1961 Piano RECITAL POSTER Israel CLAUDIO ARRAU Hebrew BEETHOVEN Liszt SCHUMANN

Description: DESCRIPTION : Up for auction is an extremely rare RECITAL POSTER announcing and advertising the upcoming unique historical PIANO RECITAL performance in ISRAEL of the renowned Chilean pianist CLAUDIO ARRAU . The ONLY PIANO RECITAL took place in 1961 in ISRAEL. ARRAU was a guest of the IPO. He played pieces by BEETHOVEN , LISZT and SCHUMANN . Size around 27 x 19 " . Hebrew & English. Very good condition . ( Pls look at scan for accurate AS IS images ) Will be sent inside a protective rigid sealed tube . PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT :SHIPP worldwide via registered airmail is $ 29 . Will be sent inside a protective rigid sealed tube . Will be sent around 5-10 days after payment . Claudio Arrau León (February 6, 1903 – June 9, 1991) was a Chilean pianist known for his interpretations of a vast repertoire spanning the baroque to 20th-century composers, especially Beethoven, Schubert, Chopin, Schumann, Liszt and Brahms. He is widely considered one of the greatest pianists of the twentieth century.[1] Contents [hide] · 1Life · 2Tone and approach to music · 3Contributions · 4Critics · 5Quotes · 6Awards and recognitions · 7Album prizes · 8References · 9External links Life[edit] Arrau was born in Chillán, Chile, the son of Carlos Arrau, an ophthalmologist who died when Claudio was only a year old, and Lucrecia León Bravo de Villalba, a piano teacher. He belonged to an old, prominent family of Southern Chile. His ancestor Lorenzo de Arrau, a Spanish engineer, was sent to Chile by King Carlos III of Spain. Through his great-grandmother, María del Carmen Daroch del Solar, Arrau was a descendant of the Campbells of Glenorchy, a Scottish noble family.[2] Arrau was raised as a Catholic, but gave it up in his late teens.[3] Claudio Arrau, 1929 Arrau was a child prodigy and he could read music before he could read words, but unlike many virtuosos, there had never been a professional musician in his family. His mother was an amateur pianist and introduced him to the instrument. At the age of 4 he was reading Beethoven sonatas, and he gave his first concert a year later.[4] When Arrau was 6 he auditioned in front of several congressmen and President Pedro Montt, who was so impressed that he began arrangements for Arrau's future education. At age 8 Arrau was sent on a ten-year-long grant from the Chilean government to study in Germany, travelling with his mother and sister Lucrecia. He was admitted to the Stern Conservatory of Berlin where he eventually became a pupil of Martin Krause, who had studied under Franz Liszt. At the age of 11 Arrau could play Liszt's Transcendental Etudes, one of the most difficult works for piano, as well as Brahms's Paganini Variations. Arrau's first recordings were made on Aeolian Duo-Art player piano music rolls. Krause died in his fifth year of teaching Arrau, leaving the 15-year-old student devastated by the loss of his mentor; Arrau did not continue formal study after that point.[4] In 1935, Arrau gave a celebrated rendition of the entire keyboard works of Johann Sebastian Bach over 12 recitals. In 1936, Arrau gave a complete Mozart keyboard works over 5 recitals, and followed with the complete Schubert and Weber cycles. In 1938, for the first time, Arrau gave the complete Beethoven piano sonatas and concertos in Mexico City. Arrau repeated this several times in his lifetime, including in New York and London. He became one of the leading authorities on Beethoven in the 20th century.[4][1] In 1929, Arrau married lyric soprano Erika Burkewitch (1909-1997), a Latvian national. They had one child: Klaudio (1929-1949). In 1935 they separated. In 1949 their son Klaudio died in a Soviet prison camp in Bautzen, East Germany.[citation needed] In 1937, Arrau married mezzo-soprano Ruth Schneider (1908–1989), a German national. They had three children: Carmen (1938–2006), Mario (1940–1988) and Christopher (1959). In 1941 the Arrau family emigrated from Germany to the United States, eventually settling in Douglaston, Queens, New York, where Arrau spent his remaining years. He became a dual U.S.-Chilean citizen in 1979.[5] Arrau died on June 9, 1991, at the age of 88, in Mürzzuschlag, Austria, from complications of emergency surgery performed on June 8 to correct an intestinal blockage.[6] His remains were interred in his native city of Chillán, Chile. Tone and approach to music[edit] Claudio Arrau Daniel Barenboim said that Claudio Arrau had a particular sound with two aspects: first a thickness, full-bodied and orchestral, and second an utterly disembodied timbre, quite spellbinding.[7] Sir Colin Davis said: "His sound is amazing, and it is entirely his own... no one else has it exactly that way. His devotion to Liszt is extraordinary. He ennobles that music in a way no one else in the world can."[7] According to American critic Harold C. Schonberg, Arrau always put "a decidedly romantic piano tone in his interpretations".[8] Arrau was an intellectual and a deeply reflective interpreter. He read widely while travelling, and despite the lack of any formal education[citation needed] outside of his musical training, he learned English, Italian, German, and French in addition to his native Spanish. He became familiar with Jung's psychology in his twenties.[9] Arrau's attitude toward music was very serious. He preached fidelity to the score, but also the use of imagination. Although he often played with slower and more deliberate tempi from his middle age onward, he had a reputation as a fabulous virtuosoearlier in his career, a reputation supported by recordings he made at this time, such as Balakirev's Islamey and Liszt's Paganini études. However, even late in his career, he often tended to play with less restraint in live concerts than in studio recordings. Arrau was a man of remarkable fortitude; even towards the end of his life he invariably programmed very large, demanding concerts, including works such as Beethoven's Emperor Concerto and Brahms' Piano Concerto No. 1.[1] Contributions[edit] Numerous pianists studied with Arrau, including Karlrobert Kreiten, Garrick Ohlsson, fr:Nelson Delle-Vigne Fabbri, Roberto Szidon, Stephen Drury and Roberto Eyzaguirre among others. He was a great recital performer: from age 40 to 60 he averaged 120 concerts a season, with a very large repertoire. At one time or another, he performed the complete keyboard works of Bach, Mozart, Beethoven and Chopin; but also programmed such off-the-beaten-path composers as Alkan and Busoni and illuminated obscure corners of the Liszt repertoire. It has been estimated that Arrau's total repertoire would carry him through 76 recital evenings, not counting the 60-odd works with orchestra which he also knew.[4] Arrau recorded a considerable part of the piano music of Schumann, Chopin and Liszt. He edited the complete Beethoven piano sonatas for the Peters Urtext editionand recorded all of them on the Philips label in 1962–1966. He recorded almost all of them once again after 1984 along with Mozart's complete piano sonatas. He is also famous for his recordings of Schubert, Brahms and Debussy. Notable recordings: · Bach: Goldberg Variations (recorded in 1942), partitas 1,2,3 and 5 (recorded in 1991) · Beethoven: complete piano concertos (he recorded them three times) and piano sonatas · Brahms: complete piano concertos, piano sonatas 2 and 3 · Chopin: complete Études, nocturnes, preludes and piano concertos · Debussy: complete preludes & images, Suite Bergamasque · Liszt: piano sonata in B minor, complete Transcendental Études · Mozart: complete piano sonatas · Schoenberg: piano pieces, Op. 11 · Schubert: late piano sonatas, Impromptus, Klavierstücke, D. 946 · Schumann: piano sonata in #F minor, Carnaval, Fantasia in C major, piano concerto in A minor (he recorded it four times) · Weber: piano sonata in C major, Konzertstück, Op. 79 At the time of his death at age 88 in the midst of a European concert tour, Arrau was working on a recording of the complete works of Bach for keyboard, and was also preparing some pieces of Haydn, Mendelssohn, Reger and Busoni, and Boulez's third piano sonata. The Robert Schumann Society established the Arrau Medal in 1991. It has been awarded to András Schiff, Martha Argerich and Murray Perahia. Critics[edit] · Olin Downes, reviewing a recital of Mozart, Schumann, Ravel and Debussy works in The New York Times, described Claudio Arrau as "a pianist of most exceptional equipment, imagination and unfailing taste."