❤ Join us on our WhatsApps fanpage: bit.ly/3Mraw1r Frédéric François Chopin (1810-1849) - 4 Scherzi, 4 Ballades.. *Click to activate the English subtitles for the presentation* (00:00-04:22) 4 Scherzos No.1 in B minor / Si mineur, Op.20 (00:00) No.2 in B flat minor / Si bémol mineur, Op.31 (11:23) No.3 in C sharp minor / Do dièse mineur, Op.39 (21:51) No.4 in E / Mi Majeur, Op.54 (29:56) Polonaise No.7 in A flat / La bémol Majeur, Op.61 ‘’Polonaise-Fantaisie’’ (42:03) Barcarolle in F sharp / Fa dièse Majeur, Op.60 (54:53) Fantasia in F minor / Fa mineur, Op.49 (1:04:37) 4 Ballades No.1 in G minor / Sol mineur, Op.23 (1:16:56) No.2 in F / Fa Majeur, Op.38 (1:26:17) No.3 in A flat / La bémol Majeur, Op.47 (1:34:27) No.4 in F minor / Fa mineur, Op.52 (1:42:17) Piano : Claudio Arrau Recorded in 1977, 1980, 1984, at Netherlands/Switzerland/Germany Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr L'ami de Schubert, Hofzapfel, commençait ses réminiscences du grand compositeur en disant : "C'était un petit homme, mais c'était un géant". De même, beaucoup d'œuvres de Chopin sont peut-être courtes en termes de durée, mais elles ont une grande stature musicale. Comme elles sont relativement brèves, ses pièces sont enregistrées en groupe et sont généralement regroupées par genre. C'est pourquoi ils sont arrangés de cette manière. Mais Chopin ne les a bien sûr pas écrites de cette façon, et elles sont sorties de son studio dans un ordre assez divers. Par exemple, la Ballade op. 52 a été suivie en 1842 par le Scherzo op. 54, l'Impromptu op. 51, la Valse en la mineur op. posth., les Deux Nocturnes op. 55, la Barcarolle op. 60, la Polonaise-Fantastique op. 61... Et la diversité de sa production, très dense, était encore plus grande que ne le laisse supposer cette liste, car entre ces pièces se trouvaient d'autres encore, comme les Mazurkas op. 56 et 59, la Berceuse op. 57, la Sonate pour piano op. 58, deux chansons de l'op. 74 et la Sonate pour violoncelle op. 65, toutes de la même période. Il est évidemment agréable et intéressant d'entendre ensemble toutes les œuvres d'un grand compositeur dans un genre donné. Pourtant, comme le suggèrent les détails ci-dessus, si on les place dans leur véritable ordre chronologique, on se fait une idée beaucoup plus précise de l'ampleur de son œuvre. Cela révèle également à quel point certaines années spécifiques ont été fructueuses. Il n'a jamais été surproductif et, en fait, il écrivait avec parcimonie, pendant l'été, lorsqu'il était libéré de son lourd programme d'enseignement à Paris. Dans ses meilleurs moments, cela se faisait à la maison de campagne de "George Sand" (Aurore Dudevant) à Nohant, près de Châteauroux. Le premier de ces étés est celui de 1839, également l'année de leur visite à Majorque, et Chopin compose cette année-là l'Impromptu op. 36, le Nocturne op. 37 n° 2, le Scherzo op. 39, le Prélude op. 28 n° 1 (le dernier de cette série de 24 à être achevé), les Mazurkas op. 41, trois mouvements de la Sonate pour piano op. 35 et les "Trois nouvelles études" ; il termine également la Polonaise op. 40 n° 2. Il s'agit d'un ensemble de pièces splendides, toutes encore au répertoire actif, comme d'ailleurs la plupart de ses œuvres. Et notez encore une fois le mélange des genres. Ce qui sous-tend la musique de Chopin sous toutes ces différentes formes est le principe classique bien connu du départ et du retour, et sa croissance en tant que compositeur consiste en partie en une réalisation de plus en plus subtile de cette idée infiniment variable. Plusieurs des œuvres présentées ici, telles que la Fantaisie op. 49 et la Polonaise Fantaisie op. 61, montrent qu'il suffisait de porter des structures ambitieuses et innovantes. L'accusation d'incompétence formelle de Chopin semble découler principalement de son peu d'intérêt pour les notions conventionnelles de la forme sonate. Ses premières compositions - et il a commencé à sept ans - étaient pour la plupart des polonaises et des mazurkas, mais les quinze premières pièces de la présente collection sont toutes des valses ou des nocturnes et sont principalement de forme ternaire, le motif ABA étant l'incarnation la plus simple de l'idée de départ et de retour. Au fil du temps, cependant, les divisions entre les trois parties se sont déguisées avec une ressource croissante, le retour de la section A étant de plus en plus retardé et varié, le matériau d'ouverture de l'œuvre lui-même étant étendu ou raccourci à sa réapparition. Cette récapitulation peut apporter le calme après une section centrale orageuse, ou être le point culminant de l'œuvre, ou encore être très réduite et conduire à une coda sur des