[DSD][OF] Beethoven: Diabelli Variations - Gary Cooper - 2011 (Classical/Chamber/Piano)

33 Variations in C on a Waltz by Diabelli, Op.120
Composed 1819, 1822-23 [First Published: Vienna, 1823]/
1 Tema. Vivace 0.56
2 Var. i Alla Marcia maestoso 0.28
3 Var. ii Poco allegro 0.50
4 Var. iii L’istesso tempo 1.56
5 Var. iv Un poco più vivace 1.11
6 Var. v Allegro vivace 0.57
7 Var. vi Allegro ma non troppo e serioso 1.57
8 Var. vii Un poco più allegro 1.16
9 Var. viii Poco vivace 1.35
10 Var. ix Allegro pesante e risoluto 1.34
11 Var. x Presto 0.42
12 Var. xi Allegretto 1.00
13 Var. xii Un poco più moto 0.57
14 Var. xiii Vivace 0.58
15 Var. xiv Grave e maestoso 4.43
16 Var. xv Presto scherzando 0.26
17 Var. xvi Allegro 1.06
18 Var. xvii (Allegro) 1.04
19 Var. xviii Poco moderato 1.27
20 Var. xix Presto 0.58
21 Var. xx Andante 2.30
22 Var. xxi Allegro con brio 1.22
23 Var. xxii Allegro molto alla
‘Notte e giorno faticar’ di Mozart 0.37
24 Var. xxiii Allegro assai 0.56
25 Var. xxiv Fughetta. Andante 2.44
26 Var. xxv Allegro 0.47
27 Var. xxvi Piacevole 1.40
28 Var. xxvii Vivace 1.15
29 Var. xxviii Allegro 1.04
30 Var. xxix Adagio ma non troppo 1.19
31 Var. xxx Andante, sempre cantabile 1.27
32 Var. xxxi Largo, molto espressivo 4.39
33 Var. xxxii Fuga. Allegro 3.12
34 Var. xxxiii Tempo di Menuetto moderato 5.03
6 Bagatelles, Op.126
Composed 1823-24 [First Published: Mainz, 1825]
35 i. Andante con moto Cantabile e compiacevole 2.52
36 ii. Allegro 3.04
37 iii. Andante Cantabile e grazioso 2.35
38 iv. Presto 3.22
39 v. Quasi allegretto 2.02
40 vi. Presto – Andante amabile e con moto – Presto 4.37

The decision to use a historic Viennese instrument for this recording – built in the very year Beethoven completed his Diabelli Variations – is, in one sense, self-explanatory. Newly & magnificently restored by Edwin Beunk, the Walter und Sohn grand piano featured here is both a beautiful & charming instrument. In approaching the timeless, expansive sound world of Beethoven’s late, great works, any piano is constantly tested; historic instruments not far off two hundred years old additionally so! This is the first commercial recording, to my knowledge, which attempts to place this particular masterpiece firmly in the sound-world of the early 1820s, when it was conceived and first played. In the process of doing so, previously hidden colours and textures may well be revealed to the listener: for pianos of this period have everything to do with colour, while at the same time having very little to do with sheer power, brilliance of clarity, or a capacity to sustain effortlessly: the sound-world to which we are mostly accustomed in the C21st. Therefore, the challenge to both instrument and performer using historic pianos is appreciably great (including occasional moments of audible pedal & action noise, for which I ask the listener’s patience and understanding) but I feel well worth the effort, since only additional rewards can be attained in serving to illuminate areas of this immense, mystical, timeless work of art from differing perspectives.
Reviews:
Dagblad van het Noorden
a first that offers a lot of pleasure because Cooper makes small character pieces from all 34 variations and works just as well with structure as with color.
Luister
a soloist of allure (…) he takes the listener along on his journey through the always astonishing variations (…) the first 'Diabelli' CD played on a top instrument from Beethoven's time. Editors Choice
Pianowereld
With Cooper you have the feeling that you are listening over the composer's shoulder to the discovery of the notes.
TOM
The English harpsichordist and fortepianist Gary Cooper plays this work impressively, he flawlessly touches the character of the different variations and masters the instrument completely in terms of touch and virtuosity.
Audiophile Audition
Cooper is able to exploit the colors of the instrument to such an extent that the resulting sounds are often pleasingly exotic to ears accustomed to the modern grand. (…) Channel Classics’ recording, set down in a Dutch church, seems to reproduce Cooper’s instrument faithfully and with just the right touch of resonance to give it a healthy glow, if not an outright sheen.
Kulturradio
Seldom does a combination of work, instrument and performer lead to such a perfect and exhilarating result.
Klassieke Zaken
With this recording he shows that Beethoven no longer holds any secrets for him (…) every harmonic discolouration is a surprise.
HVT
Cooper provides almost five quarters of an hour of piano enjoyment. Excellent high class registration!
Klassik.com
The diverse world of sounds that this piano opens up is ideal for presenting the variations. The quiet noises of the buttons and pedals add their own charm to the overall effect and do not disturb the impression in any way. (...) Therefore, many variations appear livelier than in other recordings and actually as if viewed from a different perspective. Particularly noticeable is the sound of the fifteenth variation, which appears very muffled, whereby the following variations stand out again and thus a climax can be heard. (...) In some variations, Cooper emphasizes certain thematic excerpts with a strong attack, which makes the structure of the work clear. (...) Cooper tries not to change the clarity of these trivialities with exaggerated differentiation, emphasized dynamics or extreme playing style, but lets the musical substance sound "for itself".