[1] · In 1963, according to various critics, he was a man with "no equal at the present time in point of technical stature and depth of musical imagination," "the No. 1 pianist of our time," a "pianistic titan," a "lion of the piano," or, if you like, a "neo-Liszt from the Tropic of Capricorn".[4] · "Is it not Claudio Arrau who is the most musical and deeply serious piano phenomenon of our time?" – Karl Schumann, Germany's leading music critic, in the Süddeutsche Zeitung on June 2, 1986.[10] · According to Joseph Horowitz in his book Conversations With Arrau (1982)[page needed], some critics felt that Arrau's overall approach became less spontaneous and more reserved and introspective after the death of his mother[date missing], to whom he was extremely close. Arrau isolated himself for two weeks after his mother's death, refusing to perform or to receive comfort from friends. · John von Rhein wrote in 1991 in the Chicago Tribune: "He was among the least flamboyant of pianists, avoiding virtuosic display as rigorously as some pianists seek it out; yet there was never any doubt of his virtuoso technique. He commanded a rich sonority, each chord superbly weighted, the fingerwork a model of finely chiseled clarity, the shape of each phrase deeply considered. Sometimes Mr. Arrau`s penchant for slow tempos and emphasis on inner detail could seem fussy, depriving his performances of spontaneity and momentum. At his considerable best, however, he was among the most deeply satisfying interpreters of Mozart, Brahms, Schumann, Liszt, Chopin and particularly Beethoven, whose works held a position in his repertoire comparable to that of his great colleague, pianist Rudolf Serkin.[11] Quotes[edit] · "All I wanted was music," Mr. Arrau once said of his early years. "I was even fed at the piano. Otherwise, it seems, I wouldn't eat. I used to play with my mouth open, and my mother put food in it."[1] · Describing his work in a 1975 interview, Mr. Arrau said: "I try to play the way a cat jumps. It must be completely natural. I have promised myself that whenever I feel a kind of routine creeping into my playing, I will stop. Now when I play I am almost in ecstasy, a creative ecstasy, which I wouldn't miss for anything. This is what I live for."[1] Awards and recognitions[edit] · 2012: Voted into the Gramophone Hall of Fame[12] · 1990: Gold Medal of The Royal Philharmonic Society · 1988: La Medalla Teresa Carreño of Venezuela; Honorary Member of The Royal Philharmonic Society · 1984: The Highest Distinction Award from the Inter-American Music Council and the Organization of American States; Doctor Honoris Causa of Universidad de Concepción; Professor Honoris Causa of Universidad de Bío-Bío · 1983: The International UNESCO Music Prize; National de la Légion d'honneur of France; National Prize of Art of Chile; First Honorary Member of The Robert Schumann Society; Doctor Honoris Causa of University of Oxford; Commandatore da Accademia Nazionale di Santa Cecilia; Knighthood from the Order of Malta; Beethoven Medal of New York; Philadelphia Bowl of Philadelphia · 1982: La Orden del Águila Azteca of Mexico · 1980: Hans von Bülow Medal of the Berlin Philharmonic Orchestra · 1970: Großes Bundesverdienstkreuz of the Federal Republic of Germany · 1965: Chevalier of Ordre des Arts et des Lettres of France; Presented with 'The Mask of Chopin' & Chopin's manuscripts · 1959: Santiago's Honorary Citizen; Concepción's Honorary Citizen and City Gold Medal; Hijo Benemérito de Chillán; Chillán's hitherto Lumaco Street was named after Claudio Arrau · 1958: The Medal of The Royal Philharmonic Society · 1949: Hijo Predilecto de México; Doctor Honoris Causa of University of Chile · 1941: Hijo Ilustre de Chillán · 1927: Winner of the Grand Prix of the Concours International des Pianistes Geneva. The jury was composed by Arthur Rubinstein, Joseph Pembauer, Ernest Schelling, Alfred Cortot and José Vianna da Motta.[13] Cortot exclaimed: "Cela c'est un pianiste. C'est merveilleux" · 1925: Honour Prize of the Stern Conservatory, becoming Professor · 1919 & 1920: Liszt Prize (after 45 years without a first place winner) · 1918: Schulhoff Prize; End of studies at the Stern Conservatory, receiving an "Exceptional Diploma" · 1917: Sachsen-Gothaische Medaille · 1916: Grant of the Stern Conservatory · 1915: First Prize in the Rudolph Ibach Competition (he was the only participating boy) · 1915: Gustav Holländer Medal for young artists · 1911: Grant of the Chilean Congress for musical studies in Berlin Album prizes[edit] · Deutscher Schallplattenpreis: Brahms 2 Piano Concertos with Carlo Maria Giulini and Philharmonia Orchestra [EMI Recorded in 1960 & 1962] Beethoven 5 Piano Concertos with Bernard Haitink and Concertgebouw Orchestra [Philips Recorded in 1964] Schumann Sonate Op.11, Fantasiestücke Op.111 [Philips Recorded in 1967 & 1968] Brahms 2 Piano Concertos with Bernard Haitink and Concertgebouw Orchestra [Philips Recorded in 1969] · Liszt Record Grand Prix: Liszt Complete Concert Paraphrases on Operas by Verdi [Philips Recorded in 1971] Liszt 12 Etudes d'exécution Transcendente [Philips Recorded in 1974 & 1976] Liszt 2 Piano Concertos with Sir Colin Davis and London Symphony Orchestra [Philips Recorded in 1979] · Diapason d'Or: Chopin Complete Nocturnes [Philips Recorded in 1977 & 1978] Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987] · Grand Prix du Disque: Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987] Schumann Piano Concerto, Carnaval & Beethoven Sonata Op.111 [EMI Filmed in 1963, 1961 & 1970] · Edison Award: Liszt Solo Piano Works: Ballade No.2, Jeux d'eaux à la villa d'Este, Vallée d'Obermann…… [Philips Recorded in 1969] · Belgium Caecilia Award: Schumann Comprehensive Solo Piano Works [Philips Recorded from 1966 to 1976] · Japan Record Academy Award: Beethoven 5 Piano Concertos with Sir Colin Davis and Staatskapelle Dresden [Philips Recorded in 1984 & 1987] · FFFF de Télérama: Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987] · Warsaw Chopin Society's Grand Prix du Disque Frédéric Chopin: Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987] **** Claudio Arrau León (Chillán, Región del Biobío, Chile; 6 de febrero de 1903-Mürzzuschlag, Estiria, Austria; 9 de juniode 1991) fue un pianista chileno internacionalmente conocido por sus profundas interpretaciones de un repertorio que abarcaba desde la música barroca hasta composiciones del siglo XX. Es considerado el primer gran pianista sudamericano y uno de los pianistas más destacados del siglo XX, gracias a sus interpretaciones alabadas por los críticos de la época.1 Grabó uno de los primeros CD de audio comerciales en la historia.2 Arrau fue estudiante del maestro alemán Martin Krause, quien dijo «este niño ha de ser mi obra maestra».34 Índice [ocultar] · 1Biografía · 2Interpretaciones · 3Repertorio de grabaciones · 4Discografía · 5Premios y distinciones · 6Datos · 7Véase también · 8Referencias · 9Bibliografía · 10Enlaces externos Biografía[editar] Arrau durante su niñez. Arrau en 1929. Fue hijo del oftalmólogo chillanejo Carlos Arrau Ojeda y de la pianista quirihuana Lucrecia León Bravo, quien enseñó a Claudio el arte del piano. La pareja se casó en Quirihue y sus tres hijos nacieron en esa misma ciudad, donde fueron bautizados en la iglesia Dulce Nombre de Jesús, según consta en sus registros. Cuando Claudio tenía tres meses se mudaron a la ciudad de Chillán, donde fue inscrito junto con sus hermanos en el registro civil. La familia Arrau descendía de Lorenzo de Arrau, un ingeniero español de la época de la Colonia. Cuando Claudio tenía apenas un año, su padre falleció, producto de un accidente ecuestre; la familia Arrau tuvo importantes deudas sin pagar entonces. Esto motivó a su madre a dedicar tiempo completo a su oficio, la enseñanza de la ejecución del piano. Niño prodigio, gracias al talento y dedicación de su madre, a los tres años ya leía partituras y a los cinco años ofreció su primer recital en su ciudad natal. Tras una sesión de piano frente al presidente Pedro Montt y el Congreso Nacional, se le otorgó una beca para seguir estudios en Berlín en el Conservatorio Stern, junto al destacado profesor Martin Krause, uno de los últimos discípulos de Franz Liszt. Durante ese periodo ganó varios premios, incluyendo el Primer Premio del Concurso de la Casa Rudolph Ibach y la Gustav Holländer Medal. En 1914 ofreció su primer recital en Berlín y luego comenzó una extensa gira por Alemania y Escandinavia, mientras que en 1918 realizó una gira por toda Europa. En esa época, actuó junto a las principales orquestas bajo directores como Nikisch, Muck, Mengelberg y Furtwängler. Martin Krause falleció en 1918, hecho que sumió a Arrau en una depresión. Tal era el respeto que debía a su maestro que, tras