idées nouvelles et plus brillantes. Dans les grandes œuvres, la section centrale peut être considérablement étendue, s'éloignant des pages extérieures en termes de thème, de tonalité, de tempo et d'expression, rendant ainsi la réapparition du thème initial d'autant plus dramatique. L'utilisation générative de la figuration au clavier par Chopin conduit à des transformations extraordinairement imaginatives des mélodies, des accompagnements et des textures, de sorte qu'une pièce se déroule parfois en continu sans aucune section centrale contrastée, même s'il y a un élément de récapitulation. Dans certains cas, comme le Scherzo op. 31, la Ballade op. 38 et la Fantaisie op. 49, les œuvres se terminent sur des touches différentes de celles du début. Mais dans l'ensemble, il y a tellement de choses qui se passent dans cette musique qu'il n'est guère surprenant que de nombreuses pièces individuelles semblent plus longues qu'elles ne le sont en réalité. Pour l'interprète et l'auditeur, la musique de Chopin a un horizon toujours plus lointain : quelle que soit la fréquence à laquelle elle est jouée ou entendue, il y a toujours quelque chose de nouveau à découvrir. Il n'y a pas d'explication à ce mystère, même si c'est bien sûr de son origine dans les strates les plus reculées de l'émotion, bien au-delà de la simple raison, que dérive la force, l'autorité et le pouvoir révélateur du grand art. Frédéric François Chopin PLAYLIST (reference recordings) : ua-cam.com/video/uUdoxvigIl8/v-deo.html
This set is a great gift for humanity for so many reasons. The musicianship, the absolute technical mastery, the colorist sound pallette, the painstaking attention to detail, the fidelity to the text, the unflinching commitment to quality and exactness, the sublime imagination, and the little surprises here and there, are the trademarks of Arrau, the ones we have known for generations now. These characteristics are the EXPECTATIONS with Arrau. However, I'd like to argue that, even more than the musical legacy he left us in terms of discography, is the artistic imprint he left on future generations of artists that is his greatest achievement. Let me explain. Nowadays, we have basically three types of pianists: the flashy, bombastic, fast-and-loud, monochromatic ones that have impressive mechanical skills, but are musically voiceless and vane. They are bad, modern black-and-white replicas of Vladimir Horowitz, that lack the knowledge, the imagination, and the heart of that greatest of legendary pianist. The second category are the musically gifted artists, that have profundity of thought, great imagination, and deep emotional capital, but play everything rather under tempo, be it because of choice or out of a self awareness of technical deficiencies. They remind us of Rudolph Serkin or Ignaz Paderewski, that captivated audiences with their musical gifts rather than with their technical soundness. And then, there's the third category: the children of Claudio Arrau. To be fair, there are many great pianists that can be used as templates for this category, such as Josef and Rosinna Lhevinne, Horowitz, Rubinstein (Anton AND Artur), Gilels, Richter, Rachmaninov, just to name a few. They possessed all the great virtues mentioned above, and are, justly so, among the greatest to have ever played the piano. However, Arrau is in a special place amongst them all. He alone was responsible for singlehandedly changing the sound of the concert hall pianist, and the expectations of the concert hall goer. There are some reasons for that. First, he lived a long time, therefore bridging the gap between the 19th century traditions and the modern music lover. Second, he recorded many different types of music, with a distinct and precise sound for each one, displaying an exhaustive array of colors and nuances. Third, he made many recordings, leaving us with reference after reference of his astounding performances. Fourth, he was almost a scientist when it came to exacting fidelity to the score, and painstaking precision in performance, without ever sounding academic. In fact, he melded perfectly his quasi-scientific approach to the score with incredible sensitivity, without being sentimental. Fifth, he possessed a second-to-none, flawless, and absolutely relaxed and effortless technique, coupled with unsurpassed clarity, and perfect use of the pedal. He was a master of the art of touch. To be clear, he could play REALLY fast when the music demanded it, to exhilarating effect. And, he rarely missed notes. These reasons present Arrau as the perfect template for the modern pianists, who are taking piano playing to the next level.
