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10 von 11 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Weisheit und Virtuosität, 16. August 2011
Rezension bezieht sich auf: Arrau spielt Liszt (Eloquence) (Audio CD)
Bei diesen Aufnahmen weiß man gar nicht wo man mit dem Loben anfangen soll. Die Virtuosität hat nichts Hexenmeisterliches, so selbstverständlich und unspektakulär bildet sie die Grundlage dieser Aufnahmen. Trotzdem ist Arrau freilich ein Hexenmeister, der rein pianistisch alle Anforderungen übererfüllt. Die eigentliche Bedeutung dieser Aufnahmen liegt aber in ihrer tiefen Durchdringung der Musik Liszts. Liszt ist sozusagen die Muttersprache des "deutschesten aller nicht deutschen" Pianisten Claudio Arrau. Soweit wie jetzt beschrieben könnte das nun freilich auch eine recht akademische und professorale Angelegenheit sein, ein Pianist, der weiß wie Liszt zu spielen ist und über die manuellen Mittel dazu verfügt! Bei alledem ist jedoch Arrau auch noch ein großer Künstler, der vielleicht nicht so sehr an der Oberfläche zu begeistern weiß, sondern mehr in der Tiefe. Das sei vielleicht als kleine "Warnung" mitgegeben, es handelt sich nicht um einen Liszt zum einmal hören, sondern um ein Liszt-Orakel, das seine Geheimnisse erst beim Wiederhören und bei der kontinuierlichen Beschäftigung damit offenbart. Der Preis für so etwas wundervolles ist im übrigen ganz sensationell. Auch wer den Liszt lieber bei Horowitz, Kissin und Lang Lang anhört, um nur einige derer zu nennen, die einen Liszt der bequemen Oberflächlichkeit bieten sollte auf Arrau (Brendel und Kostick wären zwei andere Klavierphilosophen) zumindest als second opinion oder als Antithese in seinen Liszt-Kosmos integrieren.
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20 von 23 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Liszt for the ages!, 2. Juni 2011
Rezension bezieht sich auf: Arrau spielt Liszt (Eloquence) (Audio CD)
So far as I can ascertain, it seems that this box set has ALMOST the same contents as the one issued by Philips in their Arrau Heritage series (Liszt). The only difference is that the latter set includes both recordings of the Sonata in B minor (1970, 1985), whereas this one contains only one (1985); and of course the Spanish Rhapsody is missing from the older issue. And of course there is the price: the Arrau Heritage issue is monstrously expensive, whereas the latest reissue is embarrassingly cheap: 6 CDs for 20 euros is a terrific bargain. Especially when we are talking of so great a music performed in such colossal way. But more about that a little later.

Two major disappointments, to begin with: both of them expected and actually insignificant. As usual with budget-price issues, the documentation is scanty and sloppy. No recording dates, let alone locations, are given; only years of release do we have here, and as we all know these are not always a good indication when a recording was actually made. Besides, there are some ridiculous mistakes, especially in the titles of the Transcendental Studies: Nos. 2 and 10 are listed with names that are popular but were not given by Liszt himself; No. 8 is named in French, whereas the original name is, of course, in German. I have given only the correct titles below. Also, I have given recording dates as obtained from a little online research of mine, and I hope these are correct.

The second disappointment is the sound. All these recordings appear now under DECCA, but they were originally made for Philips. And Philips did consistently give Arrau much worse sound than one might expect from recordings that range from the late 1960s to the late 1980s. For the most part the sound is very badly balanced, with over-reverberant bass and shrill high register; the piano often sounds dismayingly artificial. In case you happen to find a sound which reminds you less of a cacophony than usual, the chances are that it will be flat and muffled. The few digital recordings fare better, but not much so. Fortunately, the sound is for the most at least decent (except in the case of the Transcendentals!) and Arrau's outstanding artistry easily transcends any sonic shortcomings anyway.