este hecho, dio su formación musical por completa, no teniendo posteriormente ningún otro profesor.3 Supo reponerse y siguió dando conciertos, hasta que, en 1920, recibió el Premio Liszt por dos años consecutivos.3 Durante sus giras por Europa interpretó de memoria El clavecín bien temperado completo, compuesto por cuarenta y ocho preludios y cuarenta y ocho fugas, hazaña que había intentado Beethoven, pero que jamás pudo realizar en público. En 1925 recibió el nombramiento de Profesor del Conservatorio Stern. En 1937 se casó con la mezzosoprano Ruth Schneider, con quien tuvo tres hijos. Arrau siempre reconoció en Pablo Neruda un artista y autor non plus ultra, y dijo que para él habría sido un honor que el poeta lo considerase su amigo.5 En 1941 Arrau se trasladó a Estados Unidos debido a la consolidación del nazismo. La decisión se vio motivada por el asesinato de uno de sus discípulos acusado de ser anti-nazi, junto a la persecución en la que se vio envuelta su mujer, de origen judío. Instalado en Nueva York, fundó en 1943 la Academia Claudio Arrau con Rafael de Silva.6 Tumba de Claudio Arrau en el Cementerio Municipal de Chillán. En 1980 la Orquesta Filarmónica de Berlín le otorgó la medalla Hans von Bülow. Grabó uno de los primeros CD de audio comerciales en la historia, Chopin Valses, con la colección completa de los valses de Frédéric Chopin. Luego, el presidente de Philips lo visitó en su casa con un radiotransmisor de alta frecuencia y le pidió que apretase un botón cuando la hora de Nueva York fuese las 10:00. La señal que emitió el aparato inició la producción en cadena de CD, en Alemania. El 17 de agosto de 1982 fue el primero en salir a la venta junto con The Visitors del grupo ABBAy la Sinfonía alpina de Richard Strauss, dirigida por Herbert von Karajan.2 En 1983 recibió el Premio Nacional de Arte de Chile, hecho que según el pianista era su consagración definitiva, señalando: Ser reconocido por la gente y la tierra donde uno nació es para mí la consagración definitiva. A uno lo pueden distinguir los amigos, los admiradores y los críticos, pero si falta el reconocimiento de la propia familia, el honor y la fama son incompletos. Ahora la familia chilena ha decidido concedérmelo y mis sentimientos son una mezcla de gran humildad y emocionada satisfacción. Claudio Arrau.7 Claudio Arrau León falleció a los 88 años en Mürzzuschlag (Austria) el 9 de junio de 1991. Sus restos están sepultados en el Cementerio Municipal de Chillán por voluntad testamentaria, y más específicamente en el llamado Paseo de los Artistas, junto a otros reconocidos artistas chillanejos tales como Ramón Vinay, Marta Colvin, Lalo Parra y Gonzalo Rojas.8 Para conmemorar el centenario de su nacimiento, 2003 fue declarado en Chile «Año Claudio Arrau» mediante el decreto 178 de 2002 del Ministerio de Educación.9 Interpretaciones[editar] Claudio Arrau en 1974. Arrau adquirió especial reputación por sus interpretaciones de Bach, Brahms, Chopin, Debussy, Liszt, Mozart, Schumann, Schubert y, sobre todo, Beethoven, una reputación reflejada en una gran cantidad de grabaciones. Tenía una técnica extraordinaria y un virtuosismo único. En ocasiones, sus tiempos eran inusualmente lentos, pero su consideración de los detalles y una rica sonoridad conllevaron un excepcional poder intelectual y una profundidad de sentimiento. Arrau conseguía esto por un cuidadoso estudio de la Historia en la que habían escrito la piezas musicales que interpretaba; conocía de la historia como pocos, era un gran estudioso de ella. Su vasta cultura general fue una de sus características más destacadas. Arrau recibió numerosos premios y distinciones durante su carrera, incluyendo la Legión de Honor de Francia, el Premio de la Música de la Unesco, la Medalla Beethoven de Nueva York, el grado de Doctor Honoris Causa de la Universidad de Oxford, y el Premio Nacional de Arte de Chile en 1983. Arrau mantuvo a lo largo de su trayectoria una pulcritud en sus interpretaciones. Esta pulcritud refiere a un sentido lógico sólo dado por la maduración de las obras. Siendo niño prodigio, desarrolló una técnica sólida desde muy temprana edad, lo que le permitió más adelante concentrarse en la interpretación y desarrollar una madurez en ese sentido. Los tempos y los rubatos de Arrau son inusuales y hacen que su interpretación sea digna de tomarse en cuenta. Su vasto repertorio se manifiesta, aunque no completamente, en su extensa discografía. Destacan especialmente sus grabaciones de los Estudios Trascendentales de Franz Liszt, las obras más importantes para piano de Robert Schumann, las 32 sonatas para piano de Beethoven, así como decenas de obras con orquesta. Su abundante repertorio incluía la obra completa para teclado de Johann Sebastian Bach, que fue interpretada durante un maratoniano ciclo en Alemania en la década de 1930.3 Desgraciadamente no existe grabación del evento y Arrau solo accedió a grabar unas pocas piezas de Bach al final de su carrera. La razón que esgrimía el propio Arrau para haber eliminado a Bach de su repertorio habitual era que no creía en el piano como instrumento adecuado para interpretar la música de aquella época.3 Repertorio de grabaciones[editar] Detalle del repertorio de sus grabaciones de estudio (no se incluyen innumerables grabaciones en vivo): Juan Sebastián Bach • Variaciones Goldberg • Fantasía Cromática y Fuga • Partitas 1, 2, 3 y 5 • Invenciones a 2 y 3 voces W.A. Mozart • 19 Sonatas • Rondó en la menor • Adagio en Si menor • Rondó en re mayor • Fantasía en re menor Ludwig van Beethoven • 32 Sonatas (varios ciclos) • 10 Sonatas para violín y piano (J. Szigeti ciclo completo, A. Grumiaux 6 sonatas) • 5 Conciertos para piano (Varios ciclos) • Concierto triple • Rondó en Sol Mayor • Variaciones Eroica • Variaciones en Fa mayor • Variaciones en do menor • Variaciones sobre un vals de Diabelli F.P. Schubert • Fantasía Wanderer • Sonatas Op 120, D894, D958, D959, D960 • Impromptus Op 90 • Impromptus Op142 • Klavierstücke D946 • Momentos Musicales D780 • Allegretto en do menor D915 F. Chopin • Preludios Op 28, Preludio Op45, Preludio Op posth. • Estudios Op 10 y Op 25, 3 Nouvelles Etudes • 14 Valses • 21 Nocturnos • 4 Baladas • 4 Scherzos • 4 Impromptus • Allegro de Concierto • Sonata N° 3 • Barcarola • Fantasía en fa menor • Polonesa Fantasía • Obra completa para piano y orquesta Franz Liszt • Sonata en Si menor • 12 Estudios trascendentales • 3 Estudios de concierto • 2 Estudios de concierto • Bendición de Dios en la Soledad • 2 Sonetos de Petrarca • Fantasía Quasi Sonata d’Apres une lectura du Dante • Funerales • Balada en si menor • Valle d’Oberman • Jeux d’eaux a la Villa d’Este • Mephisto Valse • Valse Oubliee • La Capilla de Guillermo Tell • Liebestraum • 2 Conciertos para piano y orquesta • Fantasía Húngara para piano y orquesta • Rapsodia Española • 5 Rapsodias Húngaras • Parafrases sobre óperas de Verdi (Completas) • 4 Cantos polacos (Chopin-Liszt) R. Schumann • Variaciones Abbeg Op.1 • Papillons Op.2 • Davidsbündlertänze Op.6 • Carnaval Op.9 • Sonatas 1 y 2 Op.11 y Op.22 • Fantasiestücke Op.12 • Estudios Sinfónicos Op.13 • Escenas Infantiles Op.15 • Kreisleriana Op.16 • Fantasía en Do Mayor Op.17 • Arabesco Op.18 • Blumenstück Op.19 • Humoresque Op.20 • Noveletas Op.21 • Nachtstücke Op.23 • Carnaval de Viena Op.26 • Tres Romanzas Op.28 • Escenas del Bosque Op.82 • 3 Fantasiestücke Op.111 • Concierto para piano y orquesta Op 54 C. M. von Weber • Konzertstück • Sonata N° 1 J. Brahms • Conciertos 1 y 2 (varias versiones) • Sonatas 2 y 3 • 4 baladas • Variaciones sobre un tema de Paganini • Variaciones sobre un tema de Haendel • Scherzo Op.4 Edward Grieg • Concierto para piano y Orquesta en la menor Op.16 P. Tchaikovsky • Concierto para piano y Orquesta en si bemol menor Claude Debussy • Preludios, Libros 1 & 2 • Estampas • Imágenes, Libros 1 y 2 • Suite Bergamasque • Pour le Piano • Valse Romantique • La Plus que Lente M. Ravel • Gaspard de la Nuit • Jeux d’eaux Isaác Albéniz • Iberia, Libros 1 & 2 M. Balakirev • Islamey Discografía[editar] · Claudio Arrau, Birth of a Legend, Columbia Recordings, USA 1946-1950 (Beethoven, Sonates n° 21 & 26, Schubert, Allegretto, Chopin, 24 Préludes, Schumann, Kreisleriana, Arabesque, Debussy, Pour le Piano, Estampes, Images I & II, Ravel, Gaspard de la nuit (sin Scarbo), Albéniz, Iberia I & II) (United Archives) · Claudio Arrau in Germany: Pre-War Recordings from the collection of the Rundfukarchiv (Chopin, Beethoven, Mozart, Haydn, Liszt) (Music & Arts) · Claudio Arrau, The Early Years, Complete Pre-War Recordings : Balakirev, Busoni, Stravinski, Liszt, Schubert, Chopin, Debussy, Schumann (1921-1939) (Marston) · Recital