WGBH Radio WGBH Radio theclassicalstation.org

Claudio Arrau Edition - Schumann


Release Date: 10/11/1991 
Label:  Philips   Catalog #: 432308   Spars Code: ADD 
Composer:  Robert Schumann
Performer:  Claudio Arrau
Number of Discs: 7 
Recorded in: Stereo 
Low Stock: Currently 3 or fewer in stock. Usually ships in 24 hours, unless stock becomes depleted.  
ArkivCD  $67.49
Low Stock



This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

Deep thought, care and love pervade this newest contribution to Arrau's Schumann cycle, just as they did all the others. The discovery for me was the Blumenstück, which if played at all (it isn't often) so easily emerges like some pretty but pale little drawing-room aquarelle. But not from Arrau. Characteristically, he reads between the lines of every bar, and discovers as much to express as in any of Schumann's wholly introspective pieces. I was amazed at the variety of mood he extracts from the work's not greatly varied figuration throughout the sequence of brief, closely related sections.

As for Kinderscenen, sharing the second side, I think the nature of the interpretation is best summed up by the title Schumann gives
Read more his tenth piece, "Almost too serious". But apart from an over-pedalled and thick-sounding "Knight of the Hobby-Horse", all these miniatures are intimately cherished.

Papillons, starting the first side, could also only have come from Arrau in its depth of sonority and feeling, with tempo sometimes a little more leisurely than we often hear to accommodate the can amore approach. I was now and again puzzled by his decisions about repeats-or perhaps they come from some new edition? For instance, we often hear the main section of No. 2 played twice in order to include the textual variant that Schumann himself is said to have sometimes played in bars 9 and 10. But I can't remember ever having heard the four-bar introduction repeated too. Nor, surely, is it usual to repeat the second half of No. 11? Yet Arrau does not repeat the first eight bars of No. 5, which I think is a loss since it robs him of the chance of observing Schumann's basso cantando the second time. The record is completed by the three Romances, of which the first and last are as rarely heard as the second is well known. The depth of tone Arrau favours, together with the very resonant acoustic, have their dangers: sometimes texture sounds a bit thick. I would even have liked more of a luminous glow to the lovely tune of No. 2. But again here there is no mistaking Arrau's intensity of feeling.

-- Joan Chissell, Gramophone [6/1978, reviewing Kinderszenen, Papillons, Three Romances, and Blumenstück]
Read less

Works on This Recording

1.
Novelletten (8) for Piano, Op. 21 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1838; Germany 
2.
Waldszenen, Op. 82 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1848-1849; Germany 
3.
Kreisleriana, Op. 16 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1838; Germany 
4.
Sonata for Piano no 2 in G minor, Op. 22 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1833-1838; Germany 
5.
Romances (3) for Piano, Op. 28 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1839; Germany 
6.
Davidsbündlertänze for Piano, Op. 6 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1837; Germany 
7.
Nachtstücke (4) for Piano, Op. 23 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1839; Germany 
8.
Symphonic Etudes for Piano, Op. 13 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1837/1852; Germany 
9.
Theme and Variations for Piano on the name ABEGG, Op. 1 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1829-1830; Germany 
10.
Kinderszenen, Op. 15 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1838; Germany 
11.
Faschingsschwank aus Wien, Op. 26 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1839-1840; Germany 
12.
Arabeske for Piano in C major, Op. 18 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1838; Germany 
13.
Humoreske for Piano in B flat major, Op. 20 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1838; Germany 
14.
Papillons, Op. 2 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1829-1831; Germany 
15.
Sonata for Piano no 1 in F sharp minor, Op. 11 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1832-1835; Germany 
16.
Phantasiestücke (3) for Piano, Op. 111 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1851; Germany 
17.
Phantasiestücke (8) for Piano, Op. 12 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1837; Germany 
18.
Carnaval, Op. 9 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1833-1835; Germany 
19.
Phantasie for Piano in C major, Op. 17 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1836-1838; Germany 
20.
Blumenstück for Piano in D flat major, Op. 19 by Robert Schumann
Performer:  Claudio Arrau (Piano)
Period: Romantic 
Written: 1839; Germany 

Customer Reviews

Average Customer Review:  2 Customer Reviews )
 Could hardly be improved upon! August 19, 2014 By Michael Sturgulewski (Miami, FL) See All My Reviews "I will admit I got this set chiefly because it's the only way to get his peerless recording of the Novelletten as I already had most of the others as individual CD's. They are among the best or perhaps THE best performances I've ever heard of this music. I've long felt that among the big name, well known artists, Arrau possessed the most balanced approach between musicality and virtuosity toward the music of the great romantics...Chopin, Schumann, Brahms and Liszt. His style of pianism has always been the approach to interpretation I've always admired the most in which technique and virtuosity plays the subservient role and are put to the service of the music. I've never had much use for pianists such as Horowitz and violinists such as Heifetz who have such complete and utter disregard for the composer's intentions and indications. Virgil Thompson put it perfectly. To "artists" such as these, the music they play means little more than hand-made and tailored clothing one puts on to impress those who are impressed by such things. Arrau always uses the score as the springboard, as it were, from which the ultimate interpretation is shaped. He is often regarded by the ignorant as a "slow" pianist. In truth, he is one of the few who chooses tempos which allow most of the music to come through. One of the very few younger pianists who have impressed me in this regard is Diego Suarez. His recording of the Lizst Trancendental Etudes made when he was only 19 in a live recital is a phenomenon. He is one of the VERY few who takes Feux Folletts at the correct Allegretto tempo not at the usual breakneck speed and with usually sparse use of the damper pedal. I have never heard so many of the subtle musical details come through. If you would like a preview, the recording is available for listening on Spotify. I would like to thank Arkivmusic for its reissuing of so many classic recordings. The most recent I acquired is the reappearance of the Karl Richter DGG recording of Handel's Samson. The vocal cast especially the females is simply impossible to improve upon. They are all stellar and Richter's interpretation is a model of Baroque performance practice." Report Abuse
 UN ENSEMBLE MAGNIFIQUE ET UNIQUE July 20, 2012 By Marcel VION See All My Reviews "INTERPRETETION EXTRAORDINAIRE ! TECHNIQUE EXEMPLAIRE , REMONTANT A KRAUSE ET LISZT !... UN MODELE D'INTERPRETATION !... VINGT ANS DE BONHEUR !..." Report Abuse
Review This Title