{"id":3174,"date":"2009-04-22T10:05:34","date_gmt":"2009-04-22T10:05:34","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3174"},"modified":"2023-01-09T17:28:22","modified_gmt":"2023-01-09T17:28:22","slug":"franz-hummel-ludwig-van-beethoven-diabelli-variations","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/franz-hummel-ludwig-van-beethoven-diabelli-variations\/","title":{"rendered":"Franz Hummel, Ludwig van Beethoven: Diabelli Variations"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
\n
\n

Diabelli-Variationen
\n<\/b>Franz Hummel \u2013 Ludwig van Beethoven<\/p>\n

Die Kunst des Variierens galt in der Musikgeschichte von jeher als die h\u00f6chste. Und dass Beethovens Genie darin von keinem anderen je \u00fcbertroffen wurde, ist allgemein bekannt und akzeptiert. Wie kommt es aber dann, dass seinem interessantesten, gr\u00f6\u00dften und tiefsinnigsten Klavierwerk ein harmloses Walzerchen von Anton Diabelli zugrunde liegt, das Beethoven wegen einer ziemlich banalen Septakkord-R\u00fcckung sp\u00f6ttisch das \u203aThema mit dem Schusterfleck\u2039 nannte? Lag ihm vielleicht daran zu zeigen, dass ein gro\u00dfer kreativer Geist sich an jeder Kleinigkeit entz\u00fcnden kann? Dass die unscheinbarste musikalische Zelle von begeisterter improvisatorischer und kompositorischer Entwicklungsarbeit bis in die k\u00fchnste Weltdeutung hineingerissen werden kann?<\/p>\n

Sicher ist, dass Beethovens gesamtes Sp\u00e4twerk sich \u00fcberw\u00e4ltigend deutlich in den Diabelli-Variationen spiegelt und dass jeder Kenner dieser Musik hingerissen ist von der Verwegenheit der L\u00f6sungen, vom Reichtum der Inspiration, vom \u00dcberschwang des Ausdrucks, der himmelschreienden Perfektion einfacher L\u00f6sungen und nicht zuletzt der pianistischen Virtuosit\u00e4t, die im wahrsten Sinne auf allen Ebenen von \u203aVirtus\u2039 begleitet ist. Was ficht einen modernen Komponisten an, der unter solchen Voraussetzungen mit einem \u00e4hnlich hohen Anspruch und vom Furor egozentrisch exegetischer Ausschweifung gejagt, das Sakrileg begeht, nochmals 33 Variationen \u00fcber eben dieses \u203aSchusterfleck-Thema\u2039 zu komponieren, ohne sich bedroht zu f\u00fchlen?<\/p>\n

\u2013 Der Glaube daran, dass alle Philosophie in der Luft liegt und man nur nach ihr zu greifen braucht, um sie in Musik zu bannen.
\n\u2013 Das Wissen um die tiefe Bedeutung des freien Falls in einem Spiel, das sich selbst verantwortet und den Komponierenden, obwohl er von seinen Zuf\u00e4llen r\u00fccksichtslos \u00fcberw\u00e4ltigt worden ist, oft in Bewunderung vor dem eigenen Tun erstarren l\u00e4sst.
\n\u2013 Schlie\u00dflich die lustvolle Freiheit, keine Selbstdarstellung zugunsten der Karriere mehr betreiben zu m\u00fcssen und alles festhalten zu k\u00f6nnen, wonach die fr\u00fchen Pr\u00e4gungen sich sehnen.<\/p>\n

