A magnificent disc
that reveals all of Arrau’s sovereign
majesty. Caught at the height of his
powers, there seem to be several lifetimes
of experience poured into each of these
three performances.
Beethoven was ever
close to Arrau’s heart of course; one
need only think of his Philips recordings.
His often reflective standpoint is supremely
vindicated in this account of Op. 27
No. 1. Arrau exudes an Olympian sense
of calm that suits the first movement’s
unfolding processes. This is very carefully
considered playing, the articulation
imbued with crystalline clarity; try
around 4’10, where the return to the
opening is a positive oasis of calm.
The Allegro molto e vivace has passages
shrouded in mystery, while the contrasts
inherent in the music are given their
due. The staccato Arrau uses is typical
of him - short, yet perfectly toned
... each and every note! Typically,
over-use of the pedal is eschewed, yet
the tone Arrau coaxes from his instrument
is marvellously deep and burnished;
try around 2’15. Massive finger strength,
great depth of sound, coupled with exemplary
harmonic vision and an astonishing yet
sparing pedal technique contribute to
an aura of ease and vision.
There are other Arrau
recordings of this sonata, of course,
possibly most famously on Philips. In
addition there was a live Melodiya LP
(1968 live), a September 1971 Ascona
concert on Ermitage/Aura and a late
New York account (Philips Heritage).
Yet his is well worth hearing, as an
example of Arrau on top form communing
with the Master. An invaluable addition
to Arrau’s discography.
Schumann and Arrau
make for comfortable bedfellows. The
opening of the Fantasy is Arrau
personified. Not for him an over-the-top
Romantic sweep for the right-hand melody,
incidentally here over a warm bed of
left-hand semiquavers that is nevertheless
a model of clarity, more a jewel-like
legato. Voice-leading throughout is
an absolute model. Many pianists could
learn much here – stand forward Pletnev,
M. Try also the ‘chorale’ around 5’30
with its sonorous chording.
Nobody, I am sure,
will mind the occasional missing note
in the second movement, when it is presented
with such majesty and huge sound as
this. In contrast, there is the delicacy
of the opening of the finale. Most impressive
about this last movement is the sheer
sense of space. Arrau creates all the
time in the world for the musical processes
to unfold.
Again, there are various
other versions to choose from (Ascona
in a Swiss-Italian Radio recording from
September 1959 on Ermitage, or a September
1966 Philips LP), yet this performance
seems so right that comparisons seem
irrelevant – even with Arrau himself!
The Schoenberg is a
fascinating, richly rewarding account.
The thought of Arrau and Schoenberg
together raised my eyebrows, yet it
works absolutely beautifully. And perhaps
that is the key – beauty. Far removed
from Pollini’s (DG) objective yet equally
valid take, there are riches galore
here. From a bolder than expected initial
statement, the music unfolds completely
naturally. Notice the affinity Arrau
shows with the more flighty, fantastic
passages, and how the harmonics sound
remarkably well. The pianist is instructed
to hold down a four-note simultaneity
with his right hand while the left hand
activated the held tones by a sf
bass figure, then commentates on
them from above, cross-handed.
The triplets of the
slow second movement are hypnotically
rocking and exemplify the sheer concentration
of this movement as a whole. Arrau takes
quite a fast speed here. Again, a sense
of fantasy is to the fore. If I have
heard the finale more massively presented,
Arrau more than compensates by his amazing
sensitivity to textural changes.
A disc that demands
to be heard, both as an indispensable
addition to Arrau’s discography and
as a testament to Arrau at his very
greatest.
Colin Clarke
Claudio Arrau (piano). 
