4th thru 7th Variations - After giving us the singing style of the
gorgeous 3rd variation, Beethoven revs up the power and tension in four
consecutive variations.  Peter Serkin's engine is only half-full as he
seems to be stressing the music's lyricism; voltage is low and so is
excitement except for his 7th variation.  I've nothing against lyricism
and it plays an important role in these four variations, but I think that
strength and tension are foundations that Serkin does not sufficiently
address.

High voltage is certainly no problem for Maria Yudina who storms through
the four variations most demonstratively.  Although sound quality can get
in the way and Yudina does not demonstrate the highest levels of technical
command, she is quite a dynamo and preferred to Serkin's low-key readings.

Richter/70 matches Yudina's gusto in the 4th and 7th variations, and his
structural command is much better.  Yet, I wanted more frequent power and
excitement in the 5th and 6th variations than Richter decides to convey.
Richter/86 exhibits more strength in the 6th variation but less tension in
the 4th.  Other fine versions come from the powerful Horszowski, speedy
Barenboim, bold Anderszewski, surprisingly animated Roberts, and 'loaded
with energy' Schnabel.

Pollini's readings are very fine but never reach the heights for me.
I feel he loosens tension and/or gets a little choppy too frequently.
Mustonen is fast and uses much more staccato than the norm; it's quite
effective and often compelling.  However, I sense that he's examining every
note and the relationships among them more than he's trying to convey any
kind of emotional depth.

Grigory Sokolov could be said to be similar to Serkin as to conveying a
low degree of strength, but he makes up for it with another highly nuanced
account.  His version is likely the one which most places Beethoven forward
into the romantic era, and it is distinctive and very enjoyable.

William Kinderman's performances are hard to beat.  I thought he
might be too refined for these four variations, but he provides all the
angularity and tension of other excellent versions.  Also, he does this
while conveying a high degree of lyricism.  His readings are not of the
barn-storming variety but exceptionally proportioned.

I am finding Theo Bruins most rewarding in the exuberant variations, so I'm
not surprised that his readings of the 4th thru 7th variations are the most
exuberant of the reviewed versions.  Exuberance goes a long way in this
music, and Bruins joins Kinderman on the next-to-top level.

The top level belongs to Alfred Brendel.  I was wondering when he would
really distinguish himself, and he finally pulls out all his arsenal.  As
I mentioned, Kinderman's version only lacks the 'barn-storming' approach.
That's what Brendel brings to the forefront in dramatic fashion.  His are
thoroughly exciting, tense, and exuberant readings.

8th Variation - As with the 3rd variation, the 8th is in a cantabile
singing style.  I look at this piece as the uplifting relaxation needed
after expending so much energy in the previous four variations, sort of
the conclusion of the day with a poignant farewell.  There can certainly
be some drama injected, but it needs to be subtle in nature.

Brendel is one who conveys some fine drama without disturbing the music's
gentle and swaying nature.  Bruins and Roberts do disturb the music's
nature; both sound at times as if they are readying themselves for the
"Tempest" Sonata.  In essence, neither provides sufficient contrast from
the previous four variations.  I had indicated earlier that Roberts is
best when he remains refined and tasteful.  In the 8th variation, he is
very heavy-handed with the lower notes and loses that refinement.  Bruins
just goes off the deep end with an overt intensity and power all out of
proportion to what the piece requires.  Also, he flys through the music
in just over one minute.

Power is the last thing we get from Kinderman's very comforting and
gorgeous performance.  Anderszewski is quicker than Kinderman but no
less nuanced or uplifting.  Yudina needs to find a light touch; she's much
too heavy.  Serkin is the antidote to Yudina with a subdued and dreamy
performance which the music well accomodates.  Mustonen is quite poetic,
and I'm starting to really appreciate his apparent ability to take total
command of the keyboard.  If any of these fifteen pianists sounds like they
were born to play the piano, Mustonen would be my pick.  Unfortunately,
that doesn't necessarily translate into great interpretations.

Both Richter versions are even faster than from Bruins, and they show
that speed, nuance, and poignancy can do just fine together.  I do prefer
Richter/86; it has more tension than its counterpart which has some muffled
notes which take the performance down a few notches.