en Ascona, 9 sept. 1959 : Beethoven, Sonata n° 23, Schumann, Fantasía op. 17, Debussy, Pour le Piano, Chopin, Estudio op. 10/4 (Ermitage) · Recitales en Londres, BBC Studios, 1959-1960 : Beethoven, Sonata n° 13, Schumann, Fantasía op. 17, Schoenberg, 3 Klavierstücke op. 11 (BBC Legends) · Recital en Lugano, 20 de mayo de 1963 : Brahms, Variationes Haendel, Ravel, Gaspard de la nuit, Liszt, Gnomenreigen, Mephisto Waltz n° 1, Chopin, Mes Joies (Ermitage) · Claudio Arrau in Recital 1969-1977 : Beethoven, Sonatas n° 7, 13, 23, 30, 32, Variationes "Eroica", Schumann, Sonata n° 1, Brahms, Sonata n° 3 (live, Brescia & Turku, 1969-1977) (Music & Arts, 2012) · Recital en Ascona, 17 sept. 1971 : Beethoven, Sonata n° 13, Liszt, Sonata en si menor, Chopin, Balada n° 4, Nocturno op. 62/1, Scherzo n° 1 (Ermitage) · Recitales en Schwetzingen, 26 de mayo de 1963 y 20 mayo de 1973 : Beethoven, Sonatas n° 7, 23 & 28, Rondo op. 51 n° 2, Brahms, Variationes Haendel (SWR/Hänssler) · Recital en Salzburgo, 15 de agosto de 1982 : Beethoven, Sonata n° 23, Liszt, Sonata en si menor, Après une lecture de Dante (Orfeo) · Albéniz, Iberia, libros I & II (1946-47, US Columbia) · Bach, Variationes Goldberg (1942), Fantasía cromática y fuga, Invenciones & sinfonías (1945) (RCA) · Bach, Partitas n° 1, 2, 3, 5 (1991, Philips) · Beethoven, Sonatas piano n° 21 & 26 (1947, US Columbia) · Beethoven, Sonatas piano n° 8, 14, 23, 26, 29 (American Decca, 1954 ; cofre The Liszt Legacy, Deutsche Grammophon, 2011) · Beethoven, Sonatas piano n° 7, 21, 22, 23, 24, 26, 28, 31, 32 - 32 Variaciones WoO 80 (1956-1960, EMI) · Beethoven, Sonatas piano n° 23, 31, 32 (live, Estocolmo, 1960) (ICA Classics) · Beethoven, Sonatas piano (integral, 1962-66), Rondo op. 51/2 (1963), 32 Variaciones WoO 80, Variaciones Heroica op. 35, Variaciones op. 34 (1968) (Philips) · Beethoven, Sonata piano n° 32 (live, París, Télévision française, 1970) (DVD EMI) · Beethoven, Sonatas piano n° 30, 31, 32 (live, New York, 1975) (APR) · Beethoven, Sonatas piano (casi integral, 1984-1990, faltan las n° 14 y 29), 32 Variaciones WoO 80, Andante favorito WoO 57 (1984-1985) (Philips) · Beethoven, Variaciones op. 34, Variaciones Heroica op. 35 (1941) (Naxos) · Beethoven, Variaciones Diabelli (1952, American Decca) · Beethoven, Variaciones Diabelli (1985, Philips) · Beethoven, Las diez sonatas para piano y violín, con Joseph Szigeti (live, Washington, Library of Congress, 1944) (Vanguard) · Beethoven, Sonatas para piano y violín n° 1, 2, 4, 5, 7, 8, con Arthur Grumiaux (1975-76, Philips) · Beethoven, Los cinco conciertos para piano, Philharmonia Orchestra, dir. Alceo Galliera (1955-58, EMI) · Beethoven, Los cinco conciertos para piano, Orquesta Real del Concertgebouw, dir. Bernard Haitink (1964, Philips) · Beethoven, Los cinco conciertos para piano, Staatskapelle Dresde, dir. Colin Davis (1984-87, Philips) · Beethoven, Concierto para piano n° 1, New York Philharmonic, dir. George Szell (live, New York, Carnegie Hall, 1945) (WHRA) · Beethoven, Concierto para piano n° 3, Orquesta de Filadelfia, dir. Eugene Ormandy (1947) (Naxos) · Beethoven, Conciertos para piano n° 3, 4, 5, Philharmonia Orchestra, dir. Otto Klemperer (live, Londres, 1957) (Testament) · Beethoven, Concierto para piano n° 4, Orquesta Sinfónica de la Radiodifusión Bávara, dir. Leonard Bernstein (live, The Amnesty International Concert, 1976, Deutsche Grammophon) · Beethoven, Concierto para piano n° 4, Orquesta Sinfónica de la Radiodifusión de Colonia, dir. Christoph von Dohnányi (live, Cologne, 1959) · Beethoven, Concierto para piano n° 4, Orquesta de Filadelfia, dir. Riccardo Muti (live, 1983, DVD Philips "The Golden Age of the Piano") · Beethoven, Concierto para piano n° 4, dir. Charles Munch, Concierto para piano n° 5, dir. Pierre Monteux, Orquesta Sinfónica de Boston (live, Tanglewood, 1961 et 1960) (WHRA) · Beethoven, Triple concierto, con Henryk Szeryng, Janos Starker, New Philharmonia Orchestra, dir. Eliahu Inbal (1970, Philips) · Brahms, Baladas op. 10, Sonatas n° 2 et 3, Scherzo op. 4, Variaciones Haendel, Variaciones Paganini (1971-78, Philips) · Brahms, Sonata piano n° 3 op. 5 (live, New York, 1978) - Beethoven, Sonata piano n° 3 op. 2/3 (live, Prague, 1976) (APR) · Brahms, Liebeslieder Waltzes para piano a 4 manos y cuarteto vocal op. 52, con Benjamin Britten (piano), Heather Harper, Janet Baker, Peter Pears y Thomas Hemsley (1968, BBC) · Brahms, Conciertos para piano n° 1 & 2, Philharmonia Orchestra, dir. Carlo Maria Giulini (1960-62, EMI) · Brahms, Conciertos para piano n° 1 & 2, NDR Sinfonieorchester, dir. Hans Schmidt-Isserstedt (1963-66, EMI) · Brahms, Conciertos para piano n° 1 & 2, Gran Orquesta Sinfónica de la Televisión & Radiodifusión de la URSS, dir. Guennadi Rojdestvenski (live, Moscou, 1968) (Doremi) · Brahms, Conciertos para piano n° 1 & 2, Orquesta Real del Concertgebouw, dir. Bernard Haitink (1969, Philips) · Brahms, Concierto para piano n° 1, Philharmonia Orchestra, dir. Basil Cameron (1947) - Chopin, Andante spianato y Grand Polonesa (1947) (Dante) · Brahms, Concierto para piano n° 1, Orquesta Sinfónica de la Radiodifusión Bávara, dir. Rafael Kubelik (live, Munich, 1964) (Orfeo) · Brahms, Concierto para piano n° 2, Orquesta Nacional de Escocia, dir. Alexander Gibson (live, Glasgow, 1963) (BBC Legends) · Brahms, Concierto para piano n° 2, Orquesta Nacional de Francia, dir. Igor Markevitch (live, Paris, 1976) (INA Mémoire vive) · Chopin, 4 Baladas, 4 Scherzos, 3 Impromptus, Barcarola (1953, American Decca) · Chopin, 24 Preludios (1950, US Columbia) · Chopin, 24 Preludios (live, Prague 1960) (APR) · Chopin, Estudios op. 10 & 25, Allegro de concierto (1956), Sonata n° 3 en si menor, Fantasía (1960) (EMI) · Chopin, 24 Preludios, Preludio op. 45, Preludio op. posth., 4 Baladas, 4 Scherzos, 21 Nocturnos, 19 Valses, 3 Impromptus, Barcarola, Fantasía, Polonesa-Fantasía, Fantasía sobre aires polacos (1971-84, Philips) · Chopin, Concierto para piano n° 1, Orquesta Sinfónica de la Radiodifusión de Colonia, dir. Otto Klemperer (live, Cologne, 1954) (Music & Arts) · Chopin, Concierto para piano n° 2, New York Philharmonic, dir. Fritz Busch (live, New York, Metropolitan Opera, 1950) (Music & Arts) · Chopin, Concierto para piano n° 2, New York Philharmonic, dir. George Szell (live, New York, Carnegie Hall, 1955) (WHRA) · Chopin, Conciertos para piano n° 1 & 2, Krakowiak, Andante spianato y Gran Polonesa brillante, Variaciones sobe "Là ci darem la mano", Orquesta Filarmónica de Londres, dir. Eliahu Inbal (1970-71, Philips) · Debussy, Pour le Piano, Estampes, Images I & II (1949, US Columbia) · Debussy, Préludes I & II, Images I & II, Estampes (1979-80), Suite bergamasque, Sarabande (Pour le Piano), La plus que lente, Valse romantique (1991) (Philips) · Grieg, Concierto para piano, Philharmonia Orchestra, dir. Alceo Galliera (1956, EMI) · Grieg, Concierto para piano, Orquesta Real del Concertgebouw, dir. Christoph von Dohnanyi (1963, Philips) · Grieg, Concierto para piano, Orquesta Sinfónica de Boston, dir. Colin Davis (1980, Philips) · Liszt, Sonata en si menor (1970), Sonata en si menor (1985), Funérailles (1982), 12 estudios de ejecución transcendente (1974-76), Bénédiction de Dieu dans la solitude (1970), Balada n° 2 (1969), Paráfrasis de Verdi (1971), Mephisto-Waltz n° 1 (1990), Liebestraum n° 3 (1989), Six chants polonais de Chopin (1982), Estudios de concierto (1970-76), Jeux d'eau à la Villa d'Este, Vallée d'Obermann, Sonnets de Pétrarque 104 & 123 (1969), Sonata "Après une lecture de Dante" (1982), Chapelle de Guillaume Tell (1989) (Philips) · Liszt, Sonata en si menor (live, Ascona, 1971) (Ermitage) · Liszt, Sonata en si menor, Après une lecture de Dante (live, Salzbourg, 1982) (Orfeo) · Liszt, Sonate en si menor, Après une lecture de Dante, Balada n° 2, Jeux d'eau à la Villa d'Este, Estudio de ejecución transcendente n° 10 (live, New York & San Francisco, 1970-81) (Claudio Arrau plays Liszt, Public Performances, Music & Arts) · Liszt, Rapsodias húngaras n° 8, 9, 10, 11, 13 (1951) (Sony) · Liszt, Concierto para piano n° 1, Orquesta Sinfónica de la Radio de Francfort, dir. Hans Rosbaud (1935) (Music & Arts) · Liszt, Concierto para piano n° 1, Fantasía en mi menor sobre cantos populares húngaros, Orquesta de Filadelfia, dir. Eugene Ormandy (1952) (Sony) · Liszt, Concierto para piano n° 2, New York Philharmonic, dir. Dimitri Mitropoulos (live, 1943) (Music & Arts) · Liszt, Concierto para piano n° 2, New York Philharmonic, dir. George Szell (live, New York, Carnegie Hall, 1946) (WHRA) · Liszt, Conciertos para piano n° 1 & 2, Orquesta Sinfónica de Londres, dir. Colin Davis (1979, Philips) · Mendelssohn, Introducción y Rondo