lydia Artymiw
Chandos 8410
Recorded 1984
TT 27:14

Emanuel Ax
Sony 48046
Recorded 1991
TT 25:43

Julius Katchen
London 455247
Recorded 1962
TT 26:27

Emanuel Ax and Julius Katchen need little introduction to classical music
enthusiasts.  Ax has been one of the most well-known classical pianists in
the world for many years with a long string of recordings to his credit.
If a poll were taken, Mr. Katchen would be one of the artists most
mentioned as the leading Brahams pianist on record.  Lydia Artymiw was born
in Philadelphia of Ukranian descent and first appeared as a soloist at the
ripe age of 8 with the Philadelphia Orchestra.  She has a few recordings
under her belt, mostly with Chandos.

The couplings on the Ax disc are the Six Piano Pieces, Opus 118 and the
Two Rhapsodies for Piano, Opus 79.  Artymiw's disc has the theme of Brahms'
baroque connection with couplings consisting of the Sarabande in B minor,
the Suite in A minor, and Six Chorale Preludes for Organ transcribed for
piano by Ferruccio Busoni.  Katchen's performance is part of a 6-cd box
set of the Brahms solo piano works.

The Handel Variations thrive on contrast, diversity, and nuance.  In
addition, Brahms offers quite a few variations conveying excitement and
great exuberance.  At the other end, many variations are soft, tender,
and reflective.  An excellent performance must blend all these elements
together in a coherent fashion.

I find Katchen's version clearly the most rewarding of the three and
one of the most outstanding performances on record.  His command of
architecture is stunning with exceptional articulation and spacing.  It all
begins with a superlative 'Aria' which alternates between sections of great
swagger followed by hushed passages enhancing the music's contrasts.  It's
a wonderful 'calling-card' for the work, and Katchen does not disappoint as
the music progresses through each variation.

When power and majesty are needed, Katchen fully delivers.  His level of
diversity within each variation is excellent, and I particularly love his
hushed passages which are so reassuring.  Katchen provides a great version
for exploring the Brahms architecture as highlighted by his 9th variation.
Playfulness is beautifully presented as evidenced by Katchen's breezy 10th
Variation.  If you are looking for exquisitely pristine music, his 11th and
12th Variations can't be beat.  Overall, Katchen provides just what each
variation offers as opposed to delivering any particular style which is
prevalent throughout the performances.

Of course, Katchen is human and I do have reservations about a small
number of his variations.  Accenting could be stronger in the 3rd Variation
as Katchen smooths out the music's edges.  Most disappointing is Katchen's
13th Variation where he goes limp just when it's the time to fully tighten
the tension.  Fortunately, these problems are very infrequent and can be
largely dismissed.  Simply put, Katchen well proves why he is considered
one of the outstanding interpreters of the piano music of Brahms.

Lydia Artymiw's version of the Handel Variations is a fine one.  She
handles nuance and diversity very well, routinely finding the poetry in
the work.  She does tend to have a delicate style, although she also has no
problem with exhibiting strength.  There are variations where her romantic
predilections get the best of her and she ends up sounding overblown and
contrived such as in the 20th Variation.  Ultimately, Artymiw is about
mid-way in the pack of all recordings of the work.

Emanuel Ax's performance is one I can't recommend.  His interpretations are
short on nuance and diversity.  Ultimately, underinflection resulting in
flat performances sinks the ship.  Ax does do well with the more powerful
and driving variations, but there isn't anything out of the ordinary which
would lift his version to a recommendable status.

Here's the story of my journey through the work:

Handel's Aria is wonderful in performances ranging from the slowly
pensive to the highly ceremonial approach.  There are also artists who
blend both styles and even transcend that accomplishment.  Julius Katchen
is definitely one of them.  He doesn't just go from ceremonial statements
to repeats that are pensive; he streches the repeats down to hushed
proportions.  The contrasts are illuminating, and Katchen's ceremonial
sections are second to none in their majesty, confidence, and swagger.

Artymiw offers an attractive blend of ceremony and reflection in a very
impressive performance.  The Ax issue revolves around a very small dynamic
range with repeats that are extremely repetitive.  Now I could go with the
narrow approach for a ceremonial interpretation if it gave what Katchen
delivers, but Ax uses articulation and spacing which insures he won't catch
a glimpse of Katchen ahead of him.

The theme of a variation work is like a calling-card: who do you want as
your guide for the journey through the music? Ax starts out as the average
guide, Artymiw the enlightened guide, and Katchen the all-encompassing
guide.  Of course, one theme doesn't determine the outcome, but Katchen
leaves me aching for more.

