Johannes Brahms(1833-1897)
   Handel Variations, Opus 24

For Part 5, we meet up with recorded performances from two of the legendary
pianists of the 20th century:

Egon Petri
Piano Library/Enterprise 286
Recorded 1938

Solomon
Philips Great Pianist Series 456973
Recorded 1952

Cutting to the essentials, Solomon joins Arnoldo Cohen and Leon Fleisher
as the top versions of Handel's Variations & Fugue on a Theme by Handel.
There isn't a weak spot in the entire performance, but there are numerous
memorable ones.  Solomon starts us off with a regal and soft-toned Theme
draped in elegance; although I prefer a little more power, I can't deny
that Solomon handles his approach with perfection.

If you like 'controlled abandon' and exuberance, Solomon delivers a
wealth of these qualities in every single fast and exciting variation
and the Fugue.  This applies to Variations 1, 4, 7, 8, 10, 14, 15, and
25.  Concerning the Fugue, Solomon's version is the most interesting
and pulsating of all I've encountered.

Variations 6, 9, 13, 20, and 24 each carry a heavy emotional weight,
and Solomon gives each a commanding presence.  His 9th Variation is
particuarly slow and illuminates many details.

I love, as most do, the slower, contemplative, and urgent variations such
as nos.  2, 5, 11, and 12.  Perhaps, this is where Solomon is at his very
best.  Each piece bristles with an intense yet subtle urgency which is
utterly compelling.

Solomon exceptionally applies the light touch to Variations 16, 18, and
19.  He can also ask questions with the best of them as evidenced by his
Variation 17.  Also, I love the bounce and spring from his Variation 23.

Any drawbacks? Yes, sound quality.  The fact is that it won't win any
awards even if it had been recorded in the early 1930's, and it's loaded
with hiss.  Further, soft passages need a large volume increase to be
projected decently; of course, that only exacerbates the ominous hiss.

I was going to rate the recording as essential but not at the highest
level because of the sound quality.  But the more I listen, the more
Solomon dwarfs any sound considerations.  So, the hell with the sound
and just enjoy a commanding interpretation from a legend.

Speaking of a commanding interpretation fully at the service of the music,
Egon Petri's performances are also at the top level.  Like Solomon, there
isn't any particular style employed by Petri.  He just gives the Theme,
each variation, and the Fugue exactly what each needs from a musical
perspective.  Petri is generally of quicker tempo than Solomon, but this
is a moot issue in consideration of such superlative interpretations.

Petri's most impressive trait is his mesmorizing soft and hushed passages
which provide a wonderful contrast as in the Fugue where these hushed tones
get branded into my memory.  Another unique feature comes from his 22nd
Variation where the build-up of energy is irresistable.  However, play any
variation and you will hear the essence of musical communication from the
composer to the listener.

The most significant difference between the Solomon and Petri versions
concerns the sound.  Petri's sound has none of the recessed nature of the
Solomon nor the great amount of hiss.  Unfortunately, the Petri sound does
have one major negative - lack of color.  I consider this feature mainly to
be a product of the 'Cedar Restoration' sound application which does quite
a bleaching job on the piano tone.  Perhaps it could be put to better use
in one's washing machine.

With Petri and Solomon at the zenith, we now have four transcendent
versions to choose from.  If sound is a major priority for you, either the
Cohen or Fleischer recordings should well satisfy.  Those more concerned
with performance than sound are advised to obtain the Petri and Solomon
performances as soon as possible.  The Solomon version was also available
from the Testament label, but my feedback is that the disc has been taken
out of print; the Pearl label also appears to have the same performance.
Concerning the Petri version, it is also available on Iron Needle.  I want
to emphasize that my opinions about sound quality only apply to the
Enterprise and Philips versions I reviewed.

Don's Conclusions:  Petri and Solomon go to the head of the class along
with Cohen and Fleischer.  I do recommend caution about the sound quality
of these two historical recordings, but a sampling from a CD sales site
will *not* give you a good idea of the sound you will be buying.

I still have a small number of other versions of the Handel Variations
to review and am particularly looking forward to the two different
performances from Rosalyn Tureck on the VAI label; one is from a few
decades ago, the other fairly recent.  Does Tureck do Brahms as well
as she does Bach? The answer is forthcoming.

Don Satz
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