Wenn ich also der kulturtragenden Menschheit solch aufrichtige Selbstbetrachtung schuldig zu sein glaube, um nicht von ihr gekreuzigt zu werden, so bin ich doch auch scheinheilig, denn diese Gattung hat mein Vertrauen nur marginal. Aber meine Diabelli-Variationen halte ich f\u00fcr etwas Besonderes und trotz profunder Kenntnis des Beethovenschen Werkes, das ich selbst spiele, f\u00fcr g\u00e4nzlich vom Hauptwerk unabh\u00e4ngig. Sie sind bar jeder individuellen Positionierung, wahrhaft improvisatorisch \u203aaus der Luft gegriffen\u2039, frei von Geschmack, ohne Stil, k\u00fcnstlerisch absolut gewissenlos, \u00fcberhaupt nicht \u203amodern\u2039, dadurch vielleicht aber modern, g\u00e4nzlich meiner Alterspubert\u00e4t geschuldet, in der Abfolge wild durcheinander gew\u00fcrfelt, voller Stil zitierender Handgelenks\u00fcbungen, die manch einen verstorbenen Kollegen am Gestus beteiligen und damit zum Ratespiel einladen.<\/p>\n

Franz Hummel<\/p>\n

 <\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n

CD 1<\/p>\n

Franz Hummel<\/b>\u00a0(*1939)
\n33 Ver\u00e4nderungen \u00fcber einen Walzer von Anton Diabelli (2006\u20132007)<\/p>\n

[01]\u00a0Thema. Vivace und Variation<\/b>\u00a01<\/b>\u00a002:25
\n<\/span><\/p>\n

[02]\u00a0Variation 2<\/b>\u00a0Presto<\/b>\u00a001:21
\n[03]\u00a0Variation 3 Adagio cantabile<\/b>\u00a002:45
\n[04]\u00a0Variation 4<\/b>\u00a000:57
\n[05]\u00a0Variation 5<\/b>\u00a0Allegro entusiastico<\/b>\u00a001:16
\n[06]\u00a0Variation 6<\/b>\u00a0Con allegrezza<\/b>\u00a001:40
\n[07]\u00a0Variation 7 Presto, quasi studio<\/b>\u00a001:20
\n[08]\u00a0Variation 8<\/b>\u00a001:31
\n[09]\u00a0Variation<\/b>\u00a09 Feroce<\/b>\u00a000:49
\n[10]\u00a0Variation 10<\/b>\u00a000:46
\n[11]\u00a0Variation 11<\/b>\u00a0Adagio cantabile<\/b>\u00a002:31
\n[12]\u00a0Variation 12<\/b>\u00a0Presto<\/b>\u00a001:11
\n[13]\u00a0Variation 13<\/b>\u00a0Vivace<\/b>\u00a001:01
\n[14]\u00a0Variation 14<\/b>\u00a0Molto rubato, passionato, parlando<\/b>\u00a004:09
\n<\/span><\/p>\n

[15]\u00a0Variation 15<\/b>\u00a001:12
\n[16]\u00a0Variation 16 Allegro molto<\/b>\u00a001:25
\n[17]\u00a0Variation 17<\/b>\u00a0L\u00e4ndler. Commodo<\/b>\u00a001:52
\n[18]\u00a0Variation 18<\/b>\u00a0Presto<\/b>\u00a000:55
\n[19]\u00a0Variation 19<\/b>\u00a0Feroce<\/b>\u00a001:12
\n[20]\u00a0Variation 20<\/b>\u00a000:47
\n[21]\u00a0Variation 21<\/b>\u00a0Tempestoso<\/b>\u00a001:49
\n[22]\u00a0Variation 22<\/b>\u00a0Allegro con brio<\/b>\u00a000:58
\n[23]\u00a0Variation 23 Intermezzo nostalgico. Largo<\/b>\u00a004:13
\n<\/span><\/p>\n

[24]\u00a0Variation 24 Allegro molto<\/b>\u00a000:47
\n[25]\u00a0Variation 25 Allegro<\/b>\u00a000:50
\n[26]\u00a0Variation 26<\/b>\u00a001:59
\n[27]\u00a0Variation 27 (Aria) Larghetto<\/b>\u00a002:39
\n[28]\u00a0Variation 28 (Marcia funebre)<\/b>\u00a005:10
\n<\/span><\/p>\n

