In Part 2 of my reviews of recordings of the Handel Variations, these seven
versions are offered for your consideration:

   Idil Biret          Naxos 8.550350      Recorded 1989    TT 27:02
   Michael Boriskin    Music & Arts 726    Recorded 1990    TT 27:53
   Sviatoslav Richter  Doremi 7746         Recorded 1988    TT 26:24
   Misha Dichter       MusicMasters 67126  Recorded 1993    TT 25:52
   Awadagin Pratt      EMI 56836           Recorded 1999    TT 23:29
   Claudio Arrau       Aura 118            Recorded 1963    TT 28:47
   Rudolf Serkin       Aura 124            Recorded 1957    TT 26:56

Idil Biret has made dozens of recordings for Naxos including the complete
piano works of Brahms.  She has a fine reputation, and her recordings at
super-budget price are considered excellent bargains.  The theme of the
present disc is 'Variations' as it also has the Variations on a Theme by
Schumann and the Variations on a Theme by Paganini.

Michael Boriskin isn't exactly a household name, but he has been performing
in public with major orchestras since the late 1970's.  Boriskin has
particular affection for modern piano works and has championed quite a few
compositions.  Like Biret's disc, the Boriskin offering also centers around
variations; his couplings are the Opus 21 Variations and the Theme with
Variations.

There may be another version on record of Richter performing the Handel
Variations, but I'm not aware of any.  The live performance was recorded
in Krasnoyarsk on August 29, 1988.  It is coupled with the Brahms Piano
Concerto in B flat major conducted by George Georgescu; this performance
comes from Bucharest in 1961.

Misha Dichter, born in 1945, has been on the concert scene since 1966 when
he won the Tchaikovsky Competition in Moscow.  His all-Brahms disc also has
the Opus 116 Fantasias and the Opus 39 Waltzes.

Awadagin Pratt is a young man who has been given much exposure by EMI over
the past few years; he has even appeared on the Today Show, Good Morning
America, and Sesame Street.  Pratt resides in Albuquerque where I also
presently live, but we have never met in person.

We all know about Claudio Arrau and Rudolf Serkin.  The Aura label emanates
from Italy, and I don't know of any other recorded versions of the Handel
Variations from either of these two highly esteemed artists.  However, it
would not surprise me if there are other recordings somewhere in the
universe.

Here's my opinions of each version:

Claudio Arrau - Putting his aristocratic self to best advantage, Arrau
begins with a highly nuanced and beautifully ceremonial Handel's Theme
fully the equal of Julius Katchen's; Arrau doesn't tread into Katchen's
hushed tones, but he is more expressive and reflective.  Arrau even
surpasses Katchen in the 2nd variation where the detail and voice
interplay is more vivid.

All good things must come to an end, and Arrau takes a downward slide in
the 4th Variation.  He bangs on those piano keys with a vengence and sucks
out the musicality; I find it a brutal interpretation.  Arrau gets back
on the saddle with an aristocratic 5th Variation conveying a wealth of
emotional themes.

The 6th Variation needs a pervasive bass-line to tighten the tension,
and Arrau is too demure to provide it.  Arrau's performance of the 10th
Variation is one of the least rewarding I've heard; he damages its rugged
nature through an over-kill of legato phrasing.  However, all is forgiven
when the 11th Variation is so rich and highly nuanced with delectable
changes in dynamics and tempo; this is the absolute best interpretation
of the 11th I've ever heard.

For me, Arrau's splendid performances of Variations 18 thru the Fugue
seal the lid on a highly recommended recording of the Handel Variations.
These four variations are among the best in the set, and Arrau gives each
one its full measure of inspiration; I especially love the pristine reading
he offers of the 22nd Variation with voice interplay of delectable
proportion.

Misha Dichter - Dichter starts excellently as he plays Handel's Theme
in the Katchen mold but not as effectively.  Dichter's 1st Variation is
vivacious, and his 2nd is exceptional with detail, voice interplay, and a
'reaching' quality equal to the Arrau performance.  Dichter continues to
impress with a stunningly slow-paced reading of the 3rd Variation with
constant changes in tempo and dynamics; the performance is a fantastic
blend of poignancy and playfulness.

