Most Helpful Customer Reviews
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
6 STARS, September 15, 2005
When I listen to this album, I keep thinking why Mrs. Biret isn't truly recognized as one of the greatest pianists of nowadays. Every track is a highlight, what makes this CD worth anybody's money. Biret is one of the few pianists who can find meanings behind the notes. All the performances here are breathtaking. There are great lines in the long and calm Schumann Variations, and the result is spiritual. It's hard to find a more intense Haendel Variations, full of expressiveness and highly convincing changes of mood. Her dynamic range is astonishing. Although her use of pedal is economic, her special shadings make the music never sound dry or cold. What makes this performance better than that of Katchen is superior musicianship, and what makes it better than Richter's is superior sonority.
It's amazing how masterly she negotiates the terrifying technical difficulties of Paganini Variations. Her playing is always extremely musical, and her tone is exquisite. She brings considerable excitement in the final of Book 1 without hurrying up speed: articulation and rythmic precision do the work. In my opinion, this is one of the finest recordings of this piece. In comparision, as good as Arrau's.
I guess this CD didn't receive any great award because Brahms is not yet fully understood even nowadays. But this CD does deserve it!
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
Biret scores big in these Variations, March 19, 2007
Idil Biret's reputation mostly rests on her complete Chopin recordings for Naxos. But I think her shining moments and crowning achievements lie in her Brahms performances. She has shown consistent strength, tact, and virtuosity in the Brahms piano sonatas, as well as creating astonishing sounds with the Ballades. In the present recording, Biret demonstrates her usual robust style and technical adroitness. Her forceful playing and keen insight into these epic pieces means none of them will ever get boring, not even the abstruse Handel variations.
Written for Clara Schumann, Brahms's Variations on a Theme of Schumann employs a theme from Schumann's Bunte Blatter. The predominant mood of this entire set of variations tends to stay in the more mellow and melancholy realm. Occasional bursts of energy and optimism take the lead in the first five variations, but Brahms's profound slow variations are what attain the most pathos and beauty. Idil Biret is fully equipped to handle the technical demands, but she is even more capable with her emotional concentration. Her alertness to the stirring melancholy and the lyric ruminations are outstanding. No where have I heard such a beautiful articulation of the slow brooding variations in the middle. Biret truly sounds like she is meditating on these sad bars.
Usually considered the zenith of Brahms's variations compositions, the Variations and Fugue on a Theme of Handel are definitely the most emotionally restrained. But Brahms's immense and infinite imagination with the rather trivial theme is astounding. Both musicologists and regular listeners can appreciate the creative treatment and transformation that Brahms takes this dry theme through. Biret adequately performs each variation with taste and buoyancy. She exhibits a confident focus on the characteristics of each variation, treating each as a separate and equally significant pearl. At once she is serene, cheerful and invigorated. At other times she is introspective and exalted. In the hardy contrapuntal spectacle of the Fugue, Biret asserts her musicality and technical mastery yet again; her spirited attack is exceptional. I have not heard such an intellectually robust but emotionally fervent execution of this Fugue quite like Biret's.
I'm not ashamed to admit that Brahms's Paganini Variations are my favorites out of this bundle of Theme and Variations works. With Paganini's 24th caprice as a springboard, Brahms, like Liszt, excavates into the melodic, harmonic, and rhythmic potentialities of this endearing theme. Brahms's variations may not have as much lightning and gusto as Liszt's, but they are definitely more virtuosic than the Schumann or Handel variations. Indeed, they were conceived as studies and display a wealth of pianistic devices and technical challenges. Biret's stalwart style and animated temperament make for a satisfying aural experience. I must also note her good sense in rendering the contemplative variations with the utmost clarity: she knows how to underline the real music behind the mysteriously soft moments. She is, of course, phenomenal in the rapid and tempestuous variations, as well.
Bottom line: This is simply my favorite recording of Brahms's variations for three reasons. 1). Biret's absolute technique, musical taste, and emotional involvement make a marvelous trinity of attributes. 2). Biret is at her best when she plays Brahms. I've heard her Rachmaninov and Chopin, and I don't know if she prefers Brahms's music more, but she sounds totally inspired in every measure when she plays his works. 3). I detest the recordings that assign each variation to a single track. I get annoyed having to weed through 20 tracks to get to where I want; thankfully, this CD condenses each set of variations to a single track number. And one last feature is the price: you really cannot find a better recording of these works together for under $10.
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