{"id":3747,"date":"2016-10-26T03:59:11","date_gmt":"2016-10-26T01:59:11","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=3747"},"modified":"2025-05-06T15:59:26","modified_gmt":"2025-05-06T13:59:26","slug":"beethoven-brahms-alexandre-rabinovitch-barakovsky-2","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/beethoven-brahms-alexandre-rabinovitch-barakovsky-2\/","title":{"rendered":"BEETHOVEN \u2013 BRAHMS \u2013 ALEXANDRE RABINOVITCH-BARAKOVSKY"},"content":{"rendered":"

Ludwig van BEETHOVEN\u00a0:<\/strong> 33 Variations on a Waltz by Anton Diabelli, Op. 120 \u2013 Johannes BRAHMS\u00a0:<\/strong> Piano Sonata No. 3 in F Minor, Op. 5 (Live).<\/p>\n

Alexandre Rabinovitch-Barakovsky<\/strong>, Piano.<\/p>\n

Beethoven: 33 Variations on a Waltz by Anton Diabelli, Op. 120<\/h4>\n

It is interesting to note that when the romantic paradigm \ufb01rst emerges (17th to 20th century), originally expressed in terms of \u201cSeconda Pratica\u201d by Monteverdi, the musical discourse becomes more theatrical and the spectrum of expressed emotions widens considerably as the new confessional language evolves. The Diabelli Variations cycle is no stranger to this theatralization process, which intensi\ufb01es to an extreme in this work as it moves along.<\/p>\n

At the same time, the Variations are less open to the analysis of their connotations than Beethoven’s piano sonatas. This work initially appears quite enigmatic. I believe the key to its mystery is at the end of the Variations, where the piece ends with the last thundering chord in an extravagant manner. Its meaning could be deciphered by the expression \u201cCommedia \u00e8 \ufb01nita\u201d. That is the composer’s way of letting us know that he had a lot of fun in creating this universe of metamorphoses of the initial frivolous motif.<\/p>\n

I am convinced that the buffoonery of the \ufb01nal minuet has nothing to do with the transcendent and sublimated atmosphere at the end of op.111. The parallel that Alfred Brendel tries to establish between these two works seems to me misplaced within the context of this grand fresco, of this farce with a human face, of this Hindu Maya \u201cworld spectacle\u201d that are Beethoven’s Variations on a Waltz by Diabelli.<\/p>\n

Mircea Eliade wrote of \u201cDionysiac orgiasm\u201d, which implies a transgression of rules and the \u201csurpassing of the human condition\u201d. For me, this is perfectly in keeping with the narrative of this work, and this conformity reveals itself in the punch, the exacerbated energy and the vitality of this music in association with the masculine element, at the opposite of which arises the feminine pole, with its ambivalent courtesy and gentleness.<\/p>\n

This fundamental dichotomy is noticeable in the Variations themselves as well. As a general rule, the Variations start in an almost insigni\ufb01cant manner, but immediately go through radical transformations with the chromatization of the melodic lines and of harmonies, making this discourse suggestive and often simmering.<\/p>\n

A connection could be established between this rather rhapsodic musical discourse and the one characteristic of Beethoven\u2019s last sonatas (op.101, 109 or 110). The most extraordinary moment of this kaleidoscope of multiple feeling moods arises after the grotesque variation no. 28, when the extrovert expression is suddenly internalized from variation no. 29 onwards to result in variation no. 31: the essence and center of the composer\u2019s overall message, that of an in\ufb01nite compassion.<\/p>\n

After the unrestrained and virulent fugue, a new considerable surprise: a sort of musical suspension over the abyss, on the brink of a chasm \u2014 the most fascinating and enigmatic moment in the Variations. Followed, without any transition, by this whimsical and relaxed minuet of which I have already spoken \u2014 la Commedia \u00e8 \ufb01nita.<\/p>\n

A. Rabinovitch-Barakovsky
\nTranslation Maria Balkan<\/p>\n","protected":false},"excerpt":{"rendered":"

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