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Beethoven: Symphony No. 3 - Brahms: Variations on a Theme by Haydn

Maxim Emelyanychev

Symphonic Music - Released October 19, 2018 | Aparté

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Johannes Brahms : Symphony No. 3 - Haydn Variations

London Philharmonic Orchestra

Classical - Released January 25, 2007 | Naxos

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Brahms : Symphonie No. 1 & Variations sur un thème de Haydn (Diapason n°585)

Orchestre De La NDR De Hambourg

Symphonic Music - Released September 28, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Hamelin: New Piano Works

Marc-André Hamelin

Classical - Released February 2, 2024 | Hyperion

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Marc-André Hamelin, by general acclaim, one of the great virtuosos of the day, here attempts to recapture the compositional as well as technical spirit of the pianistic giants of the past. Liszt, of course, was a pianist-composer, but he was not the only one. Hamelin issued an album of his own etudes in 2010, but in these "New Piano Works," mostly composed during the 2010s, he is even more adventurous. Many of these works are variations of one kind or another, and Hamelin starts off with his own Variations on a Theme of Paganini, previously essayed by Liszt, Rachmaninov, and several others. These variations introduce not only the usual high level of virtuosity but also the eclectic range of references in most of these works; he quotes Rachmaninov's set and also alludes to Alkan, Chopin, Brahms, and others. The variation form is ideal for Hamelin's project, for he can drop in quotations and allusions the same as a 19th century virtuoso would. His Variations diabellique sur des thèmes de Beethoven is a wickedly humorous exegesis on Beethoven's Variations on a Waltz by Diabelli, Op. 120. There are hints of jazz in some of Hamelin's variations, and these flower fully in the Suite à l'ancienne, which annotator Francis Pott proposes as a tribute to the jazz-classical fusionist Nikolai Kapustin; he composed a similar Suite in the Old Style. Hamelin concludes with an explosive Toccata on l'Homme Armé, the medieval tune that served as the basis for numerous Renaissance masses. So Hamelin's range of references is wide, but it is never random, and the listener who missed the subtler allusions will still enjoy the music. This is a bold, highly entertaining re-creation of the role of the classic virtuoso, idiomatically and clearly recorded at London's Henry Wood Hall. This release made classical best-seller lists in early 2024.© James Manheim /TiVo
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Schumann: Études symphoniques, Op. 13 - Études sur un thème de Beethoven, WoO 31 & Geistervariationen, WoO 24

Claire Désert

Classical - Released September 10, 2021 | Mirare

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From one recording to the next, French pianist Claire Désert continues her exploration of Schumann’s piano works with a new album focussed on the variation genre. She explores the manifold, elusive moods found in the “Symphonic Studies”, the “Etudes in Variation form on a Theme of Beethoven” and the “Geistervariationen” (Ghost Variations), like a diary of the composer. From a tribute to Beethoven to the ultimate variations composed right before sinking into the Rhine, it is all Romanticism that is sung by Schumann's piano, with its breaks and ideals. © Mirare
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Brahms: Symphonies 1-4 & Variations on a Theme by Haydn, Op. 56a

Bruno Walter

Classical - Released November 1, 2019 | Sony Classical

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Eternity

Herbert Schuch

Classical - Released March 22, 2024 | naïve

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Brahms : 4 Symphonien

Claudio Abbado

Classical - Released January 1, 1992 | Deutsche Grammophon (DG)

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Brahms: 4 Symphonies; Haydn Variations

Wiener Philharmonic Orchestra

Classical - Released January 1, 2002 | Deutsche Grammophon (DG)

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Brahms: Complete Concertos / Overtures

Alfred Brendel

Classical - Released January 1, 2002 | Decca Music Group Ltd.

