When Arrau was a year old his father died. His mother gave piano lessons to support her three children, and after Claudio made his debut at the age of five she moved the family to Santiago de Chile so that he could study with Bindo Paoli. By 1911 the Chilean government had decided to fund Claudio’s training in Berlin. At the Stern Conservatory he studied with Martin Krause (1853–1918), a pupil of Liszt. Krause became a father-substitute for young Claudio, guiding him toward art, literature and opera. The boy had little schooling, and Krause oversaw most aspects of his life and development. At the piano Krause laid a technical foundation based not only on physical stamina and endurance but also on technique being the means to a musical interpretation. It supported Arrau throughout his long career.

The eleven-year-old Arrau caused a sensation at his Berlin debut, and was only twelve when he played Liszt’s Piano Concerto No. 1 with Arthur Nikisch in Dresden. During this time Krause arranged many concerts for Arrau, but it was a privileged existence traumatically terminated when Krause died in 1918, leaving Arrau at the vulnerable age of fifteen.

Arrau never had another teacher after Krause’s death, applying his master’s methods to any new repertoire he chose to learn. He toured Europe, won the Liszt Prize in 1919 and 1920, the Ibach Prize, and the Gustav Holländer Medal. His debut with the Berlin Philharmonic Orchestra was with conductor Karl Muck, and he also played under Willem Mengelberg and Wilhelm Furtwängler at this time as well as returning to South America, giving concerts in Argentina and Chile. His London debut in 1922 was with Nellie Melba and Bronisław Huberman, but by this time Arrau was already suffering from depression and self-doubt. The financial support from the Chilean government had recently ceased, and his debut tour of the USA was not a great success. This period Arrau described as ‘the most difficult and unhappy years of my life’. Always shy and retiring, he decided to seek professional help for his depression from a psychoanalyst in Germany. The treatment was successful, and Arrau gained the confidence to accept a teaching post at the Stern Conservatory.

After winning the Geneva International Piano Competition in 1927, he received offers to play in Russia in 1929 and 1930. From the early 1930s he developed vast recital programmes, relying on the stamina and endurance instilled by Krause. In 1933 he gave fifteen recitals and had four orchestral dates in Mexico City, and in 1935 he performed twelve recitals in Berlin, consisting entirely of solo works by Bach. In 1936 he gave five evenings devoted to Mozart, and in 1937 four evenings to Schubert and Weber. The following year he played the complete sonatas of Beethoven in Mexico City. During World War II Arrau went to Chile, and in 1940 he decided to try his luck in America again. A Carnegie Hall recital in 1941 was a great success, leading to many engagements throughout the United States and Canada, and from then on his career was hugely successful for the next four decades. He and his wife Ruth Schneider, whom he had married in 1937, settled in America. He performed the complete sonatas of Beethoven in London and New York, and continued to tour the world. His amazing stamina enabled him to tour Europe, the USA, Brazil and Japan in the early 1980s, as he was approaching the age of eighty. In 1984 he returned to perform in Chile after refusing to play there for seventeen years due to the political regime.

Arrau was showered with awards during his career. He received the Hans von Bülow Medal from the Berlin Philharmonic Orchestra in 1980, prizes and awards from UNESCO, the National Arts Prize from Chile, the Order of the Aztec Eagle from Mexico, and was made Commandeur de la Légion d’honneur by France.

Arrau’s recording career, like that of Shura Cherkassky, spanned the developments in sound recording from the acoustic era to modern digital recording.

In the early 1930s Arrau made a stunning recording of Liszt’s Rhapsodie Espagnole and just before World War II he recorded Schumann’s Carnaval and some Chopin and Debussy for Parlophone. In 2000 the record label Music & Arts issued two compact discs of German radio broadcasts that Arrau gave in 1937 and 1938. It is a rare opportunity to hear him performing extended works, as they contain two Beethoven sonatas and a Mozart sonata as well as a performance of Liszt’s Piano Concerto No. 1 in E flat, probably dating from 1935, with Hans Rosbaud.

During the war Arrau recorded in America for Victor some sonatas by Weber and Mozart, and pieces by Bach including the ‘Goldberg’ Variations BWV 988 and the Chromatic Fantasia and Fugue BWV 903. However, realising RCA had a harpsichord version by Wanda Landowska in its catalogue, Arrau decided that Bach should be played on the harpsichord and not the piano. Therefore, his version of the ‘Goldberg’ Variations was not released until the 1980s, by which time he had changed his mind again.

In 1946 Arrau began to record for Columbia, this time with another major work of Schumann, Kreisleriana Op. 16. Some fine Liszt recordings were made in 1952, including five Hungarian Rhapsodies and the Piano Concerto No. 1 with Eugene Ormandy and the Philadelphia Orchestra.