I have mixed feelings about the Sokolov performance.  It's loaded with
nuance, but I don't get much of a sense of poignancy.  Further, there are
a few passaages where his bass line is getting ready to explode as in a
powerful Bach organ prelude.  This isn't the music to go for a power-play.

The best of the group for the 8th variation are Barenboim, Horszowski,
Schnabel and Pollini.  Many of the versions well showcase the beauty and
flow of the variation, and these four are among them.  What puts Pollini
and Schnabel at the top level is that they maximize the subtle drama and
tension just short of the point where they would dominate the comforting
nature of the music; a perfect balance is struck.  Barenboim and Horszowsi
are slower and provide luxuriating readings with exquisite poignancy.
There's also a more personal reason for my affection.  When I listen to any
of the four versions, I can't stop getting the image of our hero riding off
into the sunset while his adoring sweetheart is waving goodbye and already
missing his touch.  That's why I stated in Part 1 that the 8th was a
milestone variation in my listening regime.  I'm a very romantic guy.

9th & 10th Variations - The 9th variation has a mighty and stern nature
as if a stark and menacing force is sneaking up on you from behind.  The
10th variation begins in a much lighter and speedy vein, but the music
soon heats up dramatically and is enhanced by a driving bass line.

Piotr Anderszewski and Theo Bruins present interesting contrasts in the
two variations.  In the 9th variation, Anderszewski is relatively slow
and extremely bold and stark; every note powers it way into the emotions
with the utmost austerity.  By contrast, Bruins is quicker but nowhere as
bold or stern as Anderszewski.  The exciting 10th variation finds Bruins
the more exuberant pianist; he gives a superb reading of this very short
variation.  Anderszewski's 10th variation is somewhat sof-centered and not
as exhilarating as Bruins.  Ultimately, I'd say it's a 'draw' between two
very fine sets of performances.

I am going to use Anderszewski as the standard to match for the 9th
variation and Bruins as the standard for the 10th variation.  Maurizio
Pollini can't match Anderszewski's boldness or the Bruins excitement,
although his performances are certainly on the right track.  Pollini is
very slow in the 9th variation, giving him ample opportunity to strike
those keys with immediate power; however, he holds back too much to give a
highly distinctive performance.  Much the same applies to the Peter Serkin
readings, and it's appearing that Serkin is not going to be a tower of
strength in the Diabelli Variations.

Grigory Sokolov is even slower than Pollini in the 9th variation but a
speeding bullet in the 10th.  His performances are excellent, but I would
have preferred a slightly quicker tempo in the 9th variation.  Brendel,
Horszowski, Barenboim, and both Ricther versions are also excellent in each
variation; their determination is quite strong in the 9th, and the 10th is
quicksilver and powerful.

I'm not thrilled with Bernard Roberts for these two variations, and it's
largely a matter of flow.  From my perspective, he breaks each variation
into segments without connecting them for the performances.  Although I had
mentioned earlier that I prefer how Roberts plays Beethoven over Bach, I'm
beginning to have my doubts.

The Anderszewski boldness of the 9th variation fully rears its head in the
version from Artur Schnabel which has tension you could cut with a knife;
Schnabel's 9th variation is very good but Bruins still can't be matched.

Judging from her peformances through the 8th variation, Maria Yudina
would appear a fine candidate for the bold approach to the 9th variation.
However, such is not the case as she holds back too much.  In the 10th
variation, her performance is on the slow side and does drag a little.
Yudina joins Roberts on the bottom rung.  Let's place William Kinderman
here also; I find him too demure in both variations.  Also, his 10th is too
slow; throw in his polite approach and the results are not exhilarating.

Olli Mustonen has been stark throughout so far, and this style definitely
comes through in the 9th variation.  However, boldness is in short supply
as he turns on the 'cuteness' too frequently; Mustonen's 10th variation is
fast and loaded with virtuosity, but it has little impact on me.  Mustonen
might as well join the few others at the bottom; there are times when his
playing seems aimed at pleasing himself rather than reflecting the music's
nature.

