Beethoven – Diabelli Variations, op. 120 Eunice Norton, piano (Peacham, 1982)

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Beethoven – Diabelli Variations, op. 120 Eunice Norton, piano (Peacham, 1982)

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Beethoven
Diabelli Variations, op. 120

Eunice Norton, piano
1982 Peacham Festival, Vermont.

Photo: The historic Peacham church, site of the festival performance.

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EUNICE NORTON ON THE DIABELLI VARIATIONS

All of the prominent musicians in Germany were shown a trivial group of bars, the theme by Diabelli. All saw in it no possibilities for its use in the production of a set of variations, or anything else. Beethoven was the last to see it. His imagination immediately recognized all kinds of interesting musical shapes. The strong, first variation off-sets all memory of any weakness of the theme. The working of Beethoven’s imagination – his variety of sounds and shapes – is then spell-binding. Those of us who have heard or performed the variations recognize it as being as great as Bach’s Goldberg Variations. The person learning the piece for the first time must strive to keep up with Beethoven’s imagination. If he can’t, then the performance will fail. These variations are so original and fascinating to learn, each variation is a special experience for the pianist — a change from anything they have been called upon to perform before, and with a full requisite of spirit. That is the challenge of the work, for Beethoven simply let his spirit soar. The fugue is so exciting and surprising, as well as unique and not easy. Finally, a minuet seems on first acquaintance a little strange. But it develops into a great climactic end.

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Keyboard (Musical Instrument), Piano (Musical Instrument), Ludwig Van Beethoven (Composer), Diabelli Variations (Composition), Eunice Norton (Musical Artist), Myra Hess (Musical Artist), Tobias Matthay (Composer), Artur Schnabel (Musical Artist), Peacham (City/Town/Village), Classical,

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