Caprichoso op. 14 (1951, EMI) · Mozart, Sonatas piano K283 & K576 (1941) (Naxos) · Mozart, Sonatas piano K310, K332, K457, K576, Fantasía K475 (live, Salzburgo, 1956) (Orfeo) · Mozart, Sonatas piano K283, K310, K457, K570, K576, Fantasía K475 (live, Tanglewood, 1964) (Music & Arts) · Mozart, Sonatas piano (integral), Rondos K485, K511, Fantasías K397, K475, Adagio K540 (1973-88, Philips) · Ravel, Gaspard de la Nuit (sin Scarbo) (1949, US Columbia) · Ravel, Gaspard de la Nuit (live, Lugano, 1963) (Ermitage) · Schoenberg, 3 Klavierstücke op. 11 (1959, BBC Legends) · Schubert, Fantasía Wanderer D760, Klavierstücke D946, Momentos musicales D780, Allegretto D915, Marcha D606 (1956-59, EMI) · Schubert, Klavierstücke D946 (1959, BBC Legends) · Schubert, Sonatas D664, D894, D958, D959, D960, Impromptus D899 & D935, Klavierstücke D946, Momentos musicales D780, Allegretto D915 (1978-90, Philips) · Schubert, Quinteto "La Trucha" D667 - Franck, Quinteto - Dvorak, Quinteto op. 81 - Mozart, Trío K548, con el Cuarteto Juilliard (live, Washington, Library of Congress, 1963-64) (Doremi) · Schumann, Kreisleriana, Arabesque (1946-47, US Columbia) · Schumann, Fantasía op. 17 (live, 1959, Ascona) (Ermitage) · Schumann, Fantasía op. 17 (1960, BBC Legends) · Schumann, Carnaval op. 9 (Londres, 1961) (DVD EMI) · Schumann, Estudios Sinfónicos (live, Prague, 1976) (APR) · Schumann, Fantasía op. 17, Carnaval op. 9, Carnaval de Viena, Sonatas n° 1 & 2, Kreisleriana, Kinderszenen, Waldszenen, Nachstücke, Estudios Sinfónicos, Arabesque, Humoresque, Davidsbündlertänze, Novelettes, Blumenstück, Variaciones Abegg, Papillons, Fantasiestücke op. 12 & op. 111, Tres Romanzas op. 28 (1966-76, Philips) · Schumann, Concierto para piano, Orquesta Sinfónica de Detroit, dir. Karl Krueger (1944), Carnaval op. 9 (1939) (Naxos) · Schumann, Concierto para piano, New York Philharmonic, dir. Victor de Sabata (live, New York, Carnegie Hall, 1951) (Music & Arts) · Schumann, Concierto para piano, Philharmonia Orchestra, dir. Alceo Galliera (1957, EMI) · Schumann, Concierto para piano, Orquesta Real del Concertgebouw, dir. Christoph von Dohnanyi (1963, Philips) · Schumann, Concierto para piano, Orquesta Sinfónica de Boston, dir. Colin Davis (1980, Philips) · Richard Strauss, Burlesca para piano y orquesta, New York Philharmonic, dir. George Szell (live, New York, Carnegie Hall, 1945) (WHRA) · Richard Strauss, Burlesca para piano y orquesta, Orquesta Sinfónica de Chicago, dir. Désiré Defauw (live, 1946) (Naxos) · Chaïkovski, Concierto para piano n° 1, Philharmonia Orchestra, dir. Alceo Galliera (1960, EMI) · Chaïkovski, Concierto para piano n° 1, Orquesta Sinfónica de Boston, dir. Colin Davis (1979, Philips) · Weber, Konzertstück en fa menor, New York Philharmonic, dir. George Szell (live, New York, Carnegie Hall, 1945) (WHRA) · Weber, Konzertstück en fa menor, Orquesta Sinfónica de Chicago, dir. Désiré Defauw (1946), Sonate pour piano n° 1 (1941) (Naxos) · Weber, Konzertstück en fa menor, Orquesta Sinfónica de la NBC, dir. Erich Kleiber (live, New York, 1947) (Music & Arts) · Weber, Konzertstück en fa menor, Philharmonia Orchestra, dir. Alceo Galliera (1960, EMI) Premios y distinciones[editar] Busto de Arrau en la comuna chilena de Quinta Normal, en la ciudad de Santiago. Placa conmemorativa de Arrau en el distrito alemán de Tempelhof-Schöneberg, en Berlín. Lista de sus principales premios y distinciones:10 · 1911 - Beca del Congreso Chileno para estudiar en Europa · 1915-1918: · Premio Ibach-Schulhoff · Medalla Gustav Holländer para los artistas jóvenes (Berlín). · Medalla Sachsen-Gothaische · 1919 - Premio Franz Liszt · 1920 - Premio Franz Liszt · Primer premio en la competición de Rudolph Ibach (era el único niño participante). · 1927 - Grand prix International de Pianistes, Suiza · 1944 - Medalla de Oro del Congreso Nacional de Chile · 1949 - Doctor Honoris Causa, Universidad de Chile · 1949 - Hijo Ilustre de México · Medalla de Oro de la ciudad de Concepción · 1954 - Hijo Ilustre de Santiago · 1958 - Medalla de Oro de la Royal Philharmonic Society of London · 1959 - Hijo Benemérito de Chillán · 1965 - Caballero de la Orden de las Artes y las Letras, Francia · 1965 - Le es entregada la Máscara de Chopin, Polonia · 1970 - Das Bundesverdienstkreuz (La Cruz del Mérito), Alemania · 1980 - Medalla Hans von Bülow · 1981 - Miembro Honorario del Pan American Society of New England, USA · 1982 - Doctor of Humane Letters - Honoris Causa, Vermont, USA · 1982 - Orden del Águila Azteca, México[cita requerida] · 1983 - Premio Mundial de la Música, otorgado por la UNESCO · 1983 - The Philadelphia Bowl, Philadelphia, USA · 1983 - Premio Nacional de Arte de Chile · 1983 - Primer Miembro Honorario de la Düsseldorf Robert Schumann-Gesellschaft, Alemania · 1983 - Comendador de la Legión de Honor, Francia · 1983 - Comendador de la Academia Nacional de Santa Cecilia, Italia · 1983 - Medalla Beethoven, New York, USA · 1983 - Doctor Honoris Causa de la Universidad de Oxford, Inglaterra · 1984 - Doctor Honoris Causa de la Universidad de Concepción, Chile · 1984 - Profesor Honoris Causa de la Universidad del Bío Bío, Chile · 1984 - La "Highest Distinction Award" de la Inter-American Music Council y la Organización de Estados Americanos · 1988 - Medalla Teresa Carreño, Venezuela · 1988 - Miembro Honorario de The Royal Philharmonic Society of London, Inglaterra · 1990 - Medalla de Oro de The Royal Philharmonic Society of London · 1991 - Medalla Arrau instituida por el Düsseldorf Robert Schumann-Gesellschaft, Alemania **** Claudio Arrau, Pianist, Is Dead at 88 By ALLAN KOZINN Published: June 10, 1991 · FACEBOOK · TWITTER · GOOGLE+ · EMAIL · SHARE · PRINT · REPRINTS Correction Appended Claudio Arrau, one of the great pianists of the 20th century, died yesterday in Murzzuschlag, Austria. He was 88 years old and lived in Munich. Friede F. Rothe, Mr. Arrau's personal representative, said the Chilean-born pianist died after after emergency surgery to correct an intestinal blockage on Saturday. Mr. Arrau was in Austria for what was to have been his first performance in two years, a private recital to open a museum in Murzzuschlag, 60 miles south of Vienna. He had stopped performing in June 1989 after the death of his wife, Ruth Schneider, a German-born mezzo-soprano, whom he married in 1937. In addition to his scheduled concert in Austria, he was to have peformed a recital on Friday at the Schumann Festival in Dusseldorf, Germany, at which the baritone Dietrich Fischer-Dieskau was to have given him the Gold Medal of the Royal Philharmonic Society of London. The Chilean Government designated today a national day of mourning for Mr. Arrau. A Model of Clarity In a career that spanned eight decades, Mr. Arrau was prized for an aristocratic approach to the great works of the 19th century. His specialties included the works of Liszt, to which he brought a rare combination of physical power and philosophical insight, and Beethoven, whose sonatas and concertos he played with an Apollonian breadth that many found both poetic and authoritative. His Chopin, Schumann and Debussy, too, were considered models of clarity throughout his long career. Mr. Arrau's stamina was also a matter of constant surprise in the musical world. Although in recent years he canceled performances frequently because of illness, when he did perform he invariably played large, demanding programs, and did so with the concentration and passion of a much younger musician. In 1983 he celebrated his 80th birthday with a tour that included six New York City concerts, as well as performances of the Beethoven "Emperor" and the Brahms Concerto No. 1 in Paris and Berlin. In the last year, he had also returned to the recording studio after a brief hiatus. In recent years, he recorded complete cycles of the Mozart and Beethoven sonatas and the Beethoven concertos, as well as works by Schubert, Liszt, Debussy and Bach. Describing his own work in a 1975 interview, Mr. Arrau said: "I try to play the way a cat jumps. It must be completely natural. I have promised myself that whenever I feel a kind of routine creeping into my playing, I will stop. Now when I play I am almost in ecstasy, a creative ecstasy, which I wouldn't miss for anything. This is what I live for." A Childhood at the Piano Born on February 6, 1903 in Chillan, in central Chile, Mr. Arrau showed his musical abilities early. His father, Carlos Arrau, had died before he was a year old, and his mother supported the family by giving piano lessons. When he was 4 years old, Mr. Arrau startled his mother by playing from memory some of the pieces her students played at their lessons. He could read music