"The demiurgic body of 33 variations Op. 120, best known as Diabellli Variations constitutes an admirable effort of expansion, vastness and dissolution. In spite of the harmonic scheme of the Waltz is maintained, the expected relationship with the original theme is extremely distant. Every variation by itself is a true micro cosmos within a major universe.
The Farewell taste of this work is so wounding, with that contemplative gaze of the wisdom, loaded of expressive introspection and sense of sidereal ambition. Beethoven gives the back to man and focuses his attention on the universe. A visible attempt to emulate to his own the monumental Goldberg Variations. Under this perspective I guess while a special work is more introspective, there is a major number of approach ways. The certain of the case is this work is the peak of he counterpoint in any previous work of Beethoven.
There is a visible absence of resolution and will so typical of his intermediate stage, though we must acknowledge the absolute wholeness of the work. Gulda made an admirable reading of this sublime and expansive Opus. But Gulda was in his seventy one and this circumstance seems to accent with major emphasis of the dissolution of the singularity.
Go for this album, because it is one the most rewarding performances of Friedrich Gulda ever made."
Greatness itself - and out of print!
A. F. S. Mui | HK | 09/01/2009
(5 out of 5 stars)
"There must be some thing grossly wrong with the classical music world these days.
Friedrich Gulda's Beethoven Diabelli Variations is a definitive recording of this work.
Maurizio Pollini's version on DG comes really close; but close as it may, it never surpasses Gulda's in the most important aspect. Which?
Idiomaticity.
Friedrich Gulda grew up with the Viennesse school, whereas Pollini grew up with the Italian maestros. Gulda's is Haydn, Mozart, Beethoven, Schubert. Pollini's is Rossini, Bellini, Verdi, Puccini.
What relevance has this to this work? Well, self-evident.
Beethoven drawn many folklore and Mozartian materials into this piece. Some variations are borrowed and modified from Mozart's operas. Just compare Gulda's with Pollini's.
Then as a matter of pianism, the two are really quite on par with each other. Both versions are sterling, but my personal affinity is with Gulda in this work.