11th Variation - When dealing with review projects such as this one, I
rarely group the versions by tempo.  But a little diversity never hurts,
so I divided the fifteen versions into two groups: the first group has
performances in the one-minute range or less.  This group consists of
Bruins, Serkin(surprise), Horwszowski, Roberts, Mustonen, Pollini, and
Yudina.  Three stand out from the crowd: Yudina, Pollini, and Mustonen.
In this instance, standing apart is not favorable for Yudina.  She easily
has the fastest tempo, and she just sounds fast.  This music has nuances
and diverse colors; at Yudina's speed, it's impossible for these qualities
to come forth.

Pollini's distinction is the strong amount of subtle tension and drama he
injects into one of the more relaxed variations in the set.  His textures
are full, and the bass line is deliciously rich.  Mustonen is at the other
end of the spectrum.  Ever stark with persistent staccato, he highlights
the playful elements in the music much more than in any other version.
It's a great and very different interpretation.  Mustonen has found a piece
of music which is perfectly suited for his approach.

The slower performances tend to be much more interesting than the quicker
ones.  Since I feel that momentum doesn't have a major role in the 11th
variation, slowish versions which place high priority on diversity of color
and explore the richness of the music's themes get high marks.

Barenboim has a ceremonial appeal I always go for, and Kinderman gives a
role-model performance highlighting the tenderness and 'stopping of time'
aspect of the piece.  Schnabel and Sokolov also offer these delightful
features as excellently as Kinderman.  Brendel is more along the lines of
the exceptional Pollini performance with heightened tension, drama, and
fuller textures.

Any peformance of the 11th variation which can give me a full-course meal
in 1 1/2 minutes in the manner of Rosalyn Tureck for Bach receives my
highest affection.  Piotr Anderszewski is fantastic.  I never knew this
variation had so many emotional themes, and Anderszewski presents them in
a continous and natural flow.  Every moment has something new and stunning
to offer.

The Richters are also excellent but not as exploratory or illuminating as
Anderszewski.  So far, I'm finding the Richter versions quite similar to
one another as to tempo, poignancy, strength, and phrasing.  I think the
'consensus' is that Richter's 1986 account is the better one, but I don't
hear much difference at this point.

Speaking of points, these are the rounded point totals through the 11th
variation:

Anderszewski..19
Brendel.......18
Pollini.......17
Barenboim.....17
Kinderman.....17
Sokolov.......17
Schnabel......17
Richter/70....16
Richter/86....16
Horszowski....16
Mustonen......15
Bruins........14
Serkin........13
Yudina........11
Roberts.......10

The way it's shaping up, I'd draw a line below Mustonen; from Mustonen up,
the performances are highly rewarding and often exceptional.  Bruins is
having a tough time with the more reflective variations; he simply doesn't
want to reflect on them.  The problem is that I don't hear anything in
its place that he offers.  Yudina is no shrinking flower and many of the
variations suit her quite well.  However, her transition to tenderness and
elegance, when needed, surfaces in minimal anounts.  Mr. Roberts seems to
me to be adrift; he frequently abandons his strengths and goes off into
other avenues with which he has little intimacy.

I am surprised at my current opinion of Peter Serkin's readings, because
I've had a warm spot for them over the past few years.  But I must have
been wrong.  Serkin is low on voltage and energy compared to most other
artists, and he also isn't close to conveying the diversity and nuances
of Anderszewski or Sokolov.  That leaves him in some kind of purgatory.

With Mustonen, I keep going back and forth.  There are definitely times
when he is willful and out of step with the music.  On the other hand,
every variation is distinctive and clearly reveals Mustonen as a master
of his instrument.  It might not be a version I will play frequently as
time moves on, but I'd fight to keep it.

Although reviewers love to dump on any Pollini recording they can get their
hands on, I am thoroughly enjoying his performances.  The rumor that the
man is 'icy' is ridiculous; great drama and tension are not the qualities
of a cold artist.  He's pretty good in Debussy and Beethoven also.

As in Part 1, I have to say that these fifteen versions have been great
to listen to.  I know I've been banging Roberts from all directions, but
that's only because his competition is so strong.  In any environment,
there's always one person who gets abused.  Perhaps I'll concentrate on
Yudina in Part 3.

Don Satz
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