Schumann: Piano Concerto in A minor, Carnaval Op. 9 & Beethoven Piano Sonata No. 32 in C minor / Arrau

Schumann: Piano Concerto in A minor, Carnaval Op. 9 & Beethoven Piano Sonata No. 32 in C minor / Arrau

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Movie Reviews of Schumann: Piano Concerto in A minor, Carnaval Op. 9 & Beethoven Piano Sonata No. 32 in C minor / Arrau

Movie Review: I Know I'll Go Back To It Often
Summary: 5 Stars

The quality of these films has a lot to do with such an order. The first one is the best, both in sound and in vision. The collaboration with the orchestra was wonderful, in rhythm and in musical effects, everything. With Arrau, it is a standard thing. His power to unify large scale structures and to cumulate paces for dramatic effects are amazing, and these are all on top of a most beautiful tone and perfect phrasing. Depiction of his hands comes only occasionally. What we have is somewhat like what you see when you attend a concert. But his interpretation is the very best one could ever hope for--as perfect as perfection itself. Like very old and pure cogniac, it's always contained within an old bottle.

The sound and visual qualities of the second piece is not so good as the first one. The speed of filming was not fast enough and when the tempo is fast, the vision of his hands, particularly his fingers is blurred and the higher notes are slightly distorted. But as far as music and interpretation is concerned, like the first piece, they are very instructive indeed. Here we have the subtleties of rhythmic flexibility and tone colouring of the highest degree.

The weakest in sound and vision but not music, is the third piece. One wouldn't suppose it could stand alone as a commercial recording. But as a historical recording, it's more than acceptable.

Then comes Solomon in the form of a bonus. We are told that this is the only video of Solomon. The quality of this footage is poor and that explains why it comes as a bonus. It's something like the earliest B/W photos we have but in the form of video. But the music is a different matter altogether. For those who have heard of Solomon's myth should lend his ear to this piece-- it is more impressing than any piece in his Philips Great Pianist of the Century. The delicacy and nuances of his tone coming in torrents and his power of contrasts is quite stunning. I wouldn't use the word "simplicity" to describe Solomon, nor the the word "ease" but his command is absolute. His playing is more attuned to modern taste. I have actually compared the same piece played by Arrau in his 80th Birthday recital. The latter's deeper where even contrasts are unified, the thunderings serve only as shadings and even then they are always in perfect balance with the melodic lines...

Both pisnists were about 50 year of age when these pieces were filmed, both in their very prime. Arraus's Waldstein is inwardly shocking even when played as late as his 80th Birthday. So needless to say, these are all wonderful stuff here. He certainly reminds us of De Greef and of Edwin Fischer. And it's difficult to think of what else to expect, as everything is so perfect by itself. With him passing away, the golden age of pianists shall we say, has come to an end.

Summary of Schumann: Piano Concerto in A minor, Carnaval Op. 9 & Beethoven Piano Sonata No. 32 in C minor / Arrau