You can find many recordings of these seminal Chopin works that exhibit extreme technical wizardry, especially of the Scherzi. But for interpretations that reach the profundity of expression, Arrau is inimitable. Also, the tempo here is very deliberate and the voicing is amazing.
If I may offer an hypothesis, I propose that Arrau changes the perspective of Chopin from a romantic sentimental concert pianist who did not know how to compose, to an enormous musician. I am surely wrong, but perhaps not entirely. Arrau confronts Chopin music without expectations, without prejudices. This kind of lord Byron of the music, a romantic, an attractive emotional figure, after being played without preconceptions, without rosy romanticism, without easy melodies, after playing the scores and respecting what was written in them, Arrau unveiled a very serious, non sentimental musician, sad at times but never weeping, a very serious musician missing his native country, a concert pianist who projected the image of love tragedy to obtain applause. Arrau uncovers a composer of serious, beautiful, painful and transcendent music, one of the summits of western music. Thanks Classical Music for uploading this gem.
Well said and I agree, By the same token Arrau plays both concertos as a young man’s music. He doesn’t inflate even the E minor into a Romantic warhorse. Some critics call the Inbal set mannered but for me it’s another instance of Arrau knowing Chopin in all his stages of development. Sorry that this pianist who was proud of his dancing didn’t record mazurkas!
His disc of the Chopins Nocturnes are reference, when he played Beethoven, Brahms, Schumann and Chopin, every note is true. I like also his Schubert Sonatas, he played at the end of his ive.
The most impressive aspect of Arrau's artistry was his fierce musical integrity. His was a style of playing refreshingly free of surface glitter and vanity, his formidable technique always at the service of the music. Also there was that big all embracing sonority which never produced an ugly sound throughout his vast repertoire. Arrau brought a sober intelligence and emotional breadth to Chopin which few before or since have attained. The four Scherzi can easily fall prey to bombastic narcissism from many of todays young pretenders, there is so much to find in these great landmark works that goes beyond the fast and loud; and surely his interpretation of the Ballades has to be one of the finest ever recorded. Thank you so much for uploading this substantial recorded legacy from one of the great master pianists of the 20th Century.
Claudio Arrau made me understand the Polonaise-Fantaisie. Before I heard him playing (many, many years ago...), it just did not make any sense to me. It sounded like an unbearable patchwork. All of a sudden... Fiat lux!
I had the honour to see him twice perform. It was in México: in the Guanajuato Festival and then in Ciudad de México. It was breathtaking. So poised, elegant, effortless in his demeanor. The drama of his performance layed just in the music.
You will forgive me that during these days of the Coronavirus lockdown I return again and again to maestro Arrau and his interpretation of Chopin that you have so kindly shared (as with other of his recordings on CMRR). Meredith Foster a year ago, commented on the sober intelligence and emotional breadth that Arrau brings to this interpretation of Chopin. Not much I can add to that except to say that while others play the music, very few indeed, can match the expressive honesty and clarity of this recording. May I again express my gratitude for your work.
God sent us an excellent pianist and he had to be Chilean. 🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️
For me, it's Arturo Benedetti Michelangeli. But I agree that Arrau is awesome as well. Similar feeling but even more power in Michelangeli, especially in the Scherzo No. 2 in B flat minor. Personal taste, of course.
Are You serious. ??? No doubt Arrau is one of the Best pianists ever but he isnt playing chopin he's playing Arrau. A little ex. Just in the verybegining Chopin remarks and staccato and what did Arrau do?? A legato and there are Many examples where he don't follow what Chopin wrote in the partiture
Zašto ne prekidate govorne emisije sa reklamama nego samo glazbene-zamislite si koncertnu dvoranu -svira Arrau i svko toliko dolazi netko i izdeklamira reklamu???tako je meni koja slušam sa stalnim prekidima-bar pocekajte da skladba zavrsi
My favorite point is 1:15:50, the Recitativo before the Finale. Nobody can make it sense as Arrau did in this recording. The Fantasia absolutely seems to be written specially for him.
