Variations 12 & 13 - I like to think of these two as the 'question and
answer' variations.  The 12th variation questions in an incessant manner,
while the 13th replies with a highly demonstrative, cocky, and powerful
presentation.

There are a few distinctive readings among the fifteen:  Barenboim,
Mustonen, Richter/70, and Kinderman.  Barenboim's 12th variation is slow
and probing, while Mustonen's 12th alternates dynamic levels and creates
distinct prisms of confusion.  The 13th variation is tailor-made for the
commanding Richter as he plays the powerful three-chord motifs supremely;
Richter has the knack of delivering great power and confidence in the most
concentrated form of any pianist I know.  Kinderman continues to give
excellent performances of a mainstream nature with an ever-present
classical approach.

My preferred version comes from Richter/86.  As in his earlier recording,
Richter is a tower of power and concentration in the 13th variation.  In
the 12th, the '86' performance offers the greatest tension of any of the
reviewed versions.  Essentially, Richter is the sole artist exceptional in
both variations.  The remaining versions are very good but do not stand out
from the crowd.

Variation 14 - Tension and the contrast between contemplation and a
bold/austere activity highlight the 14th variation.  This is also a
variation where the spacing between notes and chords plays a crucial
role in conveying the blend of tension and comfort in the music.

Schnabel and Serkin are rather low-key without much contrast, and Kinderman
lessens contrast through over-refinement.  Roberts is quick and sounds
perfunctory.

Sokolov's is an excellent version which mesmorizes with its very slow but
incisive pacing.  Also of high quality are the Pollini, Yudina, and Bruins
readings; each is quick and well-contrasted.

Both Barenboim and Brendel are of moderate tempo and display plenty of
contrast.  The difference is the outstanding command of intervals that
Brendel possesses.  I feel that each note is perfectly distanced from one
another to convey the underlying tension of the variation.  The result is
a musical flow of logic and emotional breadth.

My previous mention of intervals couldn't be more contrasted than in
the Horszowski and Anderszewski performances.  Horszowski is under three
minutes with little spacing at any point; Anderszewski extends the piece
to well over six minutes with spacing that sounds like the length of
a football field.  Both approaches work splendidly, although it's
Anderszewski who immediately puts this listener in another world and
doesn't let go until the conclusion.  Great articulation is the key to
Anderszewski's performance which is a highly memorable one.

Both Richter performances are like granite in chord structure with
exceptional pacing.  However, Richter's 1986 performance includes a
couple of technical goofs which are distracting.

In addition to Brendel, Anderszewski, and Richter/70, Mustonen reaches
the top level with a wonderfully articulated and contrasted reading.
This time, his shortened note values and slight hesitations create
enhanced tension which is mighty impressive.

Variations 15 thru 17 - Starting with a light and graceful gallop,
these three variations take us on a journey of increasing frenzy.  The
15th variation contains the seeds of this frenzy which abruptly erupts with
the beginning of the 16th variation.  You could say that "all hell breaks
loose" in the 17th variation.

Peter Serkin is on the low end, as he is entirely too benign until the 17th
variation; I also feel that his pacing and articulation leave much to be
desired.  Theo Bruins displays a curious lack of tension in the 16th and
17th variations; he's powerful enough but too cheerful.  Maria Yudina is
'spur-of-the-moment' and could have benefited from additional practice
sessions.  She's sloppy in spots and treats the 17th variation in what
sounds like a caricature of the music.  William Kinderman is low on
tension; in the 17th variation, he seems to think that key-banging
substitutes for tension.  Bernard Roberts just does not appear up to the
demands of the music, as he seems to have just met the 16th variation and
must slow down to handle the 17th.

The best versions possess a great deal of tension, excitement, detail, and
anticipation from the 15th variation:  Mustonen, Richter/70, Sokolov, and
Pollini.  I couldn't ask for more detail than provided by Ollie Mustonen;
he makes it easy to follow every musical strand.  Mustonen also is strong
on tension and easily gives one of the most exciting performances.  Tension
is the key element of Richter in his 1970 reading; the anticipation from
his 15th variation is the best in the business, and he streaks through the
remainder of the music with great gusto and concentration.  Richter/86 is
more of a 'sledgehammer' performance and not as rewarding as his earlier
outing.

Other great readings come from Sokolov who displays magnificent levels
of energy and from Pollini who thoroughly excites and offers fantastic
right-hand action in the 17th variation.  Anderszewski would have been one
of the best if not for the left-hand pounding he dishes out in the 17th
variation; I felt like a used-up punching bag.

Pride of place goes to Alfred Brendel whose performance has everything
offered in the other top versions, only more of it.  Nobody can match him
on excitement, tension, and anticipation; only Mustonen provides the
greater detail.  Brendel's 15th variation keeps telling me that upheaval
is ahead, and his following two are full-throttle displays of immediate
urgency and vengence.

Variation 18 - Mysterious in nature, this variation times out on average
at about 1 1/2 minutes.  Readings in the two-minute range tend to have a
loving and comfortable atmosphere such as from Sokolov and Anderszewski.
Bareonboim's equally luxurious performance has something more - sensuality
and the exuberance of anticipating love; these elements permeate his
reading and move it to the top of the class.

Joining Barenboim is the very quick Mustonen with a one-minute reading.
Not only is he by far the fastest of the group, he uses a sharp staccato
throughout.  Essentially, Mostonen alters the nature of the music as
projected by every other artist.  In Mostonen's hands, the 18th variation
is a bundle of nervous energy just dying to be released.

Hitting all the right buttons in the past few variations, Mustonen
has risen greatly in my estimation.  Up to this point, there are only
a couple of other versions which I prefer(Anderszewski/Brendel).  The
review comments which largely describe his performances as wayward or
even perverse don't ring true with me.  Reviewers were quite enthusiastic
about the Sokolov and Anderszewski discs when released, and those
performances are just as far from the mainstream as the Mustonen.  It's
the direction taken from the center which seems to be at the crux of the
matter.  Sokolov and Anderszewski take a direction involving slower tempos,
greater relfection, and more luxury.  Mustonen's direction entails faster
tempos, bold delivery, and a sharp staccato which widens the silence
between notes and results in a stark landscape.  It's good to keep in mind
that silence can have impact, and Mustonen uses his intervals effectively
Mustonen is winning me over, and I find his style to be in sync with
Beethoven's musical personality.

Here's the point totals through the 18th variation:

Brendel.......27
Anderszewski..26
Barenboim.....25
Richter/70....25
Mustonen......25
Pollini.......24
Sokolov.......24
Richter/86....24
Kinderman.....22
Schnabel......22
Horszowski....22
Bruins........19
Serkin........17
Yudina........16
Roberts.......14

This might be a good time to sum-up my opinions about the sound quality
of the fifteen recordings.  Mustonen's is the best with its crisp and
crytal-clear soundstage.  Exceptional sound comes from the Sokolov,
Anderszewski, Kinderman, and Roberts discs.  Pollini, Bruins, Serkin, and
Richter/86 are a step down from exceptional.  All the remaining releases
have various sound problems, but none of them significantly interferes with
the messages of the artists.  Yes, it can be difficult to get excellent
detail from an older recording, but many new releases don't score well on
detail either.

Don Satz
[log in to unmask]