Claudio Arrau

Biography

Born: February 6, 1903; Chillán, Chile   Died: June 9, 1991; Mürzzuschlag, Austria  
A patrician artist whose matinee-idol appearance was as elegant as his playing, Claudio Arrau achieved a major reputation for his performances of Brahms and Liszt. Indeed, few Romantic-period composers, from Beethoven onward, were beyond his grasp. In addition to that repertory, his Debussy was regarded by many connoisseurs as exemplary. Arrau believed that his abiding interest in psychoanalysis aided him in probing the intent of those whose Read more works he performed. Certainly, Arrau's performances were marked by a balance between heart and intellect.

Arrau was born in Chillán, Chile, on February 6, 1903. He received piano instruction from his mother at an early age, making his debut performance in Santiago at the age of five playing Mozart, Beethoven, and Chopin. At the age of 10 the Chilean government sent him to Berlin, where he enrolled in Stern's Conservatory of Music. His teacher there was Martin Krause. While studying he entered competitions, and won the Ibach Prize and the Gustav Holländer Medal. He also began giving recitals in Germany and Scandinavia, earning excited comment over the excellence of his technique, and the maturity of his interpretations. In 1918 he made a major European tour, giving concertos accompanied by illustrious conductors such as Nikisch, Furtwängler, and Mengelberg. He returned to South America in 1921, and made a triumphal tour beginning in Santiago de Chile. He made his first North American tour in 1924, appearing with the Boston Symphony Orchestra and the Chicago Symphony Orchestra. He joined the faculty of the Stern Conservatory in 1924. He won the Grand Prix Internationale des Pianistes in Geneva in 1927, and toured in the Soviet Union in 1929, and again in 1930.

He continued a notable concertizing career throughout the 1930s, including a famous series in 1935 and 1936 in Berlin, in which he played the complete keyboard works of J.S. Bach followed by the complete keyboard works of Mozart. He then announced that he would no longer play Bach, asserting that his music was not conceived for the modern grand piano. In 1938 he played all of the Beethoven piano sonatas and five piano concertos in a series of recitals in Mexico City, and repeated the feat during the next two years in Buenos Aires and Santiago. When World War II broke out he ended his association with the Stern Conservatory and returned to Chile, founding a piano school there. But the next year, after a tour of the United States where he received the highest critical acclaim, he and his family moved permanently to New York. He devoted himself to concertizing, teaching, and recording. His complete Beethoven cycles became legendary; in 1952 he performed such a series, in which each recital was broadcast live by the BBC.

After World War II his concert tours included Australia, Czechoslovakia, Romania, India, South Africa, Israel, and Japan. In the 1960s he made definitive recordings of the complete Beethoven piano sonatas; he also supervised the editing and publication of an Urtext edition of the same sonatas. In the 1970s, Chile, which had enjoyed a record as one of South America's most democratic nations, fell to the military government of Pinochet. In protest, Arrau gave up his Chilean citizenship in 1978, and became a naturalized citizen of the U.S. Despite this, or perhaps because of it, he continued to be a revered figure in Chile; in 1983 he was awarded the Chilean National Arts Prize. He returned at the age of 81 to tour Chile in 1984, his first performances there in 17 years. He died in Mürzzuschlag, Austria, on June 9, 1991. Read less

