Preludes [Import]

Claudio Arrau was among the foremost interpreters of Chopin's piano scores, justly celebrated for his dramatically intense, yet refined technical skills at the keyboard. Philips has just re-issued this classic recording of these Chopin piano works, using the latest 24 bit digital-image remastering technology. In the liner notes written for the 1991 re-issue of this recording, the critic notes that Chopin's Preludes were "miniature tone poems", which Arrau successfully portrays in his refined, dramatic interpretaions, which also include many instances of subtle tinkering on the keyboard. It's an approach that may stand in stark contrast to the fiery interpretations I have heard either live or in recordings from the likes of Martha Argerich and Maurizio Pollini, but one which may be more desirable to those seeking more nuanced performances of these works. All of the Preludes were recorded in 1973 in Amsterdam's Concertgebouw, taking advantage of the lush, warm acoustics of this concert hall. The Impromptus were recorded 7 years later, at the Swiss recital hall which would be Arrau's main recording venue for his final studio recordings in the 1980s, most notably a partial traversal in digital sound of the entire Beethoven piano sonata cycle. Needless to say I was absolutely delighted to hear this latest re-issue of this classic recording, finding quite compelling all of Arrau's performances of both the preludes and the impromptus; it's a recording that should be regarded as a definitive one of these Chopin pieces if it isn't already.

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The Impromptu is an elusive and irreducible genre not practiced by many of the great composers--Schubert and Chopin, primarily; Skryabin and Fauré, secondarily; (we may perhaps consider Beethoven's late set of Bagatelles [Op. 126] as Impromptus in all but name).

A very Romantic genre, the Impromptu is generally characterized by a certain spontaneity, atmosphere, mood of fantasy, and poetic economy of expression. In some cases the Impromptu may exhibit étude- or toccata-like technical fireworks.

Though they are fairly substantial pieces together forming a special set within Chopin's oeuvre, it is regrettable he didn't conceive more of these magical works with their exquisite champagne-sprays of notes and délicieuse jeu perlé figures:
No. 1 - Ab, Op. 29 (1837);
No. 2 - F#, Op. 36 (1839);
No. 3 - Gb, Op. 51 (1843);
No. 4 - c#, Op. 66 (1834).

While Deyanova, Vásáry, Ohlsson, and Anievas too are immensely satisfying, especially admirable is Kempff's charming, light and stylish way with these pieces both in his 1958 London studio sessions and his 1960 Cologne `live' realizations.

And yet, for performance, programme, sound and price, Arrau's 1980 complete Impromptu set remains a favourite.

Arrau's muse is characteristically weightier as he subdivides the internal episodes with surgical skill.
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I have heard Chopin's Preludes played by other artists. The Preludes are delightful in their own right. But, Claudio Arrau adds an emotion and beauty that makes this set exceptional. I used to have this on vinyl and was glad to find it on CD. It is so good to hear this version of the Preludes again!