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The Chilean pianist Claudio Arrau (1903 - 1991) was at the height of his career, when he recorded this recital in 1070/1977. He was known for his interpretations of a vast repertoire spanning from the baroque to 20th-century composers, especially Beethoven, Schubert, Chopin, Schumann, Liszt, Brahms and Debussy. It has been said that the best way to enjoy Arraus records is to imagine yourself there in the concert hall while he is playing. Now, thanks to the Beethovenfest performances presented here, which were filmed in Bonn in 1970 and 1977, it becomes virtually possible for us to do just that. In these fine performances, Arrau appears to make the piano breathe and sing.
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Claudio Arrau - Classic Archive (2 Dvd)
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful
By Luca
In my opinion, these two are the best DVDs concerning Claudio Arrau you can find on the market. In both these Beethovenian recitals, Arrau (1903-1991) is in perfect physical conditions (look at how agilely he moves walking to and from the piano in comparison, for instance, with the 1988 movie concerning the Beethoven's 5th Piano Concerto with Colin Davis), has reached a full interpretative maturity, plays live in a top level international musical context (the Bonn Beethovenfest).
Both concerts (CD1: 1977, color-mono, op. 53, op. 2 no. 3 and op. 111 // CD2: 1970, black&white-mono, op. 27 no. 1, op. 109, op. 57, op. 27 no. 2 and op. 81a) definitively testify Arrau's unsurpassed mastery: it is self-evident that he exactly knows what to do and that he does it, perfectly. In other terms, he completely dominates the stuff from a technical, intellectual, cultural and spiritual point of view.
As Neville Cardus suggested, Arrau is able to drive us inside and through the secret aspects of Music. But not by means of a mere intellectualistic approach. It is self-evident, in these DVDs, that Arrau plays in a state of transfiguration.
He does not use the Ego, but something of superior that transcends the Ego and all its limitations (vanity or fear, for instance) or constraining bonds. Inserted in this context, his terrific technical mastery is the instrument and the pre-condition that allows Arrau to transcend the written music, nevertheless remaining faithful to it (he edited for Peters all the 32 Beethoven's sonatas), and to bring back to us the wholeness of the message encrypted in it.
In these movies, it is evident that Arrau does not minimally fear difficulties. He might incur into some rare and light errors, but he does not sacrifices the exact sound (that is: the meaning) he wants to accomplish to the fear of a mistake. Thus Arrau is able, calmly, to risk (and accomplish) what otherwise might be considered temerarious.
He risks incredible, but never empty, pianissimo; he risks powerful, but never screamed, fortissimo; he risks in glissando, in trills, no matter if they all are in an exposed position: the target is the wished sonority-meaning, not only the right pitch.
Arrau is able to make the wood of the piano live and vividly vibrate (that is why all his dynamics were perfectly and exactly audible from the first row of the audience to the last one); consequently, the piano really sings and brings its voice (like the singers of the old school "portavano la voce") to every corner of the concert hall.
In conclusion, who really wants to hear and see, this one will find in these DVDs what best he/she will ever hear and see during a piano recital.
Sound and video quality, even if the standards are those of good 1970s' TV broadcastings, is defined enough to let you fully appreciate these incomparable documents and to really live the events.
In both recitals, the main problem for Arrau, and, consequently, for us, is an "environmental" one. I am referring to the physical heat in which Arrau had to play. Arrau was famous for not sweating at all, also performing the most difficult and large programs.
Here the powerful lights used for the broadcasting necessities make him abundantly and continuously sweat. Drops fall from his front into his eyes and from his nose onto the keyboard. Everybody, who has played a little, knows what is the terrible effect of all that. Arrau stoically goes on (and we suffer for him!), but at every break he has to use his handkerchief (it was so rare!) ... I think that two main finger slips at the entrance of the op. 111 sonata and some breaks in his concentration during its playing might be connected with those unacceptable conditions. What a pity! Therefore, on a video support, the best op.111 performed by Arrau remains the ineffable one recorded for EMI in 1970 (b&w, mono, studio).
I also think that the excessive cuts in audience applauses and acclamations reduce the reproduction of the atmosphere of those wonderful and unique events.