No matter. Despite sloppy documentation and bad recording quality, Claudio Arrau's Liszt remains, so far as I am concerned, one of the finest on record. Like his great contemporary Lisztian Jorge Bolet, Arrau always had 'technique to burn' (Harold Schonberg), but he never used it ostentatiously; he always put in the service of music. Again like Bolet, Arrau almost always favours rather slower tempi than pretty much everybody else, but his tempo fluctuations are so smooth and subtle, that I seldom have sense of anything being too slow or rushed (as I often do with Lazar Berman, for instance). Despite the general slowness of his interpretations, Arrau never was a tepid pianist. Quite to the contrary: even in his seventies, he infused some of Liszt's most challenging works with tremendous power and drama, to say nothing of his highly original and deeply philosophical approach. The result is that, among these more than 390 minutes of Liszt, there is not a single 'bad' performance, that is performance without any interest for anybody who really cares about Liszt's music.

I have to admit that, when it comes to Liszt, I do prefer Jorge Bolet and his blend of golden tone, supreme elegance and Romantic passion. But Arrau is a sure runner-up, if not exactly a close one. Sometimes I do have some problems with his playing, like his somewhat too loud accompaniment occasionally (as in 'Benediction...', for instance) or certain sloppiness in some of the Transcendental Studies (nos. 2 and 10, in particular) or just a tad too slow tempo than is reasonable (as in the 'Sonetto 123 del Petrarca' and especially in Valse oubilee No. 1). But all these are minor quibbles of no importance. Arrau's sureness of touch and uniqueness of interpretation still remain an excellent alternative to Jorge Bolet - for though broadly similar, their styles are actually extremely different - as one of those rare pianists who never raped Liszt's most difficult pieces, but rather played them - re-created them, to be exact with great finesse, penetrating insight and a genuine feeling for Romantic rhetoric without the slightest exaggeration.

So it is wonderful that the legendary Liszt recordings of Claudio Arrau for Philips - desert-island stuff, all of them are again available at such an irresistible price. The six discs are neither particularly well-filled nor ridiculously short - all of them have durations between 60 and 70 minutes - but at that price, who cares anyway? Together with Bolet's fabulous nine discs for DECCA (Liszt: Piano Music), Ciccolini's five discs on EMI (Klavierwerke) and Horowitz's just-released and incandescent, if highly selective, four CDs for RCA/Columbia (Horowitz Plays Liszt), Arrau's recordings for Philips make an excellent addition to the shelves of every true Lisztian and a worthy tribute of Liszt's genius.

By way of conclusion, track listings with (hopefully correct) years of recording in brackets and short comments.

CD 1:
Piano Concerto No. 1
Piano Concerto No. 2
(Colin Davis & LSO, 1979)
3 Etudes de Concert (1974-76):
No. 1 Il lamento
No. 2 La leggierezza
No. 3 Un sospiro

Collin Davis is a little sleepy at times but dependable overall. I understand Arrau has better recordings from earlier years of the concerti, but for somebody who was 76 at the time, these are amazingly virile performances. The etudes are as lovely played as they are badly recorded, alas.

CD 2:
Sonata in B minor (1985)
Six Chants polonais (Chopin) (1982):
No. 1 Mädchens Wünsch
No. 2 Frühling
No. 3 Das Ringlein
No. 4 Bacchanal
No. 5 Meine Freuden
No. 6 Heimkehr
Liebesträume, No. 3 (1989)
Mephisto Waltz No. 1 (1989)

This one is something of a disappointment. The Sonata is remarkably fine for an 82-year old man, but Arrau's earlier recording for Philips (1970) is unquestionably the better one, though both recordings make a fascinating comparison. Nor do the two very late recordings (1989) show Arrau at his best, though one must understand that he was 86 at the time. The third piece from the set 'Liebesträume' (NOT 'Liebestraum', as stated carelessly usually, including on the cover here) is rather charming, but the 'Mephisto Waltz' displays some painful technical shortcomings. Still, spectacular performance for such old an age; I have heard far worse from much younger things who bang the piano mercilessly in this piece under the impression that their performance, if it may be thus called, exhibits Romantic temperament.

CD 3:
12 Transcendental Studies (1974-76)
No. 1 Preludio
No. 2 [Molto vivace]
No. 3 Paysage
No. 4 Mazeppa
No. 5 Feux follets
No. 6 Vision
No. 7 Eroica
No. 8 Wilde Jagd
No. 9 Ricordanza
No. 10 [Alegro agitato molto]
No. 11 Harmonies du soir
No. 12 Chasse neige

This recording, of course, is legendary. For me Jorge Bolet owns these pieces and his two complete recordings - 1970 for Ensayo [Etudes d' Execution Transcendan] and 1985 for DECCA [Liszt:Etudes d Execution Trans] - are by far the finest in my listening experience. Yet again, Arrau provides a fascinating alternative. Save few mildly rushed or sloppy passages in nos. 2, 8, 10, Arrau's taste is impeccable and his technical command of the keyboard is formidable for a man over 70. Of course the most precious quality of his playing is the immense philosophical depth: a far cry from many a performance by morons with dexterous fingers who take these lovely pieces as purely technical tour de force. Not Claudio, nor Jorge; these are giants from another, and unfortunately long since passed, era.