Claudio Arrau, Greatest Pianist of the 20th Century, Wonderful Recording of Chopin-Scherzi, ⭐️⭐️⭐️⭐️Ballades-Barcarolle, @Classical Music /Reference =6-55pm🎶🎶✨✨
@@tigranohanyan3321 Kissin and Horowitz cannot even touch Arrau on any level, less alone in playing Chopin. Although it is a pitty Arrau never recorded the mazurkas, because Horowitz plays them great.
I was listining to the first scherzo when an advert suddenly appeared. Atmosphere destroyed; I won´t continue listening. But I think Arrau plays very unvirtuosly. Never thought that this is a pianist which is considered to be one of the greatest of 20th century.
❤ Join us on our WhatsApps fanpage: bit.ly/3Mraw1r
Frédéric François Chopin (1810-1849) - 4 Scherzi, 4 Ballades..
*Click to activate the English subtitles for the presentation* (00:00-04:22)
4 Scherzos
No.1 in B minor / Si mineur, Op.20 (00:00)
No.2 in B flat minor / Si bémol mineur, Op.31 (11:23)
No.3 in C sharp minor / Do dièse mineur, Op.39 (21:51)
No.4 in E / Mi Majeur, Op.54 (29:56)
Polonaise No.7 in A flat / La bémol Majeur, Op.61
‘’Polonaise-Fantaisie’’ (42:03)
Barcarolle in F sharp / Fa dièse Majeur, Op.60 (54:53)
Fantasia in F minor / Fa mineur, Op.49 (1:04:37)
4 Ballades
No.1 in G minor / Sol mineur, Op.23 (1:16:56)
No.2 in F / Fa Majeur, Op.38 (1:26:17)
No.3 in A flat / La bémol Majeur, Op.47 (1:34:27)
No.4 in F minor / Fa mineur, Op.52 (1:42:17)
Piano : Claudio Arrau
Recorded in 1977, 1980, 1984, at Netherlands/Switzerland/Germany
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
L'ami de Schubert, Hofzapfel, commençait ses réminiscences du grand compositeur en disant : "C'était un petit homme, mais c'était un géant". De même, beaucoup d'œuvres de Chopin sont peut-être courtes en termes de durée, mais elles ont une grande stature musicale. Comme elles sont relativement brèves, ses pièces sont enregistrées en groupe et sont généralement regroupées par genre. C'est pourquoi ils sont arrangés de cette manière. Mais Chopin ne les a bien sûr pas écrites de cette façon, et elles sont sorties de son studio dans un ordre assez divers. Par exemple, la Ballade op. 52 a été suivie en 1842 par le Scherzo op. 54, l'Impromptu op. 51, la Valse en la mineur op. posth., les Deux Nocturnes op. 55, la Barcarolle op. 60, la Polonaise-Fantastique op. 61... Et la diversité de sa production, très dense, était encore plus grande que ne le laisse supposer cette liste, car entre ces pièces se trouvaient d'autres encore, comme les Mazurkas op. 56 et 59, la Berceuse op. 57, la Sonate pour piano op. 58, deux chansons de l'op. 74 et la Sonate pour violoncelle op. 65, toutes de la même période.
Il est évidemment agréable et intéressant d'entendre ensemble toutes les œuvres d'un grand compositeur dans un genre donné. Pourtant, comme le suggèrent les détails ci-dessus, si on les place dans leur véritable ordre chronologique, on se fait une idée beaucoup plus précise de l'ampleur de son œuvre. Cela révèle également à quel point certaines années spécifiques ont été fructueuses. Il n'a jamais été surproductif et, en fait, il écrivait avec parcimonie, pendant l'été, lorsqu'il était libéré de son lourd programme d'enseignement à Paris. Dans ses meilleurs moments, cela se faisait à la maison de campagne de "George Sand" (Aurore Dudevant) à Nohant, près de Châteauroux.
