Like Gilels, Brendel treats the Op. 35 Variations as far more than a poor relation of the Eroica Symphony finale. His approach has less of the urgent, seemingly improvisatory thrust which makes the Gilels DG performance (on LP only) so compelling, but the sharpness with which he characterizes each variation is a delight, each time bringing a moment of revelation, and often relating this essentially middle-period work to much later inspirations. The six Bagatelles of Op. 126 equally find Brendel giving these fragments a weight, concentration and seriousness to reflect what else Beethoven was writing at the time. There is a gruffness of expression with charm eliminated. The third Bagatelle is the more moving for its simple gravity, and only in the final one of the group does Brendel allow himself to relax in persuasive warmth. Fur Elise makes a simple, haunting prelude to the group and the six Ecossaises a jolly postude with Brendel evoking the bluff jollity of Austrian dance music.
These works share the common key of E flat major but represent two very different stages in the composer’s life. The Piano Concerto No. 0, WoO 4, written when Beethoven was 13 years old, is one of his earliest works. With the orchestral score lost, this extant version for piano solo written in Beethoven’s hand includes the tutti sections reduced for piano. The radiant ‘Emperor’ Concerto shows the 38-year-old Beethoven at the peak of his creative powers, and remains a glorious example of his spirit triumphing over life’s adversities.
Jenő Jandó essays the same strong, direct style in his performances of the two major sets of variations as he does in the sonatas…no one could deny the strength of his playing. His approach is appropriately lighter in Op. 34. Excellent recording, clear and vivid.
The original private pressing on the band’s own Sunshine Series and the subsequent re-release on Savage Republic’s Independent Projects label are much sought after, but collector’s cache of this album is secondary to its musical value - it really is a classic. Working with acoustic guitars, clarinet, rhythm box, keyboards, singing bowls, pixiephone and subtle processing, this is gloriously DIY, melancholic, avant-garde pastoralism that connects the dots between Pentangle, Gareth Williams, Penguin Cafe Orchestra, Dif Juz and Robert Wyatt.