Both concerts (CD1: 1977, color-mono, op. 53, op. 2 no. 3 and op. 111 // CD2: 1970, black&white-mono, op. 27 no. 1, op. 109, op. 57, op. 27 no. 2 and op. 81a) definitively testify Arrau's unsurpassed mastery: it is self-evident that he exactly knows what to do and that he does it, perfectly. In other terms, he completely dominates the stuff from a technical, intellectual, cultural and spiritual point of view.
As Neville Cardus suggested, Arrau is able to drive us inside and through the secret aspects of Music. But not by means of a mere intellectualistic approach. It is self-evident, in these DVDs, that Arrau plays in a state of transfiguration.
He does not use the Ego, but something of superior that transcends the Ego and all its limitations (vanity or fear, for instance) or constraining bonds. Inserted in this context, his terrific technical mastery is the instrument and the pre-condition that allows Arrau to transcend the written music, nevertheless remaining faithful to it (he edited for Peters all the 32 Beethoven's sonatas), and to bring back to us the wholeness of the message encrypted in it.
In these movies, it is evident that Arrau does not minimally fear difficulties. He might incur into some rare and light errors, but he does not sacrifices the exact sound (that is: the meaning) he wants to accomplish to the fear of a mistake. Thus Arrau is able, calmly, to risk (and accomplish) what otherwise might be considered temerarious.
He risks incredible, but never empty, pianissimo; he risks powerful, but never screamed, fortissimo; he risks in glissando, in trills, no matter if they all are in an exposed position: the target is the wished sonority-meaning, not only the right pitch.
Arrau is able to make the wood of the piano live and vividly vibrate (that is why all his dynamics were perfectly and exactly audible from the first row of the audience to the last one); consequently, the piano really sings and brings its voice (like the singers of the old school "portavano la voce") to every corner of the concert hall.
In conclusion, who really wants to hear and see, this one will find in these DVDs what best he/she will ever hear and see during a piano recital.
Sound and video quality, even if the standards are those of good 1970s' TV broadcastings, is defined enough to let you fully appreciate these incomparable documents and to really live the events.
In both recitals, the main problem for Arrau, and, consequently, for us, is an "environmental" one. I am referring to the physical heat in which Arrau had to play. Arrau was famous for not sweating at all, also performing the most difficult and large programs.
Here the powerful lights used for the broadcasting necessities make him abundantly and continuously sweat. Drops fall from his front into his eyes and from his nose onto the keyboard. Everybody, who has played a little, knows what is the terrible effect of all that. Arrau stoically goes on (and we suffer for him!), but at every break he has to use his handkerchief (it was so rare!) ... I think that two main finger slips at the entrance of the op. 111 sonata and some breaks in his concentration during its playing might be connected with those unacceptable conditions. What a pity! Therefore, on a video support, the best op.111 performed by Arrau remains the ineffable one recorded for EMI in 1970 (b&w, mono, studio).
I also think that the excessive cuts in audience applauses and acclamations reduce the reproduction of the atmosphere of those wonderful and unique events.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
5.0 out of 5 stars
4 reviews
25 of 25 people found the following review helpful
5.0 out of 5 stars
Claudio Arrau at Beethovenfest: massive, powerful, unsurpassed
10 Jun 2011
By jsa
- Published on Amazon.com
Amazon Verified Purchase
This two DVD set features pianist Claudio Arrau performing eight Beethoven sonatas at Bonn's prestigious Beethovenfest in 1970, the composer's bicentenary, and 1977. I'll keep my comments to a minimum here and say that these performances are among the most powerful I've heard from this great Beethoven pianist - and this includes the many times I heard him in recital from the early 1970's through the 1980's.