With the 1st Variation, the music takes on a more exuberant nature with
much rhythmic bounce.  This is a good time to bring up the subject of
command of architecture.  One always hopes that the performer will fit
well into the music's structure.  The best artists not only fit into the
structure; they sound as if they built it from scratch.  Richter comes to
mind as a prime example of structural command, and Katchen occupies a like
position in Brahms.  Katchen's 1st Variation certainly captures the bounce
and exuberance of the music, but he also gives me a feeling of security and
completeness through his articulation, trills, intervals, accenting, and
inflections.

Again, neither Ax nor Artymiw are any match for Katchen in the 1st
Variation.  Artymiw does give a fine performance which is quick and
energized, but some of her accenting is weak and disappointing.  Ax once
again offers little diversity with a very fast reading which goes nowhere
and provides little invigoration due to a deficient rhythmic bounce.  Let's
just say it's a 'flat' interpretation.

The 2nd Variation expresses a 'reaching' quality which mainly stems from
the cantabile right hand.  What surprises me is how few versions fully
satisfy the need for the left hand to be a partner in the conversation.
As an example, Idil Biret on Naxos is all about reaching, while Misha
Dichter on MusicMasters gives us the full measure of interaction through
highly distinct and interesting lower voices.  Although each of the three
recordings being reviewed deliver more equality of interaction than Biret
and are quite enjoyable, they don't compare to the expressiveness from
Dichter's lower voices.

I might as well take along Dichter into the 3rd Variation which follows
without pause from the 2nd and is a playful and coy piece with a halting
rhythm.  Dichter beautifully varies tempo on a continuous basis, thereby
maximizing the music's nuances.  Ax, who is starting to carry the 'low
diversity' emblem, has the least halt to his rhythm than from any other
version I know.  Artymiw does very well in a mainstream reading and holds
her own with Katchen who unfortunately engages in some very weak accenting
which blunts the edges of the music.

Update on Emanuel Ax: What I'm hearing so far from Ax are limiting
performances which wear out their welcome quickly.  Both Artymiw and
Katchen are offering a much wider range of dynamics, tempo, and anything
else that's of significance.  It's as if Ax isn't putting much thought
into his performances - just go with one size for each variation.  I do
have some faith that he'll improve like fine wine, but the results are
not at this point up to any reasonable level of competition.

The 4th Variation is a powerful force speeding through time; a
great version gives me the perception that nothing can obstruct its
determination.  Katchen is right on target with a non-stop performance
which hits hard at every moment.  Artymiw is also successful although not
as demonstrative as Katchen.  One thing both versions have in common is
some lift which Ax mostly does without.  In addition to a linear reading,
Ax indulges in some ridiculous bass exclamations at the end of motifs.

The 5th Variation is one of the most beautiful in the set; its pleadings
and yearnings from the upper voice are utterly compelling.  Also, it's one
of the most poignant and nuanced pieces in the Handel Variations.  There's
plenty of room for changes of tempo and dynamics, and Artymiw takes full
advantage.  Her reading is emotionally rich and stimulating.  Katchen and
Ax are very rewarding, although Ax again offers the least diversity of the
three versions.

Brahms offers us a Baroque Canon with the 6th Variation.  Over time, I've
come to love this variation.  The bass-line growls its menacing message and
is set against a very delicate and pristine upper voice.  The contrasts are
spell-binding, and Katchen growls with the best of them.  His bass-line is
absolutely relentless with its confidence and concentrated power.  Artymiw
and Ax are quite effective and well display the inherent musical contrasts;
they just can't compare to Katchen's architectural command.

With the onset of the 7th and 8th Variations, it's time to call out the
hounds and catch that fox.  This music is at the heights of invigoration
and exuberance.  In my imagery, the 7th Variation represents the heralding
of the hunt; when the 8th Variation starts, all parties begin streaking
through the fields in pursuit of their prey.  Emanuel Ax must love the
'hunt', because he's much better in these two variations than the previous
ones.  Ax is fast, powerful, and thrilling in the 7th Variation; what I
most love about his performance is how he increases the energy level in the
8th Variation.  The fox doesn't stand a chance against Ax.  Katchen's fine
performance isn't up to the tremendous energy flows from Ax, and Artymiw
hits bottom with a 'precious' and timid 8th Variation.

The 9th Variation is a continuous series of two consecutive chords
releasing tremendous energy and followed by relatively subdued notes
which slowly descend to their resting position.  From my view, the
contrasts represent the heart of the music.  However, many artists play
down the contrasts and maintain a high decibal level which I can't deny
keeps the tension level going strong.  The three versions being reviewed
are in this general category, and each one is excellent for its type.
Another fine aspect of the 9th Variation is that it's great for exploring
architecture and detail.  With his absolute command of structure and
display of detail, Katchen surpasses the other two performances.