Le premier de ces étés est celui de 1839, également l'année de leur visite à Majorque, et Chopin compose cette année-là l'Impromptu op. 36, le Nocturne op. 37 n° 2, le Scherzo op. 39, le Prélude op. 28 n° 1 (le dernier de cette série de 24 à être achevé), les Mazurkas op. 41, trois mouvements de la Sonate pour piano op. 35 et les "Trois nouvelles études" ; il termine également la Polonaise op. 40 n° 2. Il s'agit d'un ensemble de pièces splendides, toutes encore au répertoire actif, comme d'ailleurs la plupart de ses œuvres. Et notez encore une fois le mélange des genres.
Ce qui sous-tend la musique de Chopin sous toutes ces différentes formes est le principe classique bien connu du départ et du retour, et sa croissance en tant que compositeur consiste en partie en une réalisation de plus en plus subtile de cette idée infiniment variable. Plusieurs des œuvres présentées ici, telles que la Fantaisie op. 49 et la Polonaise Fantaisie op. 61, montrent qu'il suffisait de porter des structures ambitieuses et innovantes. L'accusation d'incompétence formelle de Chopin semble découler principalement de son peu d'intérêt pour les notions conventionnelles de la forme sonate. Ses premières compositions - et il a commencé à sept ans - étaient pour la plupart des polonaises et des mazurkas, mais les quinze premières pièces de la présente collection sont toutes des valses ou des nocturnes et sont principalement de forme ternaire, le motif ABA étant l'incarnation la plus simple de l'idée de départ et de retour.
Au fil du temps, cependant, les divisions entre les trois parties se sont déguisées avec une ressource croissante, le retour de la section A étant de plus en plus retardé et varié, le matériau d'ouverture de l'œuvre lui-même étant étendu ou raccourci à sa réapparition. Cette récapitulation peut apporter le calme après une section centrale orageuse, ou être le point culminant de l'œuvre, ou encore être très réduite et conduire à une coda sur des idées nouvelles et plus brillantes. Dans les grandes œuvres, la section centrale peut être considérablement étendue, s'éloignant des pages extérieures en termes de thème, de tonalité, de tempo et d'expression, rendant ainsi la réapparition du thème initial d'autant plus dramatique.
L'utilisation générative de la figuration au clavier par Chopin conduit à des transformations extraordinairement imaginatives des mélodies, des accompagnements et des textures, de sorte qu'une pièce se déroule parfois en continu sans aucune section centrale contrastée, même s'il y a un élément de récapitulation. Dans certains cas, comme le Scherzo op. 31, la Ballade op. 38 et la Fantaisie op. 49, les œuvres se terminent sur des touches différentes de celles du début. Mais dans l'ensemble, il y a tellement de choses qui se passent dans cette musique qu'il n'est guère surprenant que de nombreuses pièces individuelles semblent plus longues qu'elles ne le sont en réalité.
Pour l'interprète et l'auditeur, la musique de Chopin a un horizon toujours plus lointain : quelle que soit la fréquence à laquelle elle est jouée ou entendue, il y a toujours quelque chose de nouveau à découvrir. Il n'y a pas d'explication à ce mystère, même si c'est bien sûr de son origine dans les strates les plus reculées de l'émotion, bien au-delà de la simple raison, que dérive la force, l'autorité et le pouvoir révélateur du grand art.
Frédéric François Chopin PLAYLIST (reference recordings) : ua-cam.com/video/uUdoxvigIl8/v-deo.html
Une petite correction: B minor = si flat minor, si minor = H minor. Tout de meme, merci pour les liens aux oeuvres!
This set is a great gift for humanity for so many reasons. The musicianship, the absolute technical mastery, the colorist sound pallette, the painstaking attention to detail, the fidelity to the text, the unflinching commitment to quality and exactness, the sublime imagination, and the little surprises here and there, are the trademarks of Arrau, the ones we have known for generations now. These characteristics are the EXPECTATIONS with Arrau.
However, I'd like to argue that, even more than the musical legacy he left us in terms of discography, is the artistic imprint he left on future generations of artists that is his greatest achievement. Let me explain.
Nowadays, we have basically three types of pianists: the flashy, bombastic, fast-and-loud, monochromatic ones that have impressive mechanical skills, but are musically voiceless and vane. They are bad, modern black-and-white replicas of Vladimir Horowitz, that lack the knowledge, the imagination, and the heart of that greatest of legendary pianist.
