Beethoven: Diabelli Variations, Op. 120
Vladimir Feltsman (piano)
I found his playing involving and engaged. One aspect of his playing that caught my ear early on was the strength of his left hand. I can imagine that some listeners might even find some of...
Beethoven: Diabelli Variations, Op. 120
Vladimir Feltsman (piano)
Purchase product
I found his playing involving and engaged. One aspect of his playing that caught my ear early on was the strength of his left hand. I can imagine that some listeners might even find some of...
About
Anton Diabelli, a Viennese publisher and composer of popular music for amateurs, published Beethoven's Thirty-Three Variations on a Waltz for Pianoforte in 1823. A year later he republished the set as Part I of a two-volume collection, Part II of which comprised 50 variations on the same “Given Theme”, each written by a different “prominent composer”. Among those
who contributed were Hummel, Czerny, Kalkbrenner, Moscheles, Schubert, Archduke Rudolf and the 11-year-old Liszt. The “Given Theme” was a waltz, “Ein Deutsche” written by Diabelli himself. Even judged by the highest standards of Beethoven’s output the Diabelli holds a very special place among his works. It is an opus magnum that summarizes not only Beethoven’s own experiments as a composer but those of the whole German musical tradition to which he considered himself a rightful heir.
Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world.
Contents and tracklist
Awards and reviews
3rd March 2014
I found his playing involving and engaged. One aspect of his playing that caught my ear early on was the strength of his left hand. I can imagine that some listeners might even find some of the variations a little too bass-heavy though I liked the firmness and definition that Feltsman brings to the bass line