In 1952 Arrau recorded Beethoven’s ‘Diabelli’ Variations Op. 120 for Brunswick in New York, and a year later embarked on a recording project of the complete piano works of Chopin. However, after recording the ballades, scherzos, impromptus and Barcarolle the project was abandoned. These recordings were not released on compact disc until 2003, when they appeared in an excellent centenary tribute box-set of ten compact discs.

From 1956 to 1962 Arrau recorded for EMI/Columbia (in England), making his only recording of the complete Chopin études in 1956. It was in 1962 that Arrau began his long and fruitful association with the Philips label. The recordings, originally issued on fifty-eight LPs and latterly on forty-four CDs, cover Arrau’s mature repertoire: the complete sonatas and concertos of Beethoven, sonatas by Mozart, major works of Chopin, Schumann, Liszt and Schubert, and music by Debussy and Bach that Arrau had dropped from his public repertoire. As difficult as it is to single out anything from this huge corpus of work, mention should be made of Beethoven’s Piano Concertos Nos 4 and 5 with Colin Davis and the Dresden State Orchestra, Liszt’s Piano Sonata in B minor and complete Études d’exécution transcendante (which Arrau had learnt with Krause at the age of eleven), and Schumann’s Fantasie Op. 17 and Humoreske Op. 20. Although Arrau made a marvellous, magisterial recording of Brahms’s Piano Concerto No. 1 in D minor Op. 15 with Bernard Haitink and the Concertgebouw Orchestra, he surprisingly never recorded the introspective, late Klavierstücke. He himself thought one of his best recordings to be that of Schubert’s Piano Sonata in C minor, D. 958.

Arrau’s method was that each work had to be studied from every point of view, and with his wide knowledge of art and literature (which he read in seven languages) and his total relaxation at the keyboard, he remains one of the most profound of performers. Detractors have found Arrau’s later recordings to be stolid and portentous, yet to most he is an intellectual, sovereign, leonine pianist with total control over every aspect of his instrument and the music he interprets.

© Naxos Rights International Ltd. — Jonathan Summers (A–Z of Pianists, Naxos 8.558107–10).

Born in Bonn in 1770, the eldest son of a singer in the Kapelle of the Archbishop-Elector of Cologne and grandson of the Archbishop’s Kapellmeister, Beethoven moved in 1792 to Vienna. There he had some lessons from Haydn and others, quickly establishing himself as a remarkable keyboard player and original composer. By 1815 increasing deafness had made public performance impossible and accentuated existing eccentricities of character, patiently tolerated by a series of rich patrons and his royal pupil the Archduke Rudolph. Beethoven did much to enlarge the possibilities of music and widen the horizons of later generations of composers. To his contemporaries he was sometimes a controversial figure, making heavy demands on listeners by both the length and the complexity of his writing, as he explored new fields of music.

Stage Works

Although he contemplated others, Beethoven wrote only one opera. This was eventually called Fidelio after the name assumed by the heroine Leonora, who disguises herself as a boy and takes employment at the prison in which her husband has been unjustly incarcerated. This escape opera, for which there was precedent in contemporary France, ends with the defeat of the evil prison governor and the rescue of Florestan, testimony to the love and constancy of his wife Leonora. The work was first staged in 1805 and mounted again in a revised performance in 1814, under more favourable circumstances. The ballet The Creatures of Prometheus was staged in Vienna in 1801, and Beethoven wrote incidental music for various other dramatic productions, including Goethe’s Egmont, von Kotzebue’s curious The Ruins of Athens, and the same writer’s King Stephen.

Choral and Vocal Music

Beethoven’s most impressive choral work is the Missa solemnis, written for the enthronement of his pupil Archduke Rudolph as Archbishop of Olmütz (Olomouc) although finished too late for that occasion. An earlier work, the oratorio Christ on the Mount of Olives, is less well known. In common with other composers, Beethoven wrote a number of songs. Of these the best known are probably the settings of Goethe, which did little to impress the venerable poet and writer (he ignored their existence), and the cycle of six songs known as An die ferne Geliebte (‘To the Distant Beloved’). The song ‘Adelaide’is challenging but not infrequently heard.

Orchestral Music

Symphonies

Beethoven completed nine symphonies, works that influenced the whole future of music by the expansion of the traditional Classical form. The best known are Symphony No. 3, ‘Eroica’, originally intended to celebrate the initially republican achievements of Napoleon; No. 5; No. 6, ‘Pastoral’; and No. 9, ‘Choral’. The less satisfactory ‘Battle Symphony’ celebrates the earlier military victories of the Duke of Wellington.