The second category are the musically gifted artists, that have profundity of thought, great imagination, and deep emotional capital, but play everything rather under tempo, be it because of choice or out of a self awareness of technical deficiencies. They remind us of Rudolph Serkin or Ignaz Paderewski, that captivated audiences with their musical gifts rather than with their technical soundness.
And then, there's the third category: the children of Claudio Arrau. To be fair, there are many great pianists that can be used as templates for this category, such as Josef and Rosinna Lhevinne, Horowitz, Rubinstein (Anton AND Artur), Gilels, Richter, Rachmaninov, just to name a few. They possessed all the great virtues mentioned above, and are, justly so, among the greatest to have ever played the piano. However, Arrau is in a special place amongst them all. He alone was responsible for singlehandedly changing the sound of the concert hall pianist, and the expectations of the concert hall goer. There are some reasons for that.
First, he lived a long time, therefore bridging the gap between the 19th century traditions and the modern music lover.
Second, he recorded many different types of music, with a distinct and precise sound for each one, displaying an exhaustive array of colors and nuances.
Third, he made many recordings, leaving us with reference after reference of his astounding performances.
Fourth, he was almost a scientist when it came to exacting fidelity to the score, and painstaking precision in performance, without ever sounding academic. In fact, he melded perfectly his quasi-scientific approach to the score with incredible sensitivity, without being sentimental.
Fifth, he possessed a second-to-none, flawless, and absolutely relaxed and effortless technique, coupled with unsurpassed clarity, and perfect use of the pedal. He was a master of the art of touch. To be clear, he could play REALLY fast when the music demanded it, to exhilarating effect. And, he rarely missed notes.
These reasons present Arrau as the perfect template for the modern pianists, who are taking piano playing to the next level.
More Arrau :
Chopin - The 21 Nocturnes (recording of the Century : Claudio Arrau)
ua-cam.com/video/uUdoxvigIl8/v-deo.html
Chopin - Andante Spianato and Grande Polonaise Brillante.. (reference recording : Claudio Arrau) ua-cam.com/video/DhGzM9hJOek/v-deo.html
Debussy - Estampes, Images, Préludes (recording of the Century : Claudio Arrau) ua-cam.com/video/5dFceiCR8sU/v-deo.html
Debussy - Clair de Lune, Suite Bergamasque, Sarabande (reference recording : Claudio Arrau) ua-cam.com/video/gUTuCNtCoKk/v-deo.html
Schubert - Impromptus / Sonatas D.664, 958, 960, 959.. (reference recording : Claudio Arrau) ua-cam.com/video/CQiG8bouUys/v-deo.html
Brahms - Ballades, Sonatas, Scherzo & Variations (Century’s recording : Claudio Arrau) ua-cam.com/video/YGBdftavZuQ/v-deo.html
Beethoven - The Complete (32) Piano Sonatas/New Mastering (reference recording : Claudio Arrau) ua-cam.com/video/F__LuHDJko0/v-deo.html
Enjoy :-)
You are absolutely right.
Complimenti....analisi perfetta!!!👍👏👋👋
Arrau's Chopin is definitely unique. His sound and the way he conducts the music is amazing. Thank you for sharing this recordings!
Arrau's performance of the 2nd Scherzo simply shows why he's inimitable, a true master of both form and musicality.
How LUCKY we all are to have this set of Arrau's Chopin so easily available!
CHOPIN + ARRAU: ETERNITY.
You can find many recordings of these seminal Chopin works that exhibit extreme technical wizardry, especially of the Scherzi. But for interpretations that reach the profundity of expression, Arrau is inimitable.
Also, the tempo here is very deliberate and the voicing is amazing.
And nobody could listen to the way he ends the 4th ballade and say he isn't ALSO a technical wizard! He's just deeper than that too!
If I may offer an hypothesis, I propose that Arrau changes the perspective of Chopin from a romantic sentimental concert pianist who did not know how to compose, to an enormous musician. I am surely wrong, but perhaps not entirely. Arrau confronts Chopin music without expectations, without prejudices. This kind of lord Byron of the music, a romantic, an attractive emotional figure, after being played without preconceptions, without rosy romanticism, without easy melodies, after playing the scores and respecting what was written in them, Arrau unveiled a very serious, non sentimental musician, sad at times but never weeping, a very serious musician missing his native country, a concert pianist who projected the image of love tragedy to obtain applause. Arrau uncovers a composer of serious, beautiful, painful and transcendent music, one of the summits of western music. Thanks Classical Music for uploading this gem.