While the producers elected to open the set with the 1977 Beethovenfest recordings (op. 53 "Waldstein," op. 2 no. 3 and op. 111), perhaps because they're in color, I'll comment first on the second disc which is from the more significant 1970 Festival (recorded in black & white, but in no way inferior from a video or sonic perspective). Arrau was 67 at the time and in top form; and there is only one word that begins to convey the performances of the five sonatas he covers (op. 27 no 1, op. 109, op. 57, op. 27 no. 2, and op 81a): and that is "gigantic." From the opening bars of the 13th sonata ("quasi una fantasia"), Arrau displays incredible energy and absolute authority that carry straight through to the Les Adieux, which closes the program. There's an aggressiveness to his attack combined with complete keyboard mastery that's simply thrilling to watch. Just watch him throw his hands at the keys during the Appassionata -- amazing. Arrau's immersion in the music is total and his expressiveness second to none, while tremendous dramatic energy is generated from the keyboard in controlled waves of sound. Nothing is overlooked yet nothing is overstated. So overwhelming is the impression made here that it's my opinion that not one of these five sonata performances, which bear the imprint of true creative genius, is anything less than definitive. This is the Arrau that is often missing from his more restrained studio sessions from the same period; and while the recording is in mono, it's one of the best I've heard at capturing the full weight of the pianist's organ-like sound.
The first disc opens with an outstanding performance of the Waldstein, showing Arrau at 74 to still be capable of projecting the heft that began to fade in his final performing years. A comparison between this reading and the 80th birthday concert is illustrative (Claudio Arrau, The 80th Birthday Recital - Recorded Live at Avery Fisher Hall, New York City [VHS]) - by then, Arrau's approach had become lighter and his technique, while still very much intact, was nevertheless scaled back (e.g., compare the octave glissandos in the Waldstein's finale). The early op. 2. no. 3, another Arrau specialty, receives a gorgeous performance - just listen to the magical bubbles of sound he creates out of the notes in the finale. The only performance that's not quite up to the super-human quality of the other seven in this set is the op. 111 sonata - and while it's excellent, it suffers in comparison to Arrau's majestic 1970 recording: Schumann: Piano Concerto in A minor, Carnaval Op. 9 & Beethoven Piano Sonata No. 32 in C minor / Arrau. Surprisingly it is the Arietta, with its metaphysical dimension that Arrau uniquely grasps, that's taken just a little too quickly here.
For those who have always wondered, why Arrau? this two-disc set is the answer. For those who already know, this set is a fabulous document of the great pianist at his titanic best.
While the producers elected to open the set with the 1977 Beethovenfest recordings (op. 53 "Waldstein," op. 2 no. 3 and op. 111), perhaps because they're in color, I'll comment first on the second disc which is from the more significant 1970 Festival (recorded in black & white, but in no way inferior from a video or sonic perspective). Arrau was 67 at the time and in top form; and there is only one word that begins to convey the performances of the five sonatas he covers (op. 27 no 1, op. 109, op. 57, op. 27 no. 2, and op 81a): and that is "gigantic." From the opening bars of the 13th sonata ("quasi una fantasia"), Arrau displays incredible energy and absolute authority that carry straight through to the Les Adieux, which closes the program. There's an aggressiveness to his attack combined with complete keyboard mastery that's simply thrilling to watch. Just watch him throw his hands at the keys during the Appassionata -- amazing. Arrau's immersion in the music is total and his expressiveness second to none, while tremendous dramatic energy is generated from the keyboard in controlled waves of sound. Nothing is overlooked yet nothing is overstated. So overwhelming is the impression made here that it's my opinion that not one of these five sonata performances, which bear the imprint of true creative genius, is anything less than definitive. This is the Arrau that is often missing from his more restrained studio sessions from the same period; and while the recording is in mono, it's one of the best I've heard at capturing the full weight of the pianist's organ-like sound.
The first disc opens with an outstanding performance of the Waldstein, showing Arrau at 74 to still be capable of projecting the heft that began to fade in his final performing years. A comparison between this reading and the 80th birthday concert is illustrative (Claudio Arrau, The 80th Birthday Recital - Recorded Live at Avery Fisher Hall, New York City [VHS]) - by then, Arrau's approach had become lighter and his technique, while still very much intact, was nevertheless scaled back (e.g., compare the octave glissandos in the Waldstein's finale). The early op. 2. no. 3, another Arrau specialty, receives a gorgeous performance - just listen to the magical bubbles of sound he creates out of the notes in the finale. The only performance that's not quite up to the super-human quality of the other seven in this set is the op. 111 sonata - and while it's excellent, it suffers in comparison to Arrau's majestic 1970 recording: Schumann: Piano Concerto in A minor, Carnaval Op. 9 & Beethoven Piano Sonata No. 32 in C minor / Arrau. Surprisingly it is the Arietta, with its metaphysical dimension that Arrau uniquely grasps, that's taken just a little too quickly here.
