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Stories   >   Mitsuko Uchida's new 'Diabelli Variations' gives us a view of Beethovens multifaceted perspective / THE CLASSIC REVIEW

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Mitsuko Uchida's new 'Diabelli Variations' gives us a view of Beethovens multifaceted perspective / THE CLASSIC REVIEW

Posted: April 29, 2022

Decca Classics is proud to release Mitsuko Uchida’s new recording of Beethoven’s Diabelli Variations. Among the most celebrated living interpreters of the music of the Classical period, Uchida captures on disc her interpretation of one of the greatest works in the piano repertoire.  
 
Uchida’s live performances of the Diabelli Variations have been praised as “mesmerizing” by The Guardian, “dazzling” by The Arts Desk and “compelling to the end” by the New York Times. The new recording of the work was made at Snape Maltings in Suffolk, a concert hall with which Uchida feels a strong affinity.  
 
Mitsuko Uchida, DBE, has recorded exclusively on Decca Classics and Philips across four decades. Her acclaimed discography, which includes the complete Mozart and Schubert piano sonatas, has earned her two Grammy Awards, a Gramophone Award and two BBC Music Magazine Awards. She is regarded as a peerless interpreter of the music of the First and Second Viennese Schools. 
 
Beethoven’s Diabelli Variations stand alongside Bach’s Goldberg Variations as the pinnacle of the variation form. In 1819, the dilettante composer and publisher Antonio Diabelli commissioned around 50 of the leading composers in Vienna (including Franz Schubert) to compose variations on a theme he had written. Among them, Beethoven was at first dismayed by the quality of the theme (describing it as a “cobbler’s patch”) and scathing of such collaborative models of work. Yet, working intermittently on the set for six years, Beethoven was able to transform the mundane theme into one of the most sublime pieces of piano music ever written. 

THE CLASSIC REVIEW's Azusa Ueno writes….With recordings of Beethoven’s 5 concertos and the late sonatas under her belt, Mistuko Uchida’s new Diabelli is highly anticipated, especially given that this is her first solo album in six years.

For as trifling a melody as it is, Uchida brings plenty of comedy into the Tema – the quippy, even snippy right hand is interrupted by the boisterous left that crashes an elegant party. Where Kovacevich (1968) plays to the lilt of the waltz in the inclusion of some legatos, Uchida’s drier articulation gives us a hint of sarcasm. Martin Helmchem’s (Alpha, 2018) theme is also on the more staccato side, and, of the three, seems to give the most burst of energy to the waltz.

The pinnacle of Beethoven’s imaginative prowess really comes out in how he was able to transform the theme’s lack of dimension into a myriad of vibrant personalities. This is something that Uchida underscores throughout her interpretation. Var. 1, with its French Overture dotted rhythms, is a commanding orchestral statement. Var. 2 is all about nuance and balance: Uchida’s chords sound full yet still fluffy. The affable Var. 3 charms us with its lyricism but has a little surprise in its rumbling, ominous figurations (0:49 and 1:09).

Variations like #9 derive from the smallest of details in the waltz: Beethoven adapts the little turn into an appoggiatura figure which drives the risoluto character. Paired with the key switch to minor, a rather angry persona emerges to which Uchida adds a cantankerous stubbornness. This is a markedly different take from Brendel’s live version (released on Phillips 2000), which is not only a good half minute faster but also much lighter and almost brusque compared to Uchida’s.

The Vivace (13) lets the composer’s signature dynamic contrasts (something we hear in the Op. 57 Appassionata or Op. 106 Hammerklavier) take center stage. Uchida takes this to maximum effect: the octaves are thunderous, not all harsh but pleasantly resonant, while the small intervals seem like timid yet mischievous afterthoughts. Variation 16 might remind us a bit of the boogie-woogie jazz we also hear in the second movement of the Op. 111 sonata, though much more frenetic here. The pianist captures the bustling spirit; listeners might find the element of humor in trying to chase down the helter-skelter left-hand.

The robust fugue towards the end of the set (track 32) can be divided approximately into two parts: the first, more vertical in texture, has a nice symphonic aura with Uchida not holding back on a bold sound. The more contrapuntal section that follows reminds me of the way in which she approaches the intricate passages of her Mozart sonata recordings. Even when we descend into the more growling lower registers, each note comes through with unfailing clarity.

Misha Donat’s liner notes are both plentiful and excellent, taking us through a journey of the variations historically and musically. The listener may find the connections between Beethoven’s other works particularly interesting. Uchida’s familiarity with the Snape Maltings Concert Hall (where she has performed in the past) is evident in the way the acoustics elevate her performance. The sound engineering, however, goes the extra mile in creating a pristine yet intimate listening environment.

Despite the plethora of recordings out there, Uchida’s is definitely one worth giving multiple listens to. She gives us a view of Beethoven’s multifaceted perspective on humor but also treats us to her own unparalleled finesse.

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