The only problem with this recording is the absolutely horrible sound which makes me wonder how it was approved for release at all. In short, the sound is a pure mess. This box set boasts 'new mastering' (whatever that means) on the cover but it doesn't sound a tad better than Philips' edition coupled with the all five concert etudes and the Paganini etudes with Magaloff [Liszt - The Complete Etudes]. Even on SACD have these etudes been released [12 Etudes d'Execution Transcendante], and on SACD do they sound like played on bad instrument situated in a warehouse and recorded by fellows who have not the least idea of their work. Frankly, sometimes even Arrau's great insight into the scores is hardly enough to bear the nearly cacophonic result which surely wasn't his fault. Too bad that such stupendous performance should be so badly recorded, but we'll have to get over it somehow.

CD 4:
Verdi paraphrases (1971):
Rigoletto: Concert Paraphrase
Ernani: Concert paraphrase (S. 432, second paraphrase)
Il Trovatore: Miserere
I Lombardi: Salve Maria de Jérusalem (the early version, I think)
Don Carlo: Coro di festa e marcia funebre
Aida: Danza sacra e duetto finale
Réminiscences de Boccanegra

Probably my favourite disc in the box set. The sound is surprisingly fine and Arrau (at 68!) is at his absolute peak, playing with extraordinary dynamic range and power. 'Rigoletto' is scintillating and executed in impeccable taste, the 'Miserere' puts Leslie Howard's timid rendition to shame, the Aida paraphrase (one of Liszt's most daring ones) rivals Ciccolini's fiery performance on EMI. Too bad that Verdi's best operas came a bit too late for Liszt to do with them what he had done with Bellini, Donizetti, Meyerbeer and Mozart. Nevertheless, Liszt's Verdi paraphrases are all gems that should be performed and recorded more often than they are; this disc, actually, is an almost complete collection. It is great to hear what Arrau does with forgotten masterpieces such as the 'Ernani paraphrase' or the 'Réminiscences de Boccanegra'.

CD 5:
Années de Pèlerinage (excerpts)
Première Année Suisse:
No. 1 La Chapelle de Guillaume Tell (1989)
No. 6 Vallee d'Obermann (1969)
Deuxième Année Italie:
No. 5 Sonetto 104 del Petrarca (1969)
No. 6 Sonetto 123 del Petrarca (1969)
No. 7 Dante Sonata (1982)
Troisième Année:
No. 4 Les jeux d'eaux à la Villa d'Este (1969)

As it seems, Arrau never made a complete recording of this marvellous, if mammoth, cycle. This should be considered a big loss for all Lisztians. These few excerpts seem to be more or less all that he left. 'Vallee d'Obermann' has an almost Horowitzian power, and the 'Les jeux d'eaux à la Villa d'Este' displays an overwhelming abundance of colours and shades which I, personally, have ever heard only in Bolet's rendition. The 'Dante Sonata' is among the slowest on record, yet it is certainly one of the most profound as well. The two sonnets are compelling combination of Bolet's poetic poise and Horowitz's unbridled passion; memorable performances. But 'La Chapelle de Guillaume Tell' is perhaps the most amazing piece on this disc. It is difficult to believe that this recording was made in March 1989, when Arrau had just turned 86 (!), just a little over two years before his death in fact. The performance is slower than usual, of course, but it has grandeur that few have been able to capture, no one better than Aldo Ciccolini in his complete recording for EMI [Annees de Pelerinage]

CD 6:
Ballade No. 2 (1969)
Harmonies poetiques et religiuses
No. 3 Bénédiction de Dieu dans la solitude (1970)
No. 7 Funerailles (1982)
Valse oubliee No. 1 (1969)
2 Concert Etudes (1970):
No. 1 Waldesrauschen
No. 2 Gnomenreigen
Bonus track:
Rhapsodie espagnole (1933, mono recording, abridged)