Biography

Born: February 6, 1903; Chillán, Chile   Died: June 9, 1991; Mürzzuschlag, Austria  
A patrician artist whose matinee-idol appearance was as elegant as his playing, Claudio Arrau achieved a major reputation for his performances of Brahms and Liszt. Indeed, few Romantic-period composers, from Beethoven onward, were beyond his grasp. In addition to that repertory, his Debussy was regarded by many connoisseurs as exemplary. Arrau believed that his abiding interest in psychoanalysis aided him in probing the intent of those whose Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Maestoso
II. Adagio
III. Rondo: Allegro non troppo
1. Allegro
2. Adagio un poco mosso
3. Rondo (Allegro)
I. Presto
II. Largo e mesto
III. Menuetto: Allegro
IV. Rondo: Allegro
I. Andante
II. Allegro molto e vivace
III. Adagio con espressione
IV. Allegro vivace
I. Allegro assai
II. Andante con moto
III. Allegro ma non troppo
Variation 11
Variation 12
Variation 13
Variation 14
Variation 15
Finale: Alla Fuga
I. Vivace ma non troppo
I. Vivace ma non troppo
II. Prestissimo
II. Prestissimo
III. Gesangvoll, mit innigster Empfindung: Andante molto cantabile ed espressivo
III. Gesangvoll, mit innigster Empfindung: Andante molto cantabile ed espressivo
I. Maestoso - Allegro con brio ed appassionato
I. Maestoso - Allegro con brio ed appassionato
II. Arietta: Adagio molto semplice e cantabile
II. Arietta: Adagio molto semplice e cantabile
I. Introduzione: Un poco adagio - Allegro vivace - Piu lento
II. Aria
III. Scherzo - Intermezzo
IV. Finale: Allegro un poco maestoso
I. Allegro maestoso
II. Andante
III. Scherzo
IV. Intermezzo (Ruckblick)
V. Finale: Allegro moderato ma rubato
1. Allegro
2. Adagio
3. Menuetto (Allegretto)
4. Prestissimo
1. Allegro vivace
2. Largo appassionato
3. Scherzo (Allegretto)
4. Rondo (Grazioso)
1. Allegro molto e con brio
2. Adagio molto
3. Finale (Prestissimo)
1. Allegro con brio
2. Adagio
3. Scherzo (Allegro)
4. Allegro assai
1. Allegro molto e con brio
2. Largo, con gran espressione
3. Allegro
4. Rondo (Poco allegretto e grazioso)
1. Allegro
2. Allegretto
3. Presto
1. Presto
2. Largo e mesto
3. Menuetto (Allegro)
4. Rondo (Allegro)
1. Grave - Allegro di molto e con brio
2. Adagio cantabile
3. Rondo (Allegro)
1. Allegro
2. Allegretto
3. Rondo (Allegro comodo)
1. Allegro
2. Andante
3. Scherzo (Allegro assai)
1. Allegro con brio
2. Adagio con molto espressione
3. Menuetto
4. Rondo (Allegretto)
1. Andante con variazioni
2. Scherzo (Allegro molto)
3. Marcia funebre sulla morte d'un Eroe
4. Allegro
1. Andante - Allegro - Tempo I
2. Allegro molto e vivace
3. Adagio con espressione
4. Allegro vivace - Tempo I - Presto
1. Adagio sostenuto
2. Allegretto
3. Presto
1. Allegro
2. Andante
3. Scherzo (Allegro assai)
4. Rondo (Allegro ma non troppo)
1. Allegro vivace
2. Adagio grazioso
3. Rondo (Allegretto)
1. Largo - Allegro
2. Adagio
3. Allegretto
1. Allegro
2. Scherzo (Allegretto vivace)
3. Menuetto (Moderato e grazioso)
4. Presto con fuoco
1. Andante
2. Rondo (Allegro)
1. Allegro ma non troppo
2. Tempo di Menuetto
1. Allegro con brio
Introduzione (Adagio molto) - Rondo (Allegretto moderato - Prestissimo)
1. In Tempo d'un Menuetto
2. Allegretto
3. Più Allegro
1. Presto alla tedesca
2. Andante
3. Vivace
1. Allegro assai
2. Andante con moto
3. Allegro ma non troppo
1. Adagio cantabile - Allegro ma non troppo
2. Allegro vivace
1. Das Lebewohl (Adagio - Allegro)
2. Abwesendheit (Andante espressivo)
3. Das Wiedersehn (Vivacissimamente)
1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
2. Nicht zu geschwind und sehr singbar vorgetragen
1. Etwas lebhaft und mit der innigsten Empfindung (Allegretto ma non troppo)
2. Lebhaft, marschmäßig (Vivace alla marcia)
3. Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto)
4. Geschwind, doch nicht zu sehr und mit Entschlossen- heit (Allegro)
1. Allegro
2. Scherzo (Assai vivace - Presto - Prestissimo - Tempo I)
3. Adagio sostenuto
4. Largo - Allegro risoluto
1. Vivace ma non troppo-Adagio espressivo-Tempo I 2. Prestissimo
3. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo)
1. Moderato cantabile molto espressivo
2. Allegro molto
3. Adagio ma non troppo
4. Fuga (Allegro ma non troppo)
1. Maestoso - Allegro con brio ed appassionato
2. Arietta (Adagio molto semplice e cantabile)
Introduzione col Basso del Tema: Allegretto vivace
Variations 1-15
Finale alla Fuga: Allegro con brio - Andante con moto
Tema (Vivace)
Variation I (Alla marcia maestoso)
Variation II (Poco allegro)
Variation III (L'istesso tempo)
Variation IV (Un poco più vivace)
Variation V (Allegro vivace)
Variation VI (Allegro ma non troppo e serioso)
Variation VII (Un poco più allegro)
Variation VIII (Poco vivace)
Variation IX (Allegro pesante e risoluto)
Variation X (Presto)
Variation XI (Allegretto)
Variation XII (Un poco più moto)
Variation XIII (Vivace)
Variation XIV (Grave e maestoso)
Variation XV (Presto scherzando)
Variation XVI (Allegro)
Variation XVII
Variation XVIII (Poco moderato)
Variation XIX (Presto)
Variation XX (Andante)
Variation XXI (Allegro con brio - Meno allegro - Tempo I)
Variation XXII (Allegro molto): Alla "Notte e giorno faticar" di Mozart
Variation XXIII (Allegro assai)
Variation XXIV: Fughetta (Andante)
Variation XXV (Allegro)
Variation XXVI
Variation XXVII (Vivace)
Variation XXVIII (Allegro)
Variation XXIX (Adagio ma non troppo)
Variation XXX (Andante, sempre cantabile)
Variation XXXI (Largo, molto espressivo)
Variation XXXII: Fuga (Allegro - Poco adagio)
Variation XXXIII (Tempo di minuetto moderato, ma non tirarsi dietro)
1. Allegro
2. Scherzo (Assai vivace - Presto - Prestissimo - Tempo I)
3. Adagio sostenuto
4. Largo - Allegro risoluto
1. Grave - Allegro di molto e con brio
2. Adagio cantabile
3. Rondo (Allegro)
1. Adagio sostenuto
2. Allegretto
3. Presto agitato
1. Allegro assai
2. Andante con moto
3. Allegro ma non troppo
1. Das Lebewohl (Adagio - Allegro)
2. Abwesenheit (Andante espressivo)
3. Das Wiedersehen (Vivacissimamente)
1. Adagio sostenuto
2. Allegretto
3. Presto agitato
1. Das Lebewohl (Adagio - Allegro)
2. Abwesenheit (Andante espressivo)
3. Das Wiedersehen (Vivacissimamente)
I. Allegro maestoso
II. Romanza: Larghetto
III. Rondo: Vivace
I. Allegro moderato
II. Andante con moto
III. Rondo: Vivace
1. Maestoso - Poco più moderato
2. Adagio
3. Rondo (Allegro non troppo)
1. Allegro non troppo
2. Allegro appassionato
3. Andante - Più adagio
4. Allegretto grazioso - Un poco più presto
1. Grave - Allegro di molto e con brio
2. Adagio cantabile
3. Rondo (Allegro)


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