In the emotionally rich 5th Variation, Dichter entices us softly with a
subtle urgency.  Unfortunately, Dichter takes too soft a stance with the
bass-growling and oppressive 6th Variation; he's tame and ineffectual.
Reticence and a slowish tempo lead to another tame performance in the 14th
Variation which can be a thrilling experience.

Like Arrau, Dichter excels in the last few variations.  The urgency he
gives the 21st is stunning, his 23rd is sharp and confident, and the 25th
is highly celebratory.  Overall, Dichter's version of the Handel Variations
is highly rewarding and competitive.

Rudolf Serkin - Handel's Theme is treated in a straight-forward and
ceremonial manner by Serkin; it's a fine reading which could have been
more diverse.  The first two variations are also rewarding but not of any
special properties.  The sublime 5th Variation finds Serkin very quick and
poignant until he speeds up even further at theme endings and loses some
emotional depth.

Serkin moves up considerably in my estimation with his very oppressive 6th
Variation, galloping 7th, and power-charged 8th Variation; in each piece,
Serkin distinguishes himself from the crowd which is a trait not displayed
in the earlier variations.  The 10th Variation is also stunning in Serkin's
regal interpretation.  Another great reading comes in the form of the 14th
Variation.  This piece can offer peak excitement if played dashingly with
a little wild streak, and that's just how Serkin responds; he ups the speed
and thrills measureably.

Serkin continues to impress me greatly through the Fugue.  His 18th
Variation is distinctively bubbly, the 19th quite comforting, the 20th
finds Serkin valiantly trying to climb the mountain, and the last two
variations are as good as it gets as Serkin displays a fantastic right
hand energy and strength.  My sole quibble is with a slow and somewhat
sluggish 22nd Variation.  Ultimately, Serkin's Handel Variations provides
serious competition in the market.

Sviatoslav Richter - To say that Richter tends to be a straight arrow in
Handel's theme would be an understatement; his tempo and dynamics change
little during the piece.  Still, the ceremonial elements are excellently
conveyed, and there's a determination which is very appealing.  Richter
changes his stripes for the 3rd Variation where he slows down considerably
and excels with variations in tempo and dynamics.

Sound can be detrimental at times such as in the powerful 4th Variation
where the congestion is overwhelming at the beginning of the piece;
although there's nothing wrong with Richter's performance, the congestion
is a killer.  Much the same applies to the 15th/25th Variations and Fugue;
the sound is infected with the virus.

With the 5th Variation, Richter beautifully displays his knack for
giving a commanding reading infused with the depths of human thought.
However, he abandons command with a curiously surface-bound 6th Variation;
the bass-line which should growl oppressively is only tuneful in Richter's
performance.  I'm glad to report that the command returns with a vengence
in the 7th Variation which is one of the best performances on record.
Speaking of command, you can't hear a more commanding two-chord recurring
segment than the one Ricther offers in the powerful 9th Variation which he
plays so expressively.

Although quite slow in the 10th Variation, Richter's ceremony and detail
wins the day.  He shows his mettle in the 11th and 12th Variations for
poignancy and tenderness, matching the insight of the Katchen performances.
All continues excellently through the Fugue excepting for Richter's
very quick and rather perfunctory 22nd Variation.  His 17 Variation is
particularly notable for the urgency and greater contrast he offers; a
better version doesn't exist.

Idil Biret - Her reading of Handel's Theme is very tender and
contemplative; this makes for excellent contrast when she turns on the
ceremonial burners.  I can't speak well of her 2nd Variation which is
almost devoid of nuance and strong emotional content; Biret just breezes
along at a steady clip, missing the opportunities to give the music
significant meaning.

In the 5th Variation, Biret returns to top form; although very quick,
she uses the tempo to inject greater urgency and meaning.  Further, her
light touch contrasted with the enhanced urgency is infectious.  I find
the performance quite distinctive and superior to the equally fast Serkin
reading.  The order is reversed in the 6th Variation where Serkin's
pervasive bass-line invades the mind, while Biret's is merely part of
the scenery.  The energized and powerful 7th and 8th Variations get the
appropriate treatment from Biret without dislodging any favorites.

The 10th Variation is one of Biret's most rewarding pieces in the set; the
detail and strength of her performance is a treasure to behold.  Although
her 14th Variation could be much more exciting, she redeems herself with a
razor-sharp 15th Variation among the best.