before he could read words, and he gave his first public performance in Santiago -- an ambitious program of Mozart, Beethoven and Schumann works -- when he was 5 years old. "All I wanted was music," Mr. Arrau once said of his early years. "I was even fed at the piano. Otherwise, it seems, I wouldn't eat. I used to play with my mouth open, and my mother put food in it." In 1911, Mr. Arrau performed in Chile and Argentina, and in 1912 the Chilean Congress gave him a scholarship to study at the Stern Conservatory in Berlin. He worked with Martin Krause, who had been one of the last students of Franz Liszt, until Krause's death in 1918. In this period he won many awards, including the Ibach Prize and the Gustav Hollander Medal. He made his Berlin recital debut in 1914 and toured Europe in 1918, playing under the direction of Karl Muck, Arthur Nikisch, Willem Mengelberg and Wilhelm Furtwangler, among others. In 1927, he won the Grand Prix Internationale des Pianistes, in Geneva. In 1922, Mr. Arrau made his first London appearance, sharing the program with the violinist Bronislaw Hubermann and the soprano Nellie Melba. The following year, he unsuccessfully tried to introduce himself to the American concert world, and he ended up penniless in New York City. But his New York debut, on Oct.r 20, 1923, did not go badly. An unsigned review in The New York Times noted that his playing had some mannerisms but that "these serve the purpose of an individual style." His performances of music by Debussy were said to mark him as a player who "has something to say and both the technical and temperamental means to say it." The Berlin Years Mr. Arrau joined the faculty of the Stern Conservatory in 1924 and taught there until 1940. He enjoyed a rarefied atmosphere in Berlin: Among the musicians in his circle were the composers and pianists Ferrucio Busoni and Eugene d'Albert and the Venezuelan pianist Teresa Carreno. In 1935 he played the entire keyboard works of Bach in a series of 12 Berlin recitals. Shortly thereafter, he gave up playing Bach in public. In later years, he explained his abandonment of Bach by saying that did not believe that Bach's music could be realized satisfactorily on the piano. But this year he changed his mind again and recorded four of the six Partitas. After the success of his Bach series, Mr. Arrau turned to the complete Mozart keyboard works, which he played in Berlin in 1936. He played his first Beethoven cycle, which included not only the 32 sonatas but the five concertos, in a Mexico City series in 1938. He repeated the Beethoven cycle around the world several times over the next few decades. Mr. Arrau fled Berlin in 1940 and returned to Chile, where he founded a piano school in Santiago. A year later, he toured the United States again, this time with great success. Olin Downes, reviewing a recital of Mozart, Schumann, Ravel and Debussy works in The New York Times, described Mr. Arrau as "a pianist of most exceptional equipment, imagination and unfailing taste." That year, he settled in Douglaston, Queens, where he lived until he moved to Munich in November 1990. Mr. Arrau toured extensively. He visited India in 1956 and played in Japan for the first time in 1965. But he stopped performing in Chile after 1967, in protest first against the Socialist Government of President Salvador Allende Gossens, and later against the authoritarian rule of Gen. Augusto Pinochet, who overthrew Allende. In 1977, he played a highly publicized benefit concert for Amnesty International that raised $190,000. He ended his boycott in 1984, when he returned to Santiago for his first performance in Chile in 17 years. At that concert, which was broadcast throughout Chile, he received a 12-minute standing ovation. Mr. Arrau donated his earnings from the concert to a scholarship fund for Latin American musicians that he set up in 1967 in his name. Teacher and Scholar Mr. Arrau was an active teacher. Two of his best-known pupils were Philip Lorenz and Garrick Ohlsson. A musical scholar as well as a pianist, Mr. Arrau supervised a performers' Urtext edition of Beethoven's piano sonatas, completed in 1978, and published by Edition Peters. In a Stagebill article published soon after the edition was completed, Mr. Arrau described his aims and methods. "The Peters editors and I had arguments over every little staccato mark," he said. "I kept the dynamic markings very strict and added my own only where there were none or where it was necessary for interpretative or performance reasons." He added: "Sometimes when I play, I get a sudden flash of new insight into the music. It's a strange and mystical feeling. I think some of the greatest interpretive miracles have happened in this manner." His recordings of the Beethoven sonatas and concertos, remade several times (most recently in the late 1980's), are highly regarded for their thoughtful, reverent qualities. Indeed, Mr. Arrau has long been a favorite of record collectors. Some of his earliest recordings have recently been reissued on compact disk by small historical labels. And Philips , the company for which he has recorded for over the last few decades, has announced a 25-CD "Arrau Collection," for release this year. Mr. Arrau was a handsome, dapper man, small in stature but a commanding presence. In interviews, he could be shy at first, but when he warmed to his interviewer -- as he did in Joseph Horowitz's "Conversations With Arrau," published in 1982 -- he could be insightful, amusing, and at home in a variety of subjects that included contemporary music, early instruments, primitive art (which he collected) and popular music of various eras, from the Paul Whiteman Band to the Beatles and even disco music. He was also extremely fond of films and played Liszt in a biography of the composer, "Sueno de Amor," filmed in Mexico City in 1935. Surviving Mr. Arrau are two children, Christopher Arrau and Carmen Reintsema, both of Denver; six grandchildren, and a nephew, Agustin Arrau. Photo: Claudio Arrau, considered one of the best classical pianists of the 20th century. His playing was known for its clarity. (Jack Mitchell, 1983) *** Claudio Arrau (Piano) Born: February 6, 1903 - Chillán, Chile Died: June 9, 1991 - Mürzzuschlag, Austria The Chilean-born American pianist, Claudio León Arrau, was the son of eye doctor Carlos Arrau and Lucrecia Ponce de León, a piano teacher. He belonged to an old, prominent family of Southern Chile. His ancestor Lorenzo de Arrau was sent to Chile by King Carlos III of Spain. He received piano instruction from his mother at an early age, making his debut performance in Santiago at the age of five playing W.A. Mozart, L.v. Beethoven, and Frédéric Chopin. At the age of 10 the Chilean government sent him to Berlin, where he enrolled in Stern's Conservatory of Music. His teacher there was Martin Krause, who had studied under Franz Liszt. At the age of 11 Arrau could play F. Liszt's Transcendental Etudes, considered to be one of the most difficult sets of works ever written for the piano, and also J. Brahms's Paganini Variations. While studying Claudio Arrau entered competitions, and won the Ibach Prize and the Gustav Holländer Medal. He also began giving recitals in Germany and Scandinavia, earning excited comment over the excellence of his technique, and the maturity of his interpretations. In 1918 he made a major European tour, giving concertos accompanied by illustrious conductors such as Nikisch, Wilhelm Furtwängler, and Willem Mengelberg. He returned to South America in 1921, and made a triumphal tour beginning in Santiago de Chile. He made his first North American tour in 1924, appearing with the Boston Symphony Orchestra and the Chicago Symphony Orchestra. He joined the faculty of the Stern Conservatory in 1924. He won the Grand Prix Internationale des Pianistes in Geneva in 1927, and toured in the Soviet Union in 1929, and again in 1930. Claudio Arrau continued a notable concertizing career throughout the 1930's, including a famous series in 1935 and 1936 in Berlin, in which he played the complete keyboard works of J.S. Bach followed by the complete keyboard works of W.A. Mozart. He then announced that he would no longer play J.S. Bach, asserting that his music was not conceived for the modern grand piano. In 1938 he played all of the L.v. Beethoven piano sonatas and five piano concertos in a series of recitals in Mexico City, and repeated the feat during the next two years in Buenos Aires and Santiago. When World War II broke out he ended his association with the Stern Conservatory and returned to Chile, founding a piano school there. But the next year, after a tour