Customer Reviews

Piano Concerto 1 / Hungarian Fantasy

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As a pupil of Martin Krause, who was himself a pupil of Franz Liszt, Claudio Arrau had a special connection to the music of Liszt. It is no surprise then, that among Arrau's earliest recorded repertoire (1928-33) could be found various pieces of Liszt, including some of the etudes, Fountains at the Villa D'este, and the Spanish Rhapsody. In 1937 he recorded Harmonies du soir and Sonetto del Petrarca, but did not record Liszt again until the fall of 1951 when he embarked on the recordings included on this Columbia disc. During this time he recorded very little (Arrau lived in Germany until 1941, then had to establish himself in America after his emigration); however, he had followed Martin Krause's advice not to become identified as a specialist in the music of any one composer. Indeed, his reputation as a universalist was established through a series of recitals undertaken in Berlin where he played all of the sonatas of Beethoven and Mozart, then the complete keyboard works of Bach among others. As it turns out, after recording the pieces collected on this disc (1951-2) it wasn't until relatively late in his career that Arrau once again recorded the music of Liszt, beginning in 1969 with the first of his seminal discs for Philips.

This Sony reissue opens with the E-flat major concerto, which was made when Arrau was forty-nine and captures the pianist at his stunning best. According to Arrau's long-time manager, Friede Rothe, the concerto was recorded in one uninterrupted take after which Eugene Ormandy said "We're done. It can't be better than this." Arrau, ever the perfectionist in the studio, apparently agreed, for this is a performance that convinces in every detail - from the reflective elements of the first three movements which have a serenity and beauty that are hallmarks of this great pianist, to the kaleidoscopic whirlwind of the fourth movement where Arrau unleashes cascades of glittering notes.

The Hungarian Fantasy, which was the companion piece recorded for the original LP release and is included on this cd, receives a fine performance; however, it's too bad Arrau didn't record the A Major concerto instead, because his live performances demonstrate that he was truly a great interpreter of this concerto. His 1943 concert with Mitropoulos (Music & Arts) is representative, but the more expansive 1953 traversal with Guido Cantelli and the NY Philharmonic (Archipel) is unforgettable.

In 1951, Arrau began recording a complete cycle of the Hungarian Rhapsodies, however, after setting down the five rhapsodies included on this disc the project was dropped. (In an 80th birthday retrospective of Arrau's work in 1983, one of the Gramophone critics wrote that "this series, if finished, would surely have been the most distinguished complete recording of these sadly exploited works.") While the rhapsodies are often played for effect, that is not the case here where the Hungarian folk elements are given a full airing out in a musically sympathetic, but understated way. Arrau's declamatory approach is very fitting, especially in the better-known ninth rhapsody (Pesht Carnival), combining extravagance with riveting technical proficiency. Interestingly, Arrau seems to find cubist patterns in this music, with some phrases being shaped into geometric blocks of sound. I find the interpretations fascinating, reflecting a 19th century way of playing (Arrau's incredible rolling chords are romantic flourishes that no one could get away with today) along with elements of modernism.

While the performances of all of the rhapsodies are outstanding, the thirteenth is in a category by itself: the first section is a wrenching emotional statement where Arrau practically makes the piano weep, whereas the finale is delivered in a controlled frenzy that the pianist didn't often display in the recording studio.

In summary, this is Liszt playing in the grand manner with all of the scope and nuances that only Claudio Arrau, a direct inheritor of the Liszt tradition, could bring to the keyboard.

Here Arrau reaches the zenith of the so-called neo-classical rigorous approach. These recordings definitively demonstrated a superlative (maybe unsurpassed?) technique, where technique in my opinion obviously means the ability of producing expressive, context-sensitive, pianistic sounds and not only quick pressures of the right pitches (that is typewriting!). This E-flat major concerto 1952 recording is legendary because it had been engraved in a single take. This means that here we get both the effects of a live and of a studio (mono) recording; this is rare and the combined result is really exceptional. No coughs and hall noises disturb a sparkling, fresh, expressive, unitary performance. In Claudio Arrau's evolution, here we are at a fundamental turning point: reached the peak of modern pianism (at the time Arrau was a "modern" pianist!), in which in any case persisted some obligation towards an (also) "spectacular" and "bravura" demand, Arrau will soon start another path, another "recherche". Someone supposes that Arrau, after his sixties (he was born in 1903), had gradually to change his approach (slowing down tempos, for instance) to face the physiological fading of his technique. This is not the case, as studio and live recordings from the 1960', 1970s' and even 1980s' clearly demonstrate. On the contrary, the question is if it could have been interesting or stimulating for a "truth seeker" as Arrau to crystallize himself inside the attained "perfection" (after the first and sole Piano Concerto recording session Eugene Ormandy himself stated "We're done. It can't be better than this."). Differently, starting from what of perfect is so clearly engraved in this CD, during his whole career, Arrau will constantly add something else, something more, deeper, warmer, travelling towards transcendency. In other words, these unvaluable recordings show us the objectification of what for many others would have been only a dreamed aspiration. Otherwise, from these heights, Arrau will start to search a superior and freer form of expression, fighting every unjustified physical or psychological stiffness or constraint, as vanity, in particular, or a natural ambition to infallibility. During the following years sometimes we will hear a few more false note and, in general, few sparkling effects, particularly in studio recordings. In my opinion, Arrau will plentifully gain in depth, warmth and expressivity; the last Arrau very often will play in an evident state of transfiguration. Which is the Arrau to prefer? My answer is: are we really obliged to choose? Different days bring different moods ... In general I prefer the last Arrau, but the day I listened to this CD I deeply fell in love with it too!

The playing is great. There's no arguing with that. Arrau is brilliant on this disc.

But however good the playing is, I need decent sonics as well. Unfortunately, the technology available at the time of this recording pales markedly in comparison to today. Hiss is present during quiet bits, and there is distortion during loud bits. It's not out and out horrible, but it is very noticeable. I simply can't listen to the whole disc because of the sound.

If you don't mind subpar sonics as long as the playing is great, don't hesitate to purchase this. On the other hand, if you're bothered by older (over 50 years at this point) recordings, take a pass.

Eugene Ormandy era un director excepcional y en los años 50 recibio para hacer estas grabaciones a un joven Arrau, se juntaron y comenzaron la interpretación, la fluidez, la compenetración fue extraordinaria. El concierto Nș 1 es bello, es virtuosismo puro, es magia es genial.
Seguimos ahora con Fantasia Húngara (sobre temas húngaros) una exposición de animosidad, alegria, solemnidad, vigor y expresión sin igual, Arrau con fuerza incontenible nos lleva por la obra con energia inigualable, lo sigue haciendo despues en las rapsodias húngaras 8, 9 10, 11 y 13.
Por su parte como lo he comentado Ormandy lleva a la Orquesta de filadelfia a lo máximo.
Un Cd de collección con Arrau recien llegado a Filadelfia, Ormandy y su orquesta en continuo crecimiento.
Para hacer notar es una grabación mono aural.