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Brahms: Variation on a Theme of Paganini, Ballades, Waltzes

Nicholas Angelich

Classical - Released January 9, 2006 | Warner Classics

Who is Nicholas Angelich and why does he play Brahms so well? Indeed, better than "so well," why does Angelich sound like a born Brahms player? Actually a born American trained in Paris who had made several recordings as an accompanist and a couple of discs of Liszt and Rachmaninov as a soloist, Angelich, with his mixture of deft dexterity and enormous intensity, of soulful expressivity and demonic virtuosity, sounds in Brahms like an idealized Wilhelm Kempff with a better technique crossed with an only slightly less terrifying Sviatoslav Richter. Angelich's Ballades are by turns heroic and tragic, lyric and dramatic, triumphant and, in the closing pages of the final Andante con moto, wonderfully consoling. His Rhapsodies are an intoxicating blend of emotional restlessness, interpretative recklessness, and rhythmic force. His Paganini Variations are brightly colored, brilliantly shaped, and fantastically imaginative, qualities only rarely present in Brahms' music, but fully present in these Variations and given a double-helping of power in Angelich's blazing performance. As captured in Virgin's immense but intimate sound, Angelich sounds like he could play any other work by Brahms, indeed, any other work by any composer, and sound like he was born to play it.© TiVo
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Beethoven: Variations Diabelli - Schubert: Fantaisie Wanderer

Laurent Cabasso

Classical - Released October 10, 2011 | naïve classique

Distinctions 4F de Télérama
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Récital de Besançon, 7 septembre 1956

Clara Haskil

Classical - Released June 27, 2001 | INA Mémoire vive

Distinctions Diapason d'or de l'année - Diapason d'or - Choc du Monde de la Musique - Recommandé par Répertoire
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Brahms : Variations on a Theme by Paganini, Sonata No.3

Nelson Goerner

Classical - Released October 25, 2019 | Alpha Classics

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Rachmaninoff: Rhapsody on a Theme of Paganini & Poulenc: Organ Concerto

Cameron Carpenter

Classical - Released March 15, 2019 | Sony Classical

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Dutilleux: Piano Sonata - Fauré: Ballade, Thème & variations

Aline Piboule

Solo Piano - Released April 7, 2017 | ARTALINNA

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - 4 étoiles Classica
Aline Piboule offers us a journey to the country of light. For her first solo album, she brings together three fundamental French piano works, Fauré’s Ballade and Theme and Variations and Dutilleux’s Sonata, which has become one of her favourite pieces. The programme is made up of a succession of insistent variations on the theme of light, contrasting aesthetics which very often oscillate between shadows, sound and silences. Aline Piboule’s playing has a fairly typical French charm, fluctuating between robustness and tender sensuality. © Artalinna
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Dukas: Complete Piano Music

Vincenzo Maltempo

Classical - Released January 27, 2023 | Piano Classics

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Rhapsody

Martin James Bartlett

Classical - Released March 4, 2022 | Warner Classics

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With this release, there’s no doubt that young English pianist Martin James Bartlett is paying homage to Earl Wild. He began this second album for Warner Classics with the Rhapsody on a Theme of Paganini by Rachmaninov. This Dionysian score left its mark on Wild since he recorded it for the Reader's Digest label in 1965 with the Royal Philharmonic Orchestra, directed by Jascha Horenstein. The American pianist’s presence is really felt in the second part, which includes transcriptions, paraphrases and studies by Earl Wild on works by Rachmaninov and Gershwin. For example, Gershwin's Rhapsody in Blue is one of Wild’s favourites (his recording for RCA with Arthur Fiedler is really worth a listen).As combative as he is poetic, Martin James Bartlett has come on leaps and bounds since his first recital in 2019, revealing himself here to be a pianist gifted with beautiful sensitivity and irresistible panache (I Got Rhythm). His rendition of The Man I Love is beautifully light and airy. His playing is never rushed, and his sound is bright with a beautiful grain in the midrange. This is impeccably captured by the renowned Arne Akselberg's sound recording, which makes his search for harmonic depth crystal clear (Where Beauty Dwells). It’s exiting listening. In The Rhapsody on a Theme of Paganini, Joshua Weilerstein is very attentive to the pianist's poetic approach (Variations 17 and 18); both refuse any form of virtuosity or flamboyance, preferring instead to liberate the tragedy: the black drama that Rachmaninov brought to a climax in his American works. Many will be able to overlook the wavering uncertainty of this new proposal, which is far more original than it might seem. © Pierre-Yves Lascar/Qobuz