[29]\u00a0Variation 29 (Toccata)<\/b>\u00a002:00
\n[30]\u00a0Variation 30 Quasi Presto<\/b>\u00a001:23
\n[31]\u00a0Variation 31<\/b>\u00a001:17
\n[32]\u00a0Variation 32 Prestissimo<\/b>\u00a000:37
\n[33]\u00a0Variation<\/b>\u00a033 02:20
\n<\/span><\/p>\n

total time: 57:09<\/p>\n

CD 2<\/p>\n

Ludwig van Beethoven<\/b>\u00a0(1770\u20131827)
\n33 Ver\u00e4nderungen \u00fcber einen Walzer von Anton Diabelli (1819\u20131823)
\nop. 120 in C major<\/p>\n

[01]\u00a0Thema. Vivace und Variation I Alla Marcia maestoso<\/b>\u00a002:11
\n<\/span><\/p>\n

[02]\u00a0Variation<\/b>\u00a0II Poco Allegro<\/b>\u00a000:51
\n[03]\u00a0Variation III L\u2019istesso tempo<\/b>\u00a001:24
\n[04]\u00a0Variation IV Un poco pi\u00f9 vivace<\/b>\u00a001:02
\n[05]\u00a0Variation V Allegro vivace<\/b>\u00a000:56
\n[06]\u00a0Variation VI Allegro ma non troppo e serioso<\/b>\u00a001:50
\n<\/span><\/p>\n

[07]\u00a0Variation VII Un poco pi\u00f9 allegro<\/b>\u00a001:18
\n[08]\u00a0Variation VIII Poco vivace<\/b>\u00a001:18
\n[09]\u00a0Variation IX Allegro pesante e risoluto<\/b>\u00a001:38
\n[10]\u00a0Variation X Presto<\/b>\u00a000:38
\n[11]\u00a0Variation XI Allegretto<\/b>\u00a001:10
\n[12]\u00a0Variation XII Un poco pi\u00f9 moto<\/b>\u00a000:50
\n[13]\u00a0Variation XIII Vivace<\/b>\u00a001:12
\n[14]\u00a0Variation XIV Grave e maestoso<\/b>\u00a003:22
\n<\/span><\/p>\n

[15]\u00a0Variation XV Presto scherzando<\/b>\u00a000:37
\n[16]\u00a0Variation XVI Allegro<\/b>\u00a001:01
\n[17]\u00a0Variation XVII<\/b>\u00a001:03
\n[18]\u00a0Variation XVIII Poco moderato<\/b>\u00a001:33
\n[19]\u00a0Variation XIX Presto<\/b>\u00a000:55
\n[20]\u00a0Variation XX Andante<\/b>\u00a002:25
\n[21]\u00a0Variation XXI Allegro con brio<\/b>\u00a001:29
\n[22]\u00a0Variation XXII Allegro molto (alla \u201cNotte e giorno faticar\u201d di Mozart)<\/b>\u00a000:53
\n[23]\u00a0Variation XXIII Allegro assai<\/b>\u00a000:54
\n[24]\u00a0Variation XXIV Fughetta. Andante<\/b>\u00a003:07
\n<\/span><\/p>\n

[25]\u00a0Variation XXV Allegro<\/b>\u00a000:42
\n[26]\u00a0Variation XXVI<\/b>\u00a001:01
\n[27]\u00a0Variation XXVII Vivace<\/b>\u00a001:01
\n[28]\u00a0Variation XXVIII Allegro<\/b>\u00a000:59
\n[29]\u00a0Variation XXIX Adagio ma non troppo<\/b>\u00a001:08
\n[30]\u00a0Variation XXX Andante, sempre cantabile<\/b>\u00a002:11
\n[31]\u00a0Variation XXXI Largo, molto espressivo<\/b>\u00a003:48
\n[32]\u00a0Variation XXXII Fuga. Allegro<\/b>\u00a002:58
\n[33]\u00a0Variation XXXIII Tempo di Menuetto moderato (ma non tirarsi dietro)<\/b>\u00a003:04
\n<\/span><\/p>\n