Bit of a mixed bag, this one. The Ballade is unusually fast for Arrau but it is never rushed, nor does it degenerate into banging, as the renditions of Leslie Howard and Aldo Ciccolini, respectively, rather often do. All in all, a truly awesome performance not easily forgotten. The two pieces from the 'Harmonies' are strange mixtures of good and bad. The 'Benediction' is overall beautifully done but I do miss Bolet's ethereal serenity; also, there are some awkward pauses from time to time which sound a little too mannered to be engaging. The beginning of 'Funerailles' is surprisingly clumsy, having neither Horowitz's mighty clangour nor Bolet's spooky atmosphere, but it gets better towards the climax, even if the latter somewhat lacks power (after all, Claudio was in his 80th year when he made that recording). 'Valse oubilee No. 1' is the only completely disappointing piece on all six discs. The tempo is abominably slow and it reminds one more of a lullaby than of a waltz. Certainly, this recording cannot hold a candle to any of Horowitz's numerous versions. The Etudes are excellently done, however, with charming vivacity coupled with solid musicianship few pianists achieve in these pieces. Finally, the 'bonus track' comes out of the blue, but it is rather fascinating to hear Claudio 'burning the keyboard' at the age of 30: well over 30 years before he started his now legendary Philips recordings that fill the rest of this marvellous set.
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4 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Durchgeistigte Liszt-Interpretationen., 10. November 2011
Rezension bezieht sich auf: Arrau spielt Liszt (Eloquence) (Audio CD)
Bei dieser CD merkt man die unglaubliche Reife und Tiefgründigkeit, mit der Arrau
die Liszt-Stücke interpretiert. Es kommt nicht immer auf die Geschwindigkeit an.
Hier genießt man jeden Anschlag auf den Tasten.
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5.0 von 5 Sternen Arrau spielt Liszt, 22. Dezember 2011
Rezension bezieht sich auf: Arrau spielt Liszt (Eloquence) (Audio CD)
Ich kann mich den Lobeshymnen der vorherigen Rezensenten nur anschliessen. Arrau war jemand, der Liszt in einem tieferen Sinne verstanden hat. Vallée d'Obermann kann man nicht besser spielen. Poetischer Ausdruck, Virtuosität, Expressivität, die perfekte Balance. Als Vergleich kenne ich allerdings nur Brendel und Horowitz. Ich bewundere auch, dass Arrau die Liszt-Etüden in diesem Alter noch so spielen konnte. Das ist einsamste Spitzenklasse. Ausserdem ist der für Arrau typische sinnliche Klavierklang für mich sowieso das Beste, wenn es eine Aufnahme denn rüberbringen kann. Dies kann man vor allem bei der Ballade hören, welche wirklich eindrücklich gespielt ist. Arrau ist gerade auch deswegen bestechend, weil er Lisztsche Virtuosität immer in den musikalischen Sinnzusammenhang stellt. Der berühmte grosse Bogen ist immer spürbar. Mag sein, dass man Liszt so nicht mehr spielt, aber ich möchte es nicht missen.
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5 von 13 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen der seriöse super-star, 31. Mai 2011
Rezension bezieht sich auf: Arrau spielt Liszt (Eloquence) (Audio CD)
claudio arrau zeichnet auch ein liszt-bild höchster pianistischer wie philologischer
akribie - schon vor den verbalen wie musikalischen verlautbarungen eines brendel -,
das so einseitige verzerrungen vom fragwürdig dämonischen piano-superstar rein musikalisch-
substantiell konterkariert und doch die avancierten harmonischen qualitäten der lisztschen
klavier-kompositionen ohne raffinierte pianistische mäzchen darbietet.
unverzichtbare interpretatorische tiefenschärfen bieten die >zwölf transzendentalen etüden<
oder die >benediction de dieu dans le solitude< sowie die kunstvollen pilgerreisen,
die wenige so ohne effektvoll-rauschende oberflächen-brillanz und so tiefgründig
reflektierten wie arrau.Horowitz Plays Liszt (Limited Edition)
abgefeimtere, durchaus brillantere meister wie horowitz und neuere, junge tastenakrobatik
wirken dagegen stellenweise doch musikalisch weniger ergründlich und eindimensional,
im vergleich zur reifen klavierkunst von liszt und arrau.
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