After the stern and concentrated 9th Variation, it's a pleasure to be
greeted by the playful, breezy, and exuberant 10th Variation which is
played to perfection by Katchen.  Neither Ax nor Artymiw can match his
infectious good cheer; actually, Ax is a little stodgy and could use
some lift.

The 11th and 12th Variations share a comforting and pristine innocence
exquisitely conveyed by Katchen; it's a stunning performance.  The one
area where I feel Katchen could have been slightly more effective is in
possessing a subtle urgency in the 11th Variation.  That's no problem for
Artymiw who highlights the music's tension through her articulation.  Ax
is a major step down from Artymiw and Katchen; he's not as poignant, and
his right hand doesn't ask questions as effectively due to insufficient
inflection.

The 13th Variation is the most powerful in the set with its immense
concentration of energy; this variation sucks up the entire life-force.
What I like best is the churning bass which sounds like all of Hell's
children laboring up to the Earth's surface.

I have to tell you about Awadagin Pratt's performance of the 13th Variation
for EMI.  When I first heard his initial bars, I told myself that Pratt had
found another way to screw up a variation.  However, he was just building
up to a tremendous input of energy as the performance continued.  The
cumulative impact on me was amazing.  I can't say that about our three
VERsions for review.  Artymiw's bass sounds like it is superimposed on
the music; concentration of energy is damaged.  Katchen takes an odd turn
as he softens up just at the point where the coiled tension needs to be
strongest, 12:12 into the work where a varied motif is introduced to inject
even greater strength.  Go to Pratt, and that's the exact point where his
interpretation really tightens its grip on this listener.

Emanuel Ax comes up with an excellent 13th Variation.  His power is strong,
his energy is always well concentrated, and he clearly identifies with the
music's emotional themes.  Perhaps Ax will work his way back into the
composition.  For that to happen, he needs to deliver greater diversity
than he's displayed up to this point.

The 14th and 15th Variations are very fast and powerful.  In the right
hands, the music can be thrilling.  Although none of our three artists
presents any thrills, each is quite invigorating.  Ax does get a little
bloated in the 14th Variation, but there's no denying his highly charged
account.

Variations 16 thru 18 convey a sense of confusion as the music keeps
trying to relax but is always opposed by a tendency to rush forward.
With the 19th Variation, confidence wins out with a ceremonial swagger
and return to full security and acceptance.  Although both Ax and Artymiw
perform admirably, Katchen is the one who gives me the sublime sense of
completeness in the 19th Variation with his hushed phrasing which exudes
a gentle and total optimism.

The 20th Variation is one of my favorites as our hero keeps trying to lift
himself from the sludge of his existence.  The music has great qualities of
yearning which Katchen fully captures with his articulations, inflections,
and changes in tempo and dynamics.  Artymiw inexplicably goes overboard at
times with runs of romantic gushing.  Ax is no better as his tendency to
underinflect and minimize contrast ruins his performance.

Pristine music with yearnings and exquisite tension come in the form of
the 21st and 22nd Variations.  I especially love the 22nd's secondary
voices which convey such strong momentum in a very soft package.  Actually,
the 22nd Variation is the one I most favor in the set.

How to ruin the 22nd Variation? There are host of ways, but the most
effective is to use a fast tempo which negates the momentum from secondary
voices and do your best to underinflect.  Ax gives a role-model performance
of a perfunctory nature which just about kills off any chance of his
version of the Handel Variations having value.  Both Katchen and Artymiw
are exceptional.  They capture the yearnings of the 21st Variation and the
child-like urgings of the 22nd Variation; their performances are lovely,
pristine, and tense creations which deserve repeated playing.

The three remaining variations take us from notes sneaking around in the
shadows to great rolls of sound capped off with a celebratory flourish.
The Fugue is a commanding and granite-like figure, particularly in the
Katchen performance.  Artymiw tends to emphasize the music's poetry and
tender side, while Ax shoots for drama and excitement.  All are successful
although Katchen's concentrated reading is the one I favor.

Don's Conclusions: No collection of Brahms piano music should be
without the Katchen recording of the Handel Variations.  For that matter,
just consider it essential to have the Katchen box set.  Lydia Artymiw's
rendition is a fine choice for those who already have a few recorded
versions; the baroque theme of her disc might hold special appeal for a
segment of the audience.  The Ax recording has little to offer, and I don't
understand how Ax could consider the performance worthy of reproduction.
Yes, the reading is fully professional, but I've come to expect much more
from Ax based on his excellent Mozart and Haydn recordings.

Part 2 will cover another three versions - Richter, Biret, and Boriskin.
I'll also be keeping Katchen in the wings for comparison purposes; his
could end up being the best version of all.

Don Satz