Perfect reading of Arrau and Chopin, thank you
@@ingasteimane750 Many thanks.
7⁷ugxgyzzggfhgyghgygyghghgygyty
Well said and I agree, By the same token Arrau plays both concertos as a young man’s music. He doesn’t inflate even the E minor into a Romantic warhorse. Some critics call the Inbal set mannered but for me it’s another instance of Arrau knowing Chopin in all his stages of development. Sorry that this pianist who was proud of his dancing didn’t record mazurkas!
@@jackatherton0111 Thanks for your comment
Gracias por subir este formidable video. El maestro Arrau sigue vigente en su personalísima ejecución de Chopin. Sin duda llegó a la máxima altura.
His disc of the Chopins Nocturnes are reference, when he played Beethoven, Brahms, Schumann and Chopin, every note is true. I like also his Schubert Sonatas, he played at the end of his ive.
The most impressive aspect of Arrau's artistry was his fierce musical integrity. His was a style of playing refreshingly free of surface glitter and vanity, his formidable technique always at the service of the music. Also there was that big all embracing sonority which never produced an ugly sound throughout his vast repertoire.
Arrau brought a sober intelligence and emotional breadth to Chopin which few before or since have attained. The four Scherzi can easily fall prey to bombastic narcissism from many of todays young pretenders, there is so much to find in these great landmark works that goes beyond the fast and loud; and surely his interpretation of the Ballades has to be one of the finest ever recorded.
Thank you so much for uploading this substantial recorded legacy from one of the great master pianists of the 20th Century.
Thank you for your comment :)
Excellent comment. I totally agree!
The best one!
Respect!
Blessed...Reference!
Again & Again!
It's amazing!
Claudio Arrau made me understand the Polonaise-Fantaisie. Before I heard him playing (many, many years ago...), it just did not make any sense to me. It sounded like an unbearable patchwork. All of a sudden... Fiat lux!
I had the honour to see him twice perform. It was in México: in the Guanajuato Festival and then in Ciudad de México. It was breathtaking. So poised, elegant, effortless in his demeanor. The drama of his performance layed just in the music.
You will forgive me that during these days of the Coronavirus lockdown I return again and again to maestro Arrau and his interpretation of Chopin that you have so kindly shared (as with other of his recordings on CMRR). Meredith Foster a year ago, commented on the sober intelligence and emotional breadth that Arrau brings to this interpretation of Chopin. Not much I can add to that except to say that while others play the music, very few indeed, can match the expressive honesty and clarity of this recording. May I again express my gratitude for your work.
Un chileno con un talento q pocos pianistas...hasta ahora han demostrado...un regalo a los oidos que aprecian la Excelencia...
I love Arrau's Chopin. He is just wonderful total rendition.
A Master of emotion, and the perfection of skill with which to render it!
Greatest recording of Chopin's Scherzos in history
That inimitable sound..... and Arrau is a pianist with a left hand! :-)
I looked for the ballades and I found this recording. The best of the best.
Enjoy :-)
Por lejos la mejor fantasía en Fa menor jamás registrada!!!
God sent us an excellent pianist and he had to be Chilean. 🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️🇨🇱❤️
Nobody touches Arrau when it comes to Chopin's Scherzos. I still haven't heard anyone better.
Horowitz
Ashkenazy comes close too
Are You being seriius. So You havent heard anything. Go hear. Krysztof jablonski and hundí yo SEE what a Scherzo must sounds
Are You being serious. So You havent heard anything. Go hear krysztof jablonsky or yundi you'll SEE how a Scherzo should be played
For me, it's Arturo Benedetti Michelangeli. But I agree that Arrau is awesome as well. Similar feeling but even more power in Michelangeli, especially in the Scherzo No. 2 in B flat minor. Personal taste, of course.
The best one!
Respect!
Blessed...Reference!
Again & Again!
Arrau's gentlest tecnique.intense and rare.precious and vital cause immensely evocative.many thanks
Arrau THE pianist with a deep deep sound. Because of his total relaxation
Qué grandeza interpretativa la del gran maestro Arrau.