Overtures

For the theatre and various other occasions Beethoven wrote a number of overtures, including four for his only opera, Fidelio (one under that name and the others under the name of the heroine, Leonora). Other overtures include Egmont, Coriolan, Prometheus, The Consecration of the House and The Ruins of Athens.

Concertos

Beethoven completed one violin concerto and five piano concertos, as well as a triple concerto for violin, cello and piano, and the curious Choral Fantasy for solo piano, chorus and orchestra. The piano concertos were for the composer’s own use in concert performance. No. 5, the so-called ‘Emperor’ Concerto, is possibly the most impressive. The single Violin Concerto, also arranged for piano, is part of the standard violin repertoire along with two romances (possible slow movements for an unwritten violin concerto).

Chamber Music

Beethoven wrote 10 sonatas for violin and piano, of which the ‘Spring’ and the ‘Kreutzer’ are particular favourites with audiences. He extended very considerably the possibilities of the string quartet. This is shown even in his first set of quartets, Op. 18, but it is possibly the group of three dedicated to Prince Razumovsky (the ‘Razumovsky’ Quartets, Op. 59) that are best known. The later string quartets offer great challenges to both players and audience, and include the remarkable Grosse Fuge—a gigantic work, discarded as the final movement of the String Quartet, Op. 130, and published separately. Other chamber music includes a number of trios for violin, cello and piano, with the ‘Archduke’ Trio pre-eminent and the ‘Ghost’ Trio a close runner-up, for very different reasons. The cello sonatas and sets of variations for cello and piano (including one set based on Handel’s ‘See, the conqu’ring hero comes’ from Judas Maccabaeus and others on operatic themes from Mozart) are a valuable part of any cellist’s repertoire. Chamber music with wind instruments and piano include the Quintet, Op. 16, for piano, oboe, clarinet, horn and bassoon. Among other music for wind instruments is the very popular Septet, scored for clarinet, horn, bassoon, violin, viola, cello and double bass, as well as a trio for two oboes and cor anglais, and a set of variations on a theme from Mozart’s Don Giovanni for the same instruments.

Piano Music

Beethoven’s 32 numbered piano sonatas make full use of the developing form of the piano, with its wider range and possibilities of dynamic contrast. Other sonatas not included in the 32 published by Beethoven are earlier works, dating from his years in Bonn. There are also interesting sets of variations, including a set based on ‘God Save the King’and another on ‘Rule, Britannia’, variations on a theme from the ‘Eroica’ Symphony, and a major work based on a relatively trivial theme by the publisher Diabelli. The best known of the sonatas are those that have earned themselves affectionate nicknames: the ‘Pathétique’, ‘Moonlight’, ‘Waldstein’, ‘Appassionata’, ‘Les Adieux’ and ‘Hammerklavier’. Less substantial piano pieces include three sets of bagatelles, the all too well-known Für Elise, and the Rondo a capriccio, known in English as ‘Rage Over a Lost Penny’.

Dance Music

Famous composers like Haydn and Mozart were also employed in the practical business of providing dance music for court and social occasions. Beethoven wrote a number of sets of minuets, German dances and contredanses, ending with the so-called Mödlinger Dances, written for performers at a neighbouring inn during a summer holiday outside Vienna.

The youngest child and only surviving son of Leopold Mozart, Wolfgang Amadeus was born in Salzburg in 1756, the publication year of his father’s influential treatise on violin playing. He showed early precocity both as a keyboard player and violinist, and soon turned his hand to composition. His obvious gifts were developed, along with those of his elder sister, under his father’s tutelage, and the family, through the indulgence of their then patron, the Archbishop of Salzburg, was able to travel abroad—specifically between 1763 and 1766, to Paris and to London. A series of other journeys followed, with important operatic commissions in Italy between 1771 and 1773. The following period proved disappointing to both father and son as the young Mozart grew to manhood and was irked by the lack of opportunity and lack of appreciation for his gifts in Salzburg, where a new archbishop was less sympathetic. A visit to Munich, Mannheim and Paris in 1777 and 1778 brought no substantial offer of other employment and by early 1779 Mozart was reinstated in Salzburg, now as court organist. Early in 1781 he had a commissioned opera, Idomeneo, staged in Munich for the Elector of Bavaria, and dissatisfaction after being summoned to attend his patron the Archbishop in Vienna led to his dismissal. Mozart spent the last 10 years of his life in precarious independence in Vienna, his material situation not improved by a marriage imprudent for one in his circumstances. Initial success with German and then Italian opera and a series of subscription concerts were followed by financial difficulties. In 1791 things seemed to have taken a turn for the better, despite a lack of interest from the successor to the Emperor Joseph II, who had died in 1790. In late November, however, Mozart became seriously ill and died in the small hours of 5 December. Mozart’s compositions were catalogued in the 19th century by Köchel, and they are now generally distinguished by the K. numbering from this catalogue.

