Ludwig van BEETHOVEN (1770-1827) Variations for Piano
33 Variations on a Waltz by A. Diabelli, Op 120
Five Variations on 'Rule Britannia', WoO 79
Seven Variations on 'God Save the King', WoO 78KONSTANTIN SHERBAKOV piano
NAXOS 8.554372
[70:28] budget-priceby Johann D'Souza
I have heard Konstantin Scherbakov on three occasions: once in a performance of the Medtner Piano Concerto No.1 with the SSO (reviewed here), in a masterclass held at the National University of Singapore, which preceeded a recital at the university.
At the masterclass, I remember specifically a few salient points he had pointed out to a student playing the 'Appassionata' Sonata for him. This is a difficult sonata both in the area of interpretation as well as technique - but it was the textual fidelity which he pointed out which made many of us in the audience sit up and pay closer attention. Phrasing in the piano sonatas are not only important to interpretation but gives new dimension when seen in the correct light.
Scherbakov, a winner at the first Rachmaninov Competition in 1983 (equivalent in status to the Tchaikovsky Piano Competition and the Russian All-State Piano Competition), is no ordinary pianist. His discography spans from Bach, Beethoven, Rachmaninov, Godowsky, Respighi (review of solo piano music here) and the complete Medtner concertos (No.2 reviewed here). He is also in great demand as a teacher and pedagogue where he gives masterclasses to students in Switzerland, Germany, Italy, New Zealand and Cuba.
For this CD on the Naxos label (he also records for Marco Polo), Scherbakov picks three sets of famous Variations. Most notable are the Diabelli Variations, 33 small tiny masterpieces hardly two minutes each. One may ask why so many? Well there is no definitive answer; Beethoven was in the late stages of deafness and this had caused him to retreat away and develop his own unique art. Mind you the work was completed in 1823, just four years before his death.
Konstatin Scherbakov in Singapore 20th October 1999
Konstatin Scherbakov arrives in Singapore for a one-night concert with a KILLER programme: Mussorgsky's Pictures At An Exhibition, three pieces from Tchaikovsky's Nutcracker (arr. Pletnev), Rachmaninov's Three Preludes and Godowsky's transcription of J.Strauss' Wine, Women & Song.Tickets at S$12, S$18, S$25 and S$30 are already available from SISTIC. For more details of the concert, click here!
I am therefore inclined to believe that his later works were never like any of the earlier pieces which had the typical Beethovian sound. We get a greater sense of experimentation on a single theme. The markings of this set range in the extremes, as seen in Variation V (Allegro vivace), Variation VIII (Poco vivace), right to the other extreme: Variation XXXI (Largo molto expressivo) and XXIX (Adagio ma non troppo). There is no strict pattern of speed changes such as alternating fast-slow-fast variations, or series of variations in similar tempo. I feel that Beethoven must have allowed the music to dictate the tempo of each variation in his mind rather than put the markings down by ear, since he was already deaf. Alfred Brendel suggested that the Diabelli Variations is actually a "fun" work and should be taken light-heartedly. The Diabelli Variations are indeed quite unlike his late sonatas (Op.109-111) which are deep and dark, perhaps with an impending sense of death.
The origin of the Diabelli Variations began with one Anton Diabelli, who had invited composers in Vienna to write variations on a waltz melody of his own. Well-known composers like Schubert, Liszt (then 11 years old) and Czerny contributed, and the collection of fifty works were published under the patriotic title of Vaterländischer Künstlerverein ("Fatherland's Society of Artists").
Scherbakov stamps his mark from the opening theme (Thema: Vivace); each variation is carefully thought through and one is quickly convinced of his pedagogue qualities as he pays careful attention to phrasing, intonation and dynamics. The only two points of contention for me is this sense of seriousness which pervades through the piece, which in contrast Alfred Brendel takes a more cheerful stand (Philips Great Pianists of the 20th Century 456 730-2). Secondly, Scherbakov has this tendency to brightness at fortissimo, which is slightly on the harsh side.
However Scherbakov always makes use of the elastic tempi well, bridging on through each new variation. For me, to appreciate this whole set, the variations have to be listened to in segments (perhaps ten at a time) rather than completely. There is so much to offer with each variation: syncopated rhythms, crossing hands and light to heavy staccati between variations make this piece interestingly long. Variation XXII is based on the aria "Notte e giorno faticar" from Mozart's Don Giovanni. The big acoustic of the St. Martin's Church (Hampshire, England) used in the recording does bring out the piano sound well.
The notes ably point out that the "final metamorphosis is from waltz to minuet... concluding a remarkable achievement, based on the flimsiest of original musical material, mere Schusterfeck" (Keith Anderson).
In the Five Variations on 'Rule Britannia', the famous theme by Thomas Arne is open and straightforward. Scherbakov once again shows his true Beethovenian interpretation with all the specifics of the piece clearly illustrated, especially in areas of phrasing and tone colours. All bravura passages are never hastily taken but always given the grandeur that befits this piece.
The Seven Variations on "God Save the King" (the British national anthem) is often played as an encore piece, sometimes in its entirety or just a few variations. Haydn was so impressed by this piece that he was inspired to write the "Emperor's Hymn". Scherbakov does justice to the work by giving a clean and well-articulated reading of this 9-minute set of variations. Once again the thing that impressed me most was his uncanny ability to make the salient melody line come alive while bringing out the secondary notes in the left hand.
Many piano enthusiasts buy the whole set of Beethoven's 32 Sonatas but leave out the Variations. There is much to learn from the Variations, including a greater understanding of what Beethoven was thinking in the closing stages of his life when he was growing deaf with time. The two versions that have impressed me the most have been the recording by Brendel, and Piotr Anderszewski whom I had an opportunity to listen to "live". Daniel Barenboim has also a clean and well-balanced reading of the work (Erato 4509 94810-2). All in all, this CD will be excellent for students who want to learn about variations for either exams of for interest.
This disc can be easily ordered from Sing Discs (Raffles City), Tower (Pacific Plaza and Suntec City), Borders (Wheelock Place) or HMV (The Heeren).
Johann D'Souza still fears that the YK 2000 bug will cause immense chaos in the business world and has opted to take out all his cash and stash it under his pillow until the 14th of February 2001- it should be safe then.
Back to the Classical Index!... or read previous piano reviews and features in the Inkpot archives.Other classical music reviews by this or any other writer can be obtained from the InkVault by doing a key word search with the writer's name.
580: 25.9.1999 ©Johann D'Souza
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