Beethoven: Eight variations in F major on Tändeln und Scherzen (by Süssmayr), WoO 76

Following on his acclaimed recordings of Beethoven’s sonatas, sonatinas and bagatelles, Ronald Brautigam here presents the first disc of four with variations, comprising works composed between 1796 and 1802.

The ‘Eroica variations’ Op.35 is on a much larger scale than any of the variations he had written before, and Beethoven himself described it as a work in ‘a wholly new style’.

Brautigam has used two different fortepianos on this recording: the earlier works are played on an instrument by Paul McNulty after Walter & Sohn c.1805, while the Op.35 set is performed on another by the same maker, after Conrad Graf c.1819.

The art of variation lies at the heart of much music, including that of Beethoven, who practised this demanding technique as both performer and composer at many stages throughout his career.

For his ‘Eroica’ Variations Beethoven used a theme originally written for his ballet music from The Creatures of Prometheus which he later incorporated into his Third Symphony.

Other variations, whether based on the music of his contemporaries or of his own invention, such as the famous Turkish March from The Ruins of Athens, provide considerable insights to Beethoven’s much vaunted virtuosity and profound creativity.

Trudelies Leonhardt performs these works on a fortepiano by Benigus Seidner, Vienna ca 1815/1820.

Rudolf Buchbinder is firmly established as one of the most important pianists on the international scene, he is a regular guest of such renowned orchestras as the Berlin Philharmonic, Vienna Philharmonic, New York Philharmonic, Orchestre National de France, London Philharmonic, National Symphony, and the Philadelphia Orchestra. He has collaborated with the world’s most distinguished conductors including Abbado, Dohnányi, Dudamel, Frühbeck de Burgos, Giulini, Harnoncourt, Maazel, Masur, Mehta, Saraste, Sawallisch and Thielemann and is a regular guest at the Salzburger Festspiele and other major festivals around the world.

The complete Vox, Turnabout and Vanguard solo recordings

Alfred Brendel retires this year from public performance. He will give his last recital in December at Vienna’s Musikverein, in the city where he came to prominence over half a century ago. The recordings he made then for young American labels established in the wake of the Second World War, harnessing young talent in classic repertoire, have stood the test of time. They put down a marker for the music that Brendel would come almost to ‘own’ in the eyes of the piano-music-loving public: the Beethoven concertos and sonatas, Mozart concertos, Schubert, Liszt and Schoenberg. He would later bring deepening insights to the core of the Austro-German repertoire that was his mainstay, but these early recordings are of far more than merely historical value: they are the first, impetuous explorations of a true keyboard lion. Thus there is also music we don’t associate with Brendel, and to which he chose not to return, especially from Russia: Balakirev, Mussorgsky, Prokofiev and Stravinsky. In sum, and at a specially reduced price, this is essential listening for anyone interested in piano music and in the career of one of the greatest living pianists.

Many of these performances have scarcely been available on CD: this is the first time they have been gathered together as a set Extensive booklet notes by pianophile Ates Orga, including a conversation piece with Brendel.