total time; 50:27<\/p>\n

Carmen Piazzini<\/a>, piano<\/p>\n

Pressestimmen:<\/p>\n


\n02.01.2010<\/p>\n

<\/p>\n


\n11\/12.2009<\/p>\n

33 Variations on a Waltz by Diabelli<\/b><\/p>\n

Just as was the case with Beethoven himself (after he initially, angrily rejected Diabelli\u2019s music), this quirky waltz, and especially Beethoven\u2019s subsequent explosion of creativity, continues to bore into our imaginations. Franz Hummel, a German composer and pianist born in 1939, set his own blast of inspiration to paper in 2007. It is, primarily, an homage to Beethoven, beginning with precisely the same subject, having the same number of variations, and following the same sensible admixture of energetic, violent, playful, and contemplative selections (which, in turn, Beethoven followed from Bach, in his Goldberg Variations).<\/p>\n

But Hummel is not imitative as a rule. He finds an adept balance of tribute and innovation, including nods to post-Beethoven masters. Hummel weaves elements of other composers into the mix without utilizing outright quotes; the skeleton of a Chopin etude is revealed, a ghost from Beethoven\u2019s Eighth Symphony hovers, there is a suggestion of Brahms. Elsewhere, we hear boogie-woogie and jazzy improvisation. Hummel cannot hope to equal, let alone exceed the ever-stunning range of drama and emotion of the master, not to mention the sheer originality of his language. That he comes close to evoking that spirit, in his own voice, is a considerable accomplishment.<\/p>\n

It might seem like a natural idea to include the Beethoven original side by side with the new work. The Argentinean pianist Carmen Piazzini plays the music of both composers with the requisite virtuosity and passion, without quite latching onto the mystery, playfulness, and wild energy that is evinced in the recordings of the Beethoven by Brendel, Peter Serkin, and Richter. It may have made sense for NEOS to produce this as a single disc with the Hummel only, on the assumption that nearly anyone with an interest in hearing it will already own at least one version of the Beethoven. This presentation, while not as economical, does make the comparison a bit more convenient, and we get the music from the same pianist, for whatever that is worth. In any case, the Hummel is fascinating and compelling, recommended especially to admirers of the Beethoven.<\/p>\n

Peter Burwasser<\/p>\n


\n18.11.09<\/p>\n

Alte und neue Fingerbrecherchen<\/b><\/p>\n

…Hier beteiligt sich Erika Haases Kollegin Carmen Piazzini, gleichfalls (Wahl-)Darmst\u00e4dterin. Im luzid-bedachtsamen, immer wieder zu kontrolliert virtuoser Spielfreude auflaufenden Klavierstil lassen sie die gemeinsame Schule des schwedischen Pianisten Hans Leygraf erkennen. Auch Carmen Piazzini hat eine Doppel-CD mit markantem Programm vorgelegt. Ihre besondere Attraktion sind die Diabelli-Variationen – nun ja, die von Beethoven, aber sie werden sozusagen als 50-min\u00fctige Zugabe mitgeliefert und figurieren als Pendant zu den ganz neuen von Franz Hummel (dem Komponisten des K\u00f6nig-Ludwig-Musicals), der sich das starke St\u00fcck erlaubte, das Beethoven\u00b4sche H\u00e4mmern und Klopfen an dem derb-j\u00e4mmerlichen „Schusterfleck“ Diabellis in seiner Parade von ebenfalls 33 Kabinettst\u00fcckchen mit teils fingerbrechender Akrobatik noch zu \u00fcbertrumpfen. Beethovens seltsame Kr\u00f6nung des Zyklus mit einer (quasi altmodischen) Fuge und menuett-artiger Arie imitiert Hummel klugerweise nicht; sein Abschluss eines jazzoiden Teufelstanzes entspricht einer kompositorischen Haltung, die sich mehr mit Allesk\u00f6nnerschaft als mit dialektischem Tiefsinn an Vergangenes erinnert.<\/p>\n