of the USA where he received the highest critical acclaim, he and his family moved permanently to New York. He devoted himself to concertizing, teaching, and recording. His complete L.v. Beethoven cycles became legendary; in 1952 he performed such a series, in which each recital was broadcast live by the BBC. After World War II Claudio Arrau's concert tours included Australia, Czechoslovakia, Romania, India, South Africa, Israel, and Japan. In the 1960's he made definitive recordings of the complete L.v. Beethoven piano sonatas; he also supervised the editing and publication of an Urtext edition of the same sonatas. In the 1970's, Chile, which had enjoyed a record as one of South America's most democratic nations, fell to the military government of Pinochet. In protest, Arrau gave up his Chilean citizenship in 1978, and became a naturalized citizen of the USA. Despite this, or perhaps because of it, he continued to be a revered figure in Chile; in 1983 he was awarded the Chilean National Arts Prize. He returned at the age of 81 to tour Chile in 1984, his first performances there in 17 years. Claudio Arrau had world fame for his deep interpretations of a huge, vast repertoire spanning from the Baroque to 20th-century composers. He is widely considered one of the greatest pianists of the 20th century. A patrician artist whose matinee-idol appearance was as elegant as his playing, he achieved a major reputation for his performances of J. Brahmsand F. Liszt. Indeed, few Romantic-period composers, from L.v. Beethoven onward, were beyond his grasp. In addition to that repertory, his Debussy was regarded by many connoisseurs as exemplary. Arrau believed that his abiding interest in psychoanalysis aided him in probing the intent of those whose works he performed. Certainly, Arrau's performances were marked by a balance between heart and intellect. Claudio Arrau recorded the complete piano music of Robert Schumann, and edited his works for publication, as well as all L.v. Beethoven piano sonatas in Urtext edition. He is also famous for his recordings of J.S. Bach, W.A. Mozart, J. Brahms, F. Liszt, F. Chopin, Schubert and Debussy, among others. He played with style and passion, with a prodigious technique. Many claimed that his rich, weighty tone lent his interpretations a distinctive voice, some saying it sounded thick and muddy and others praising its rounded tone, saying it sounded as though Arrau were almost playing the organ or "plowing" his "paws" into the "flexible" keyboard. Although he often played with slower and more deliberate tempi from his middle age, Arrau had a reputation for being a fabulous virtuoso early in his career. Many critics feel his overall approach became less spontaneous and more reserved and introspective after the death of his mother, to whom he was extremely close. At the time of his death Arrau was working on a compact disc recording of the complete works of J.S. Bach for keyboard, and had Haydn, F. Mendelssohn, Max Reger, Ferruccio Busoni and Pierre Boulez's 3rd Sonata in preparation. Claudio Arrau was the teacher of Karlrobert Kreiten, Paul Kiss, Edith Fischer, David Lively, Ena Bronstein, Philip Lorenz, Alfonso Montecino, Olga Barabini, Ruth Nye, among others. Garrick Ohlsson, Arnulf von Arnim, David Rubinstein, Roberto Eyzaguirre, Bennett Lerner, Dickran Atamian, Goodwin Sammel, Roberto Szidon, Rosalina Sackstein, John Cobb, Clive Britton, Reidrun Rodewald, Antônio Guedes Barbosa, Germán Diez, Fedora Aberastury, Elmma Miranda, John Bell Young, Güher Pekinel and Süher Pekinel and others also received lessons from Maestro Arrau. Through his great-grandmother, María del Carmen Daroch del Solar, Claudio Arrau was a descendant of the Campbells of Glenorchy, a very prominent Scottish noble family. He was a distant relative of Francesca von Thyssen-Bornemisza de Kászon, daughter-in-law of Otto von Habsburg. They both descended from Sir John Campbell of Glenorchy, father of the first Earl of Breadalbane. In 1937, Arrau married German Jewish mezzo-soprano Ruth Schneider, and thehad three children: Carmen (1938-2006), Mario (1940-1988) and Christopher (1959). He had a happy family life with his wife and children. The Arraus were a very close family and used to pass summers in Chester (Vermont), where the pianist had a summer residence. The Robert Schumann Society established the Arrau Medal in 1991. It has been awarded to András Schiff, Martha Argerich and Murray Perahia. **** CLAUDIO ARRAU BIOGRAPHY Claudio Arrau, renowned throughout the world as one of the supreme keyboard masters of the century, stands today at the summit of his long and legendary career, for the one artistic goal he has pursued for a lifetime: the total fusion of virtuosity and meaning. Where other famous pianists play the piano for excitement, power or display, Arrau plays to probe, to divine, to interpret. Says Arrau, "An interpreter must give his blood to the work interpreted." The famed late doyen of London music critics, Sir Neville Cardus of the Guardian, explained Arrau vividly: "Arrau is the complete pianist. He can revel in the keyboard for its own pianistic sake, representing to us the instrument's range and power, but he can also go beyond piano playing as we are led by his art to the secret chambers of the creative imagination." In a tribute by the Berlin Philharmonic, which bestowed the Hans von Bulow Medal on Arrau in 1980, on the occasion of the 60th Anniversary of his debut with that great orchestra, it was put even better: "When Arrau bends over the keyboard, it is as if Music and only Music itself, is flowing out of his entire body. There is not a nuance of feeling or sound that he has not mastered. His pianissimo is more eloquent, more mysterious than that of others, and his fortissimo has more depth of dimension and is more limitless." But a London Sunday Times interview some years back explained the Arrau mystique best of all: "One regards him as a sort of miracle; the piano is the most machinelike of instruments except the organ - all those rods, levers, little felt pads, wires, no intimate subtle human connection with it by breath, tongueing, or the string player's direct engagement with speaking vibrations. But Arrau makes it live, like God teaching Adam on Michelangelo's Sistine Chapel roof; liquid, mysterious, profound, alive." At 86, Arrau today is a legend in his own lifetime, not only for the penetrating profundity of his interpretations, but for a still transcendent virtuosity completely at the service of his art. Explains Arrau: "Since in music we deal with notes, not words, with chords, with transitions, with color and expression, the musical meaning always based on those notes as written and nothing else - has to be divined. Therefore any musician, no matter how great an instrumentalist, who is not also an interpreter of a divinatory order, the way Furtwangler was, or Fischer-Dieskau is, is somehow onesided, somehow without spiritual grandeur." Arrau is definitely not onesided or without spiritual grandeur. Having won particular fame as a great Beethoven interpreter, he is no less celebrated for his Mozart, Schubert, Chopin, Liszt, Schumann, Brahms and Debussy. Among the famed peers of his generation, it is a range without equal. As a Beethoven interpreter, Arrau has played cycles of the sonata and concertos throughout the world. During the Beethoven Bicentennial Year, he played the five piano concertos in London for the fifth time around and the "Emperor" Concerto in New York, London, Berlin, at the Casals Festival, at the Bonn Festival and Beethoven recitals everywhere, including New York, London, Paris, Berlin, Amsterdam and Zurich. He has played cycles of the complete 32 piano sonatas in New York, London, Buenos Aires, Berlin, Mexico City and most of the sonatas in Zurich, Paris and Hamburg. The Arrau discography is equally vast. His recordings include the 32 Beethoven Piano Sonatas, the five Beethoven Piano Concertos (thrice), the two Brahms Concertos (twice) and the complete works for piano and orchestra by Chopin - all on Philips Records and released throughout the world. He has also recorded a great many of the solo works of Chopin, Schumann, Brahms, Debussy, Schubert and Liszt, including the awesome 12 Transcendental Etudes, a feat which he pulled off in time for his 75th birthday celebrations. Since then, he has recorded the Tchaikovsky Piano Concerto No. 1 with the Boston Symphony under Sir Colin Davis, the Liszt Concertos and (for the fourth time around) the Grieg and Schumann Concertos, also with the Boston Symphony under Sir Colin Davis. For his 80th birthday celebrations in 1983, Philips