Listen to Beethoven: Piano Sonatas Nos. 9, 10, 27 & 28 by Claudio Arrau on Deezer. With music streaming on Deezer you can discover more than 43 million tracks, create your own playlists, and share your favourite tracks with your friends. Sonatas No.21 In C Major Op 53 'Waldstein'. A1, First Movement. A2, Second Movement. Sonatas No.28 In A Major Op 101. B1, First Movement. B2, Second Movement. B3, Third Movement / Fourth Movement. Composed By – Beethoven*; Piano – Claudio Arrau. Jun 15, 2014 - 29 min - Uploaded by Queen Cure SkyClaudio Arrau, piano Oct 1965 1.Maestoso - Allegro con brio ed appassionato 9: 12 2.

Autoload Pro 2008 Serial more. When EMI made their various sonata and concerto recordings with Claudio Arrau in the 1950s, his reputation in this country was at its zenith; and rightly so, to judge from much that their five-CD Beethoven Edition has to offer. Later, a reaction set in, something that first became apparent in these pages in 1963 as Arrau, now a Philips artist, embarked on his cycle of all 32 Beethoven piano sonatas. It is, I should say at the outset, a historic achievement that has always struck me as magnificently complementing the great rival cycles by Schnabel (EMI) and Kempff (DG). I once described the completed set as 'a journey involving a quality of discipline and selfless involvement at times almost Dostoevskian in its intensity', and, predictably, coming back to it has been an ordeal, emotionally and intellectually. And here perhaps is the rub. Keyshot Keygen Mac.

As one distinguished pianist remarked to me recently, we live in an age of easy access and diminished attention spans, which is not perhaps the best environment for a giant like Arrau. At the same time, fashions change.

Though SP and Julian Budden were occasionally troubled by aspects of Arrau's Beethoven on record in the mid-1960s, they were generally admiring and respectful. By the late 1980s, though, a CD reissue of Arrau's revered recordings of the Debussy Preludes (revered, that is, by an older generation of critics and rather a lot of fellow artists) was unceremoniously dismissed in these pages as 'leaden-footed', 'unatmospheric', 'laboured', 'stiff' and 'cumbersome'. There is, alas, more to being a great pianist than the ability merely to play the piano. Arrau played the piano supremely well but his absorption in the letter of a composer's text and his quest for imaginative oneness with the music's innermost spirit often led to playing that was often more measured, more given to emotional and rhythmic indirection than contemporary taste permits.

It is important to remember, though, that such idiosyncrasy was generally reserved by Arrau only for the most challenging and complex music—whether it was a doomed Debussyan landscape or the complex charges of something like the first movement exposition of the Hammerklavier Sonata. Time and again in the cycle of 32 sonatas he is the very model of unaffected good sense. Typically, Arrau doesn't condescend to the two Op. 49 Sonatas, but he doesn't complicate them either. The performances reveal a mature mind and cultured technique that is light years away from a schoolroom run-through; equally, 'interpretation' is entirely in abeyance.

You will find this mixture of directness matched by an impeccable keyboard manner in the three sonatas Op. 2 and the two sonatas Op. Arrau is also splendid in the little Op. 79 Sonata, alla tedesca, even though I still prefer Backhaus in the rumbustious finale.

When the Philips recordings of Opp. 110 and 111 first appeared in September 1966, Julian Budden channelled doubts about the occasional comma or momentary ritenuto into a splendid piece of advice. 'The best way to enjoy [Arrau's] records,' he suggested, 'is to imagine yourself there in the concert hall while he is playing.' ' That is shrewdly put, and can be easily demonstrated by turning to Arrau's sublime performance of the two-movement F sharp major Sonata, Op.

Download Amcap Vb6 Source Code on this page. At the same time, Julian Budden put his finger on another problem that seemed initially to beset this Philips cycle: the quality of the recordings, particularly as they first appeared in some curiously foggy LP pressings. In this instance he found an over-close microphone balance giving rise to some brutal fortissimos that bore no relation to the actual sound of this most powerful but least brutal of pianists. The problem is, Arrau was always difficult to record. Not the least of his accomplishments was a piano sound, uniquely rich and articulate, that would 'carry' at even the quietest dynamic levels into the furthest recesses of a hall.