Hans-Klaus Jungheinrich<\/p>\n


\nIII\/IV\/2009<\/p>\n

<\/p>\n

<\/p>\n

22.04.09<\/p>\n

H\u00f6llenfix<\/b>
\nFranz Hummel spottet Beethoven mit brandneuen Diabelli-Variationen<\/p>\n

Beethoven, so pariert Franz Hummel im Gespr\u00e4ch den Selbstvorwurf der Arroganz, sei nur 56 geworden, „und ich im Januar 70, also hat der mir gar nichts zu sagen“. Der „alte“ Beethoven war dank eines Walzerchens des Wiener Verlegers Diabelli mit monstr\u00f6sen 33 Klaviervariationen niedergekommen – der genial unverfrorene Hummel, fr\u00fcher Pianist, jetzt Komponist, immerhin des Ludwig-II-Musicals oder einer Gorbatschow-Oper, tut es ihm exakt nach. Behauptet, seine Diabelli-Variationen seien „frei von Geschmack, ohne Stil, gewissenlos, g\u00e4nzlich meiner Alterspubert\u00e4t geschuldet“. Die Argentinierin Carmen Piazzini spielt auf der Doppel-CD (Neos, 2009) souver\u00e4n, virtuos und scharffingrig beides, den Beethoven-Zyklus und die brandneuen Variationen von Hummel, ebenfalls 33 an der Zahl, ein Kompendium lustvoller kompositorischer Selbstbehauptung von einst\u00fcndiger Dauer. Das H\u00f6ren wird zum H\u00f6rabenteuer, weil Hummel mit diabolischer Phantasie in der Musikgeschichte wildert. Er treibt es in Variation Nr.8 mit Beethovens achter Symphonie und in Nr.23 mit der Liszt-Sonate, er vergiftet Chopin-Et\u00fcdengranulat oder sucht lyrisch-philosophische Eskapaden. Hummel kombiniert auf echt beethovensch Tiefsinn, tobenden Humor, Chuzpe und Charisma. Fr\u00f6nt der Passagen-, Akkord- und Synkopenwut. Wer hat Angst vor solchen Verwirrspielen? Nicht mal Hummel selbst: „Ich muss nur noch mir selbst gefallen, und daf\u00fcr reicht mein Narzissmus allemal.“ WOLFGANG SCHREIBER<\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Diabelli-Variationen Franz Hummel \u2013 Ludwig van Beethoven Die Kunst des Variierens galt in der Musikgeschichte von jeher als die h\u00f6chste. Und dass Beethovens Genie darin von keinem anderen je \u00fcbertroffen wurde, ist allgemein bekannt und akzeptiert. Wie kommt es aber dann, dass seinem interessantesten, gr\u00f6\u00dften und tiefsinnigsten Klavierwerk ein harmloses Walzerchen von Anton Diabelli […]<\/p>\n","protected":false},"featured_media":3175,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[882,26],"product_tag":[],"class_list":{"0":"post-3174","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-klavier","7":"product_cat-zeitgenossische-musik","8":"pa_artikelnummer-neos-20807-08","9":"pa_brand-neos-music","10":"pa_ean-717","11":"desktop-align-left","12":"tablet-align-left","13":"mobile-align-left","15":"first","16":"instock","17":"taxable","18":"shipping-taxable","19":"purchasable","20":"product-type-simple"},"yoast_head":"\nFranz Hummel, Ludwig van Beethoven: Diabelli Variations - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/franz-hummel-ludwig-van-beethoven-diabelli-variations\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Franz Hummel, Ludwig van Beethoven: Diabelli Variations - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Diabelli-Variationen Franz Hummel \u2013 Ludwig van Beethoven Die Kunst des Variierens galt in der Musikgeschichte von jeher als die h\u00f6chste. Und dass Beethovens Genie darin von keinem anderen je \u00fcbertroffen wurde, ist allgemein bekannt und akzeptiert. 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