The Op. 28 Preludes are projected with large-scale drama, as are the Nocturnes. Arrau considered the latter to be Chopin's most searching, tumultuous works, and his conceptions certainly will challenge listeners used to Artur Rubinstein or Ivan Moravec's lyrical grace and calm introspection. Sometimes Arrau's between-the-line readings impede the music's natural flow, as in the more extroverted Waltzes, the Fourth Scherzo (no match for Richter's light-fingered poise), and the Barcarolle. On the other hand, the F minor Fantasy radiates both momentous drive and heroic breadth in one of Arrau's most inspired recordings of anything.

Some listeners may find the concertos overly ruminative and bass heavy on the soloist's part. Others will discover a richer polyphonic dimension to the piano writing, abetted by Eliahu Inbal's scrupulously prepared orchestral framework, which offers more than mere accompaniment. I detect no sonic differences from the aforementioned 1991 "Arrau Edition" transfers. Note, however, that the Nocturnes, Barcarolle, and Fantasy gain warmth in the higher frequencies and all around presence in 24-bit transfers made for the "Philips 50 Great Recordings" series.

-- Jed Distler, ClassicsToday.com