Was Ludwig van Beethoven a prophetic visionary anticipating the clamorous mechanization of the 21st century as he composed the Diabelli Variations? Or is Mitsuko Uchida heretically imposing contemporary sensibilities on the solo piano cycle on her new album Beethoven: Diabelli Variations? Uchida’s attack is jarringly percussive. The clamorous recording is as serene as a front row seat at a Nine Inch Nails concert. Since encountering Uchida’s interpretation I’ve listened to a pair of celebrated older versions of the 200-year-old work. One is anemic while the second possesses much of Uchida’s diabolical fervor. The fundamental difference between the latter interpretation and Uchida’s attack is the immediacy of the sound field enabled by today’s recording technology. Roll over, Chuck Berry, and tell Carl Perkins the news.