For those who have always wondered, why Arrau? this two-disc set is the answer. For those who already know, this set is a fabulous document of the great pianist at his titanic best.
13 of 13 people found the following review helpful
5.0 out of 5 stars
Long Awaited Releases
7 Jun 2011
By Sergio Court
- Published on Amazon.com
Amazon Verified Purchase
One of the greatest honors for any pianist was to be invited to perform at the 1970 Beethovenfest in Bonn,Germany.It was a special year,celebrating the 200th anniversary of Beethoven's
birth ( In Bonn,of course ) .W.Kempff,F.Gulda and C.Arrau were among the
handful of great Beethoven performers invited to play his
piano sonatas.Finally,more than 40 years later,we can experiance some of the solemmnity and excitement of the event.It
captures Arrau at the peak of his interpretative gifts and his technique in awesome shape. The
black and white, made for TV video,is of much better quality than other Arrau videos, for EMI ( Schumann,Beethoven from 1964 and also 1970)or VAI ( Mozart,Beethoven for
the Canadian TV in 1964). This 2 DVD pack also offers Arrau in a 1977 Beethovenfest recital (color video) with 3 sonatas ( Op.53,Op.2,No.3,Op.111),wich unfortunately ommits the Op.35 Variations ( "Eroica").The quality of the video and sound are optimal.The novelty is the Op.2,No.3.The Op.111 is better performed in other Arrau videos ( VAI 1964,EMI 1970 )The total content includes 8 sonatas,wich were Arrau's most performed ones in the later years of his career along with the Op.10,No.3 ( The seventh Sonata),wich is available on a Kultur VHS,recorded in Chile in 1984.Obviouly the
five sonatas offered in the 1970 recital are probably the best Arrau performances ever available on any video format and are a "must have".So,grab it without hesitation to learn how a master live performance materializes
without second takes nor editings.For the non-Arrau enthusiasts,it may explain his legendary and long-lasting fame
birth ( In Bonn,of course ) .W.Kempff,F.Gulda and C.Arrau were among the
handful of great Beethoven performers invited to play his
piano sonatas.Finally,more than 40 years later,we can experiance some of the solemmnity and excitement of the event.It
captures Arrau at the peak of his interpretative gifts and his technique in awesome shape. The
black and white, made for TV video,is of much better quality than other Arrau videos, for EMI ( Schumann,Beethoven from 1964 and also 1970)or VAI ( Mozart,Beethoven for
the Canadian TV in 1964). This 2 DVD pack also offers Arrau in a 1977 Beethovenfest recital (color video) with 3 sonatas ( Op.53,Op.2,No.3,Op.111),wich unfortunately ommits the Op.35 Variations ( "Eroica").The quality of the video and sound are optimal.The novelty is the Op.2,No.3.The Op.111 is better performed in other Arrau videos ( VAI 1964,EMI 1970 )The total content includes 8 sonatas,wich were Arrau's most performed ones in the later years of his career along with the Op.10,No.3 ( The seventh Sonata),wich is available on a Kultur VHS,recorded in Chile in 1984.Obviouly the
five sonatas offered in the 1970 recital are probably the best Arrau performances ever available on any video format and are a "must have".So,grab it without hesitation to learn how a master live performance materializes
without second takes nor editings.For the non-Arrau enthusiasts,it may explain his legendary and long-lasting fame
6 of 7 people found the following review helpful
5.0 out of 5 stars
A legend lives
5 Oct 2011
By Emilio J. Gallego
- Published on Amazon.com
Amazon Verified Purchase
What can I say the other reviewers didn't? When I saw this on Amazon I clicked the buy button immediately.
This long awaited release puts in public view a monumental piece of art. Just hoping some Liszt footage is released.
Just a note for European users, my DVDs are region 0 (worldwide), so you shouldn't have problem.
This long awaited release puts in public view a monumental piece of art. Just hoping some Liszt footage is released.
Just a note for European users, my DVDs are region 0 (worldwide), so you shouldn't have problem.
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5.0 out of 5 stars
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