The British pianist Paul Lewis, who has significantly contributed to the Beethoven discography with his probing, fresh and finely played recordings of the 32 piano sonatas and the 5 piano concertos, continues his survey of the composer’s major works with the “Diabelli” Variations.
The technical demands of this piece are hardly the only challenge. At a basic level what is a pianist to make of this elusive and unconventional work? In 1819 the savvy publisher Anton Diabelli invited the leading composers of his day to create variations on a bouncy little waltz he had composed, which would be published in a set. Intrigued, Beethoven took up the challenge but then turned to writing his last piano sonatas. In 1822, still captivated by the dumpy waltz tune, he set about composing what would turn into a 55-minute set of 33 variations, including a complex, hyperdriven fugue.
Some of the variations poke fun at the waltz by exaggerating little rhythmic riffs or ornamental turns of phrase; others spin the all-purpose theme into mystical flights. Is the piece a big tease? Or is Beethoven showing off his ability to fashion sublime music from rudimentary material?
Mr. Lewis keeps all options open in his elegant, sly and richly characterized performance, providing rollicking humor in the clattering 16th variation, infectious exuberance in the cascading 18th variation, and mystery in the harmonically searching time-stands-still variation that follows. Mr. Lewis takes a bracing tempo in the fugue, played with punchy attacks and admirable clarity. His way with the flighty, delicate final minuet variation is especially beguiling. Many of his tempos are on the restrained side, to good effect. The exception is the original waltz, which is a little hard-driven and breathless.
All in all, Mr. Lewis again proves himself a major Beethoven interpreter. (Anthony Tommasini)
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