Claudio Arrau plays Bach
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Gold Seal
Magazine Review Date: 7/1989
Media Format: CD or Download
Media Runtime: 97
Mastering:
Mono
ADD
Catalogue Number: GD87841
Tracks:
| Composition | Artist Credit |
|---|---|
| Goldberg Variations |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| Chromatic Fantasia and Fugue |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| (15) 2-Part Inventions, Movement: C minor |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| (15) 2-Part Inventions, Movement: E minor |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| (15) 2-Part Inventions, Movement: F minor |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| (15) 3-Part Inventions ,'Sinfonias', Movement: C minor |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| (15) 3-Part Inventions ,'Sinfonias', Movement: E |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
| (15) 3-Part Inventions ,'Sinfonias', Movement: B minor |
Johann Sebastian Bach, Composer
Claudio Arrau, Piano Johann Sebastian Bach, Composer |
Author: Lionel Salter
It comes as a considerable surprise to find Arrau recording Bach, though it shouldn't really: at the age of 31 he created a sensation in Berlin by being the first pianist to perform Bach's complete keyboard works (in 12 recitals); and six years later, in 1941, he won acclaim in New York for his Goldberg Variations. As a result, he recorded them for RCA, but magnanimously agreed to hold up their release in favour of a harpsichord version by Landowska, who had just arrived as a refugee and was in need of funds. Because of her great success his recording was never issued; but in any case he had become convinced that the harpsichord, rather than the piano, was the right instrument for Bach, and did not pursue this branch of the repertoire.
His approach here is characterized by its intellectuality, its clarity of thought in the part-playing, and its honesty, without any histrionics or exaggerated reverence; and the fluency and lucidity of fast-moving variations are captivating (though the fughetta of No. 10 is too rushed and bumpy). However, the combination of a very dry, forward recording with his adoption of a predominantly minimally-pedalled non-legato style results in some stiffness and stodginess in the slow ones (No. 15, the first in the minor, is a sufferer, as is the famous No. 25, also in the minor, which seems interminable). Arrau usually begins the second half of each variation more quietly, and makes all the repeats. His one conspicuous weakness lies in the ornaments, many of which arc not cleanly enough performed; nor does he always make his ornaments in canonic lines match up (e.g. in bars 12–13 of No. 9 and bar 6 of No. 21); and the ill-considered placing of an appoggiatura in bar 10 of No. 24 produces consecutive fifths, of which Bach would surely have disapproved. Some surface noise remains from the original 78rpm discs.
Sound quality is superior—cleaner and brighter—in the works recorded in 1945, and here the surface whispers seem to have disappeared. The vigour of the F major Invention and the fast flow of the E major Sinfonia are pleasing. The reading of the Chromatic Fantasia and Fugue is firmly controlled, with marvellously even and sparkling tirades in the Fantasia; but it is so restrained that the wildness of Bach's daring declamatory gestures is missing, and not until the fastish, forward-thrusting Fugue does this really take off.'
His approach here is characterized by its intellectuality, its clarity of thought in the part-playing, and its honesty, without any histrionics or exaggerated reverence; and the fluency and lucidity of fast-moving variations are captivating (though the fughetta of No. 10 is too rushed and bumpy). However, the combination of a very dry, forward recording with his adoption of a predominantly minimally-pedalled non-legato style results in some stiffness and stodginess in the slow ones (No. 15, the first in the minor, is a sufferer, as is the famous No. 25, also in the minor, which seems interminable). Arrau usually begins the second half of each variation more quietly, and makes all the repeats. His one conspicuous weakness lies in the ornaments, many of which arc not cleanly enough performed; nor does he always make his ornaments in canonic lines match up (e.g. in bars 12–13 of No. 9 and bar 6 of No. 21); and the ill-considered placing of an appoggiatura in bar 10 of No. 24 produces consecutive fifths, of which Bach would surely have disapproved. Some surface noise remains from the original 78rpm discs.
Sound quality is superior—cleaner and brighter—in the works recorded in 1945, and here the surface whispers seem to have disappeared. The vigour of the F major Invention and the fast flow of the E major Sinfonia are pleasing. The reading of the Chromatic Fantasia and Fugue is firmly controlled, with marvellously even and sparkling tirades in the Fantasia; but it is so restrained that the wildness of Bach's daring declamatory gestures is missing, and not until the fastish, forward-thrusting Fugue does this really take off.'
Claudio Arrau plays Bach
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