Records brought out The Arrau Edition, 59 records in 8 deluxe boxes, CBS brought out a 3-record Retrospective box as did EMI, and RCA later brought out a 2-CD set consisting of Bach's "Goldberg" Variations and the Chromatic Fantasy and Fugue, recorded in 1941. Recently, he recorded the Beethoven Piano Concertos for the third time around, this time with the Dresden Staatskapelle under Sir Colin Davis, 12 new Beethoven Sonatas (which may form a new set of the 32), the Diabelli Variations and the complete Mozart Piano Sonatas. Without giving up Liszt, Arrau gravitated to Beethoven. Textual fidelity and freedom of expression became his two guiding principles. In starving Germany, he managed to keep himself and his family alive, and by the time he won the famed International Geneva Prize in 1927, when he was 24 (the judges were Cortot, de Motta and Arthur Rubinstein), the great composers - Bach, Beethoven, Mozart, Schubert - had become his life. By the time Arrau was 32, he had not only played the 32 Beethoven Sonatas and all the Schubert and Mozart Sonatas as well as Weber in cycles of concerts, but also, all of the keyboard works of Bach in a series of 12 recitals which made him a legend in Berlin. During that time, he was also playing Schumann, Brahms, Chopin, Liszt, Debussy, Albeniz, Ravel and Schoenberg, leading the chief music critic of the London Times, William Mann to write years later after World War II, "There are pianists who rank as outstanding in Bach, Mozart, Beethoven, Chopin and Liszt. Arrau is the only pianist alive who, at any rate while he is playing, can convince people that he is the outstanding interpreter of all these composers and a good many others too." By the time Arrau returned to play at Carnegie Hall again, in February 1941, he felt ready and mature, and this time, his name had preceded him and the house was packed. The New York Times, along with every other paper including Time Magazine, gave him rave reviews. The following season he played over 100 concerts across the United States and Canada and had the additional distinction of being invited back to play twice in that same season with both the Boston and Chicago Symphony Orchestras. Today, Arrau's schedule of concerts still covers two and three continents and sometimes even more, as it did in 1958 when his world tour included the Soviet Union, Japan, Australia and New Zealand, as well as Europe, Israel, the United States, Canada, Mexico and South America - a tour which he repeated for the most part in 1974-75. In fact, with the exception of Peking, there is probably not an important city, large or small, anywhere in the world where Arrau has not been heard. During the 1981-82 season, in addition to the United States, Canada, Europe and Brazil, he also made his fifth return to Japan, capping it with a sixth triumphant return to Japan and South Korea in May 1987. During 1982-83, the whole world of music joined in celebrating the Maestro's 80th birthday. His Avery Fisher Hall recital at Lincoln Center in February was the official birthday celebration and was televised as was the concert with the Philadelphia Orchestra under Riccardo Muti on the actual birthday, February 6th. There were also TV documentaries both in London and Germany. He also picked up a new batch of birthday honors and prizes, including the International UNESCO Music Prize for 1983, the National Arts Prize from Chile, the Aztec Eagle from Mexico, a Commandatore from the Accademia di Santa Cecilia in Rome and a Commandeur de la l'Legion de Honneur, France's highest decoration. As part of the continuing 80th birthday celebrations, Arrau returned to his native Chile in May 1984 as a symbol of peace after an absence of 17 years, to play as he said, "For a whole new generation which has never heard me," and was given a reception probably without equal since the time of Paderewski's return to Poland after World War I and Liszt's return to Hungary under the Austrians in 1839. As the New York Times reported in a long story which was given an alert on the front page, Arrau dominated the local newspapers for weeks and his concerts in Santiago (six in eleven days) were seen and heard on TV by 80% of the nation. Until recently playing up to 100 concerts each season, Arrau has now reduced the number to around 50, leaving himself more time to record, study and read, a lifelong passion. His fervent wish: "Another hundred years just to read." His 85th birthday, on February 6, 1988, was another occasion for world celebration, winding up with a grand "Emperor" Concerto in London, under the direction of Sir Colin Davis, which was televised and will be brought out on video disc together with the Beethoven Concerto No. 4 under Riccardo Muti. Since 1941, Arrau and his late wife Ruth, made Douglaston, New York, their home base and also a summer home in Vermont, where he loves to retreat for rest and quiet, sometimes with his children and grandchildren and always with his beloved cats and dogs. Arrau became an American citizen in February 1979, but retains dual passports. In 1978, Arrau completed a new Urtext Edition of the Beethoven Piano Sonatas for the famous music publishing house of Peters in Frankfurt. A performing edition, the first by a famous Beethoven interpreter since Schnabel's in 1935, it includes all the Arrau fingerings, as well as tempi by Beethoven (where available), Czerny and Arrau and suggestions for dynamics, pedalings and performance practice. Claudio Arrau was born in Chillan Chile, on February 6, 1903 and like most of history's great pianists, was a child prodigy. His mother was an amateur pianist and his father an eye doctor, who died in a riding accident when Arrau was one-year old. In order to support herself and her three young children, Lucretia Leon de Arrau, an indomitable woman, began to give piano lessons. Claudio, her youngest, was allowed to sit in so she could keep an eye on him and the result was that he could read notes before he could read words. By five, the boy gave recitals both in Chillan and in Santiago and by seven, he and his entire family, including an aunt, were on their way to Berlin (the musical Mecca of that time) where the young piano genius was to study on a Government grant (by an act of the Chilean Congress) over the next ten years. In Berlin, after blundering around for two years with wrong teachers, Arrau, at ten, finally found the teacher he needed. He was Martin Krause, a pupil of Liszt's, a famous music critic and the friend of all the great musicians of his time. Between the young boy and the grand pedagogue, it was love at first sight. For Arrau, Krause became the father he never had and to Krause, Arrau was the pupil he had been searching for. "He will be my masterwork," said Krause, who also taught Edwin Fischer. In Berlin, the young boy heard all the great pianists of the day; Terese Carreno, d'Albert and later, Busoni, and they all became his idols, especially Carreno and Busoni. At 15, when Krause died from the great flu epidemic of1918, Arrau was 1eft without a teacher. But so much had been imparted to him that he preferred to go on by himself, winning the famed Liszt Prize twice in a row at ages 16 and 17. Thus, when Arrau, at 20, arrived for his Carnegie Hall debut on October 20, 1923, he was already a seasoned artist who had played throughout Europe since the age of 11, had appeared with Nikisch in Leipzig at 12, and at 17, had made smash debuts both in London (at the Royal Albert Hall) and in Berlin with the Berlin Philharmonic under Karl Muck. Arrau had come to the United States for a promised tour of 30 dates and found himself with only five (in those days things like that happened even to veterans like Carreno and Busoni): three concerts in New York and appearances with the Boston and Chicago Symphonies. Boston under Monteux and Chicago under Stock were splendid. Carnegie Hall, with the house mostly empty, was far less so. Arrau, thinking himself a failure, returned home to Berlin no richer than he had come, and that, he says today, was probably the best thing that could have happened to him at the time, artistically-wise. Berlin, after World War I, was boiling over with new ideas. The time of the salon pianists was about over, musicology was a new discipline and great Beethoven interpreters were coming to the fore who were to transform the art of piano playing in our time. The spirit of Busoni, d'Albert and Ansorge were still everywhere, Schnabel and Edwin Fischer were on the rise, and both freedom of expression and fidelity to the text were the order of the day. ebay1609/folder29

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