Biret has a particularly winning way with tender music, and she plays it
to the hilt in the 19th and 21st Variations.  Not to appear one-sided, you
couldn't ask for stronger and more exuberant performances of the last three
variations.  Biret concludes her highly recommendable version of the Handel
Variations with a well varied and defined Fugue having quite a few sublime
moments.

Michael Boriskin - I'd say that Boriskin is a 'no-nonsense' pianist
who likes to take an efficient route to resolution.  This approach has
its virtues in Handel's Theme which Boriskin plays in a similar manner
to Richter; the ceremony is demonstrative and the momentum strong.  Even
better is his 3rd Variation with delicious variety, an infectious rhythm,
and a coy attitude through his articulation which perfectly fits the music.
Exceptional playing also is found in the powerful 4th Variation where
Boriskin exhibits an exuberance I find irresistable and in the sublime 5th
Variation where his stunning inflections are so important in capturing the
full emotional breadth of the music.

Boriskin's performance of the 6th Variation rates special recognition.
In addition to delivering the all-important pervasive bass line, he
offers fantastic detail and interaction between the two contrasting voices.
If Boriskin's readings continue at the high level he has exhibited up to
this point, his recording will match or supplant the Katchen disc.  So far,
Boriskin has given each variation its own special quality with a fine sense
of total architecture.

The 9th Variation is another winner for Boriskin, just as stunning as the
Richter and better than Katchen's; his quick accumulation of energy in the
two-note chords and the resulting slow release is mesmorizing.

Boriskin never misses the mark and continues to provide exceptional
readings through the work's conclusion.  Some highlights are the dripping
urgency of the 21 Variation, the fast and motorized 22nd, the slow and
methodical 23rd, and a hard-as-nails 24th Variation.  Boriskin's Handel
Variations is indeed a special event.

Awadagin Pratt - Mr.  Pratt can be a turn-off one moment and then amaze
the next; unfortunately, the turn-offs are more prevalent.  Handel's theme
doesn't satisfy as Pratt takes what could have been a fine and lively
reading and adds his cute and mannered phrasing to sound like the court
jester is being touted.  In the 2nd Variation, he's as limiting as Biret;
the smoothness of the performance combined with a refusal to vary tempo and
supply nuance is very disapointing.

I think Pratt makes a poor decision in the fast and power-driven 4th
Variation.  Although Pratt tends to prefer quick tempos, his pace in the
4th is among the slowest on record.  He ends up sounding as if he's holding
himself back, and that's poison to this variation.  The 5th Variation goes
better; Pratt puts much feeling into his interpretation although he varies
tempo and dynamics less than most pianists.  Although Pratt makes the most
of the electricity in the 7th Variation, he surprisingly reins himself in
for the 8th; it's the wrong time to be demure.

The highlight of Pratt's performances is the powerful 13th Variation
which carries a tremendous weight.  Pratt starts out in soft fashion and
gradually builds up to collosal walls of sound; his reading is a thrilling
experience and unlike any other I've heard as he sucks up all available
energy with a vengence.

Pratt, by giving us exciting 14th and 15th Variations, might be reversing
the downhill run he initiated in the basic theme.  However, such is not the
case.  Pratt's readings of the 16th thru 18th Variations lack sufficient
lift, and his Fugue is often sluggish; that is a quality entirely at odds
with the needs of the music.

Don's Conclusions:  The first order of business is whether any of these
seven versions matches the great Katchen performance.  The answer is an
affirmative one in the person of Michael Boriskin on Music & Arts.  I feel
he has the same innate understanding of the work as Katchen and is
illuminating throughout.

Excepting for Pratt, the remaining performances are highly recommended.
I do advise caution concerning the sound quality of the Richter; it has a
boxed-in quality, and congestion can be quite unattractive when the music
is strongly projected.  Of these five excellent versions, I favor the
Serkin which keeps getting better as it progresses.  As for the Pratt
recording, I'd take a 'pass' on it.

Here's how the line-up now stands:

Essential: Katchen and Boriskin.
Thumbs-up: Serkin, Artymiw, Arrau, Dichter, Richter, and Biret.
No thanks: Pratt and Ax.

Part 3 will include the Fleischer and Moiseiwitsch recordings, and one of
them just might surpass Katchen and Boriskin.  At least, the preliminary
indications are giving me that signal.

Don Satz
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