The change in the tone and texture of the playing between 15:45 and 16:00 is so gorgeous
Chopin is revealed to us through Arrau´s hands !!!!!..Definitely !!!!
Are You serious. ??? No doubt Arrau is one of the Best pianists ever but he isnt playing chopin he's playing Arrau. A little ex. Just in the verybegining Chopin remarks and staccato and what did Arrau do?? A legato and there are Many examples where he don't follow what Chopin wrote in the partiture
Zašto ne prekidate govorne emisije sa reklamama nego samo glazbene-zamislite si koncertnu dvoranu -svira Arrau i svko toliko dolazi netko i izdeklamira reklamu???tako je meni koja slušam sa stalnim prekidima-bar pocekajte da skladba zavrsi
I simply love the way he plays the fantasia, especially at 1:08:54, my favourite interpretation by far.
My favorite point is 1:15:50, the Recitativo before the Finale. Nobody can make it sense as Arrau did in this recording. The Fantasia absolutely seems to be written specially for him.
It's just chilling!!!
Great upload. Best sound. Arrau astonishig as ever. Thanks
Claudio Arrau, Greatest Pianist of the 20th Century, Wonderful Recording of Chopin-Scherzi, ⭐️⭐️⭐️⭐️Ballades-Barcarolle, @Classical Music /Reference =6-55pm🎶🎶✨✨
Astonishing. How would you compare Rubinstein's playing of Chopin to Arrau's?
I wouldn't. I would much sooner enjoy both in different moods.
Many thanks for all the good work you guys do in order to understand better all this beauty.
What a wonderfull find , much appreciated !
Bravo my master. You will sing in are hearts forever. Cwy
Why do I feel like Claudio Arrau learned and recorded every single piano piece?! Its mind blowing
Best BARCAROLLE !!!!!!!!!!!! Just unbelievable !!!!!!
The Master of the Masters !!!!!!!!!!!!
Merci beaucoup .
piano : claudio arrau
strings,
) a musical stringed instrument
strings
Lo de este Arrau es una pasada. Barenboim no le iguala
en que idioma es la palabra pasada?
ruben feighelstein Lo usan en Argentina.
y zimerman?
@@rubenfeighelstein9218 no, creo que es más de españa la palabra. Yo soy argentino y no se usa mucho.
Es que Claudio Arrau es único!
So beautifull. Thaks for sharing.
😭😭😭😭😭 💔💔💔 words are useless sometimes....
Rubinstein and Arrau the best on Chopin. Gould the best on Bach.
Kissin and Vladimir Horowitz are the best on Chopin.
Stanislav Bunin, Pogorelich, Trifonov are amazing for Chopin. And Rosalyn Tureck Is my favorite for Bach
@@tigranohanyan3321 Kissin and Horowitz cannot even touch Arrau on any level, less alone in playing Chopin. Although it is a pitty Arrau never recorded the mazurkas, because Horowitz plays them great.
Glenn Gould plays very clear and all the notes in Bach's works. Musically none of what Gould makes sense in his Bach, musically is BAD
Каждое движение должно превратиться в настоящее произведение искусства.
так, чтобы воздействовать
на
верху́
, поскольку это всего лишь
касался
Wonderful Artist
está precioso!
From mp to mf. That's all.
ETERNITY.
Thank You +++
❤❤❤❤
Chopin is the best piano composer ever on this planet.
Together with some others.
Beautiful ! 💐💐💐
Thank you.
I detest your crude adds!
Ok ok ok ok ok
1:24:45 !
1:24:52
Outstanding
Buena interpretación arrau
Me? ...
Genial!
💚
Nice barcarolle, comparing quite well with Dinu Lipatti’s, which remains the greatest IMO.
He could use bringing out more of the barcarolle melody, which is one of Chopin’s most intensely emotional pieces, a real tear-jerker!
And I think there’s too much pedal in places.
And as for the Fantasia: it’s so difficult, darn it!
I was listining to the first scherzo when an advert suddenly appeared. Atmosphere destroyed; I won´t continue listening.
But I think Arrau plays very unvirtuosly. Never thought that this is a pianist which is considered to be one of the greatest of 20th century.
Barcarola eccezionale