Stephen Heller - Variations for Piano

Stephen HELLER (1813-1888)

21 variations on a theme by Beethoven, Op. 133

Variations brillantes on a Polish theme, Op. 5

Variations on a theme by Paganini, Op

Biliana Tzinlikova (Piano)

Recorded: 29 Sep 2015-01 Oct 2015 at Schloss Weinberg, Kefermarkt, Austria

Stephen Heller? Never heard of... Originally his name was István. He was born in Pest (not yet united with Buda at that time) in 1813, the same year as Wagner and Verdi. A child prodigy, but from whom his father primarily wanted to gain financial advantage and thus physically drove him to the brink of ruin. The contemporary of Chopin, Schumann, Liszt, but also Brahms then settled permanently in Paris. Perhaps that is why he is so well-known today, because in his work he concentrated solely on his instrument, namely the piano.

The Bulgarian Biliana Tzinlikova, who after her training at the Mozarteum now teaches at the Music Academy in Salzburg herself, found what she was looking for in the far more virtuoso oeuvre of Heller after her commendable commitment to Franz Anton Hoffmeister from Mozart’s environment and has immersed herself in three of his variation cycles, all of which are premiere recordings .

In 1829 he published Opus 1 "Théme de Paganini varié", in which he prescribed playful runs for the introduction to the finale from his famous First Violin Concerto, but as a contrast also internalized, melancholic minor-toned pauses before lively capers "alla Polacca" followed set a spirited conclusion for ten minutes.

The "Variations Brillantes sur un thème polonais" op. 5, which were published at the same time and which Tzinlikova placed before them, were more extensive. After a majestic introduction, half a dozen changes follow over a Polish melody, the beginning of which is somewhat reminiscent of the well-known "Carnevale di Venezia". Then the “always again, again and again”, which is common in football circles, is lively anticipated. Excellent fodder for the performing pianist to crown brilliant technique with glittering cascades and top that off in the concluding march.

The composer who impressed Heller "most was Beethoven." Nevertheless, late in 1872, he began to grapple with its shadow, which was probably overwhelming for him. His Variations Op. 133 on the thoughtful Andante con moto theme from the slow movement from the Appassionata, which Biliana Tzinlikova placed at the beginning, were correspondingly important. It even sounds like the "Mälzel Canon" from Beethoven's 8th symphony. After a romantic intoxication, dancing movement is tickled from the template for the first quarter of an hour, later Chopin and Schumann's hunting sounds beckon. Impressive, then, is the inherent fullness, which Beethoven would certainly have enjoyed. Hopefully the artist will also turn to Stephen Heller's 33 Variations on a Beethoven Theme op. 130!

 Horst Reischenboeck