Arrau Claudio Biography
The Wunderkind boy, born in Chile, won the whole world with his play on the piano. His extraordinary performing art, his extraordinary musical memory, his vast repertoire - all this amazed, surprised, delighted the audience. His art had both enthusiastic admirers and critics that reproached his performance in excessive ostentatious virtuosity and formalness of interpretations. But his game did not leave anyone indifferent.
And even now, thanks to the notes, we can enjoy his talent, his subtle sense of style, a unique interpretation, incredible virtuosity, excellent possession of their beloved tool. Arrau played his whole life on stage. Starting his career at the age of 6, he continued to speak until death. And in his last speech in London, when he was 83 years old, he conquered the audience with the maturity of interpretation and his virtuoso skill.
What did Arrau perform? In his performing “baggage” of the compositions of composers, primarily the XIX century: L. Beethoven, R. Shuman, J. Brahms, F. Liszt, F. Chopin, E. Grieg, P. Tchaikovsky, F. Schubert, K. Weber and others ... He also turns to the composers of the Minor: B. Bartok, I. Stravinsky, B. Britten, A. Shenberg, O. Messian ... Well, of course, I. for example, he gave a cycle of 12 concerts in which he performed almost all the works of German Composer written for a clavier!
What is the secret of his success? What distinguished him among his contemporaries? After all, as we know, in the same era, other outstanding virtuoso pianists, including his two peers, two masters of performing art: Vladimir Gorovitz-and Rudolf Serkin, which “mystery Arrau” I. Let's see what critics say about him. London Sunday Times, after an interview with the pianist, writes: “Some consider it a miracle.
Of all the tools, with the exception of the organ, the piano is most like a car ... no close contact with the instrument through breathing, no direct influence of the vibration of strings on the contractor. But Arrau animates the piano ... Music is pouring - mysterious, endless, alive. ” Arrau is the only living performers, whose game at any moment convinces the audience that he is an outstanding interpreter of all these composers and many others too.
” Beethoven on the invisible pedestal of Arrau can be bought at the highest step. He took this sobbing heart in a strong, kind, wise hands. For its generation, this list has no equal. ” The team of the Berlin Philharmonic in the year left the following review: “When Arrau sits behind the piano, his whole creature emits music, it pours on its own. There is not a single shade of sound that he would not master.
Its pianissimo sounds more expressive and mysterious than others; His fortissimo is deep and infinite. ” Here are some of the opinions of Soviet critics: “The Beethoven spirit, Beethoven thought - this is what dominated by Arrau,” he wrote a high appreciation after the pianist D.’s concert, he also gave the performance of I. Brahms’s concerts: “This is where the intellectual depth of psychologism, penetrated with volitional tone, is truly conquering for Arrau, and the execution for Arrau.
expression, freedom of execution with the steady, consistent logic of musical thinking - hence the rattleness of the form, a combination of internal combustion with external calm and harsh self -restraint in the expression of feelings; Hence the preference given by the restrained pace and moderate dynamics. ” In his recall after the concerts of the Contractor during his second and last visit to the Soviet Union, he noted: “Arrau showed a brilliant pianistic form and showed that he had not lost anything like virtuoso, and most importantly - acquired wisdom, maturity of the interpretation.
The pianist does not demonstrate an unbridled temperament, does not boil, like a young man, but, like a jeweler, who is any through the optical glass by the faces of a precious stone, he, comprehending the very depths of the work, as if sharing his discovery, showing various sides of the works, the wealth and subtlety of thoughts, the beauty of feelings, in it laid down.
And therefore, music performed by Arrau ceases to be an occasion to demonstrate its own qualities; On the contrary, the artist, as a faithful knight of the composer idea, as if connecting the listener directly with the creator of music. " And what did the maestro himself say? And the most important thing is the assimilation of the “singing phrase”, that is, such technical perfection, thanks to which there are no two identical notes in Breesheno and Decreshcheno.
” Arrau, - by analyzing each work, create an almost visual idea of the nature of the sound that would most accurately correspond to it. ” Here is another opinion of the performer about the opera paraphrase of the leaf: “This is not just ostentatious virtuoso works,” argues Arrau. It would be much more important to appreciate the sheet-musician again.Finally, I want to end an old misunderstanding that the sheet wrote his passages to demonstrate the technique.
In his significant works, they serve as a means of expressiveness - even in the most difficult of his opera paraphrase, in which he created something new, a kind of drama in miniature from the topic. They may seem purely virtuoso music only if they play with metronome pedantry, which is now in fashion. But this “correctness” is only a bad tradition emanating from ignorance. This kindness of fidelity to notes is disgusted by the breath of music, everything in general, which is called music.
If it is believed that Beethoven should be played as freedom as possible, then the metronomic accuracy is in the sheet - complete absurdity. He requires a Mephistophel pianist! He was reverent about the works of composers, tried to penetrate the state in which the author was at the time of creativity. With his performing art, he achieved what all the interpreters strive for - unification into a single whole virtuosity and artistic meaning.
Article author: Anastasia Alekseeva,