Once described as the greatest of all variation sets, Beethoven’s Diabelli Variations are wonderfully mysterious: they reveal their inexhaustible secrets only gradually, and, as with the late string quartets, the claim to understand them fully is a bold one. Perhaps more than with any other instrumental work, familiarity with alternative recordings helps to enrich our understanding of this endlessly fascinating piece.
Still, if you can find room for only one recording, or if you are new to the work, then you can hardly go wrong with Alfredo Perl’s outstanding performance. It complements his current survey of the complete Beethoven sonatas (reviewed in March), and many of the qualities found in those discs are evident here; indeed, this may well end up being the highlight of the whole enterprise.
From the outset Perl’s sense of rhythmic propulsion and dynamic incident gives his performance a rare vitality and character. The rigour and urgency of Vars. 7 and 23, for example, and the excitement of the demanding Var. 10 are typical of Perl’s dramatic approach. He also manages to convey the elements of comedy, such as the Leporello quotation from Mozart’s Don Giovanni (Var. 22) and the pointed silences of Var. 13.
One can find greater spiritual depth from Brendel (his live recording from 1976, now available as part of a five-disc set), or Arrau in the ethereal Var. 20, but for its lucid clarity and directness, yet searching thoughtfulness, Perl’s account reminds me of Stephen Kovacevich’s classic 1968 recording. Either would make a ‘safe’ recommendation, but as I have suggested, so multi-faceted are the Diabelli Variations that alternative interpretations are important for a more complete picture of this wonderful music.'