Operas

Mozart was essentially an operatic composer, although Salzburg offered him no real opportunity to exercise his talents in this direction. The greater stage works belong to the last decade of his life, starting with Idomeneo in Munich in January 1781. In Vienna, where he then settled, his first success came with the German opera or Singspiel Die Entführung aus dem Serail (‘The Abduction from the Seraglio’), a work on a Turkish theme, staged at the Burgtheater in 1782. Le nozze di Figaro (‘The Marriage of Figaro’), an Italian comic opera with a libretto by Lorenzo da Ponte based on the controversial play by Beaumarchais, was staged at the same theatre in 1786, followed by Don Giovanni, with a libretto again by Da Ponte, in Prague in 1787. Così fan tutte (‘All Women Behave Alike’) was staged briefly in Vienna in 1790, its run curtailed by the death of the Emperor. La clemenza di Tito (‘The Clemency of Titus’) was written for the coronation of the new Emperor in Prague in 1791, no such commission having been granted Mozart in Vienna. His last stage work in order of performance, a Singspiel, was Die Zauberflöte (‘The Magic Flute’), mounted at the end of September at the Theater auf der Wieden, a magic opera that was running with success at the time of the composer’s death.

Church Music

As he lay dying, Mozart was joined by his friends to sing through parts of a work that he left unfinished. This was his setting of the Requiem Mass, commissioned by an anonymous nobleman who had intended to pass off the work as his own. The Requiem was later completed by Mozart’s pupil Süssmayr, to whom it was eventually entrusted, although other possible completions of the work have since been proposed. Mozart composed other church music, primarily for use in Salzburg. Settings of the Mass include the ‘Coronation’ Mass of 1779, one of a number of liturgical settings of this kind. In addition to settings of litanies and Vespers, Mozart wrote a number of shorter works for church use. These include the well-known Exsultate, jubilate written for the castrato Rauzzini in Milan in 1773 and the simple four-part setting of the Ave verum, written to oblige a priest in Baden in June 1791. Mozart’s Church or Epistle Sonatas were written to bridge the liturgical gap between the singing of the Epistle and the singing of the Gospel at Mass. Composed in Salzburg during a period from 1772 until 1780, the sonatas are generally scored for two violins, bass instrument and organ, although three of them, intended for days of greater ceremony, involve a slightly larger ensemble.

Vocal and Choral Music

In addition to a smaller number of works for vocal ensemble, Mozart wrote concert arias and scenes, some of them for insertion into operas by others. Songs, with piano accompaniment, include a setting of Goethe’s ‘Das Veilchen’(‘The Violet’).

Orchestral Music

Symphonies

Mozart wrote his first symphony in London in 1764–5 and his last in Vienna in August 1788. The last three symphonies, Nos. 39, 40 and 41, were all written during the summer of 1788, each with its own highly individual character. No. 39, in E flat major, using clarinets instead of the usual pair of oboes, has a timbre all its own, while No. 40 in G minor, with its ominous and dramatic opening, is now very familiar. The last symphony, nicknamed in later years the ‘Jupiter’ Symphony, has a fugal last movement, a contrapuntal development of what was becoming standard symphonic practice. All the symphonies, of course, repay listening. Of particular beauty are Symphony No. 29, scored for the then usual pairs of oboes and French horns with strings, written in 1774; the more grandiose ‘Paris’ Symphony, No. 31, written in 1778 with a French audience in mind; and the ‘Haffner’, the ‘Linz’ and the ‘Prague’, Nos. 35, 36 and 38. The so-called ‘Salzburg’ symphonies, scored only for strings and in three movements, on the Italian model, were probably intended for occasional use during one of Mozart’s Italian journeys. They are more generally known in English as Divertimenti, K. 136, 137 and 138. The symphonies are not numbered absolutely in chronological order of composition, but Nos. 35 to 41 were written in Vienna in the 1780s and Nos. 14 to 30 in Salzburg in the 1770s.

Cassations, Divertimenti and Serenades

The best-known serenade of all is Eine kleine Nachtmusik (‘A Little Night Music’), a charming piece of which four of the five original movements survive. It is scored for solo strings and was written in the summer of 1787, the year of the opera Don Giovanni and of the death of the composer’s father. The Serenata notturna, written in 1776 in Salzburg, uses solo and orchestral strings and timpani, while the Divertimento, K. 247, ‘Lodron Night Music’, dating from the same year, also served a social purpose during evening entertainments in Salzburg. Cassations, the word more or less synonymous with divertimento or serenade, again had occasional use—sometimes as street serenades, as in the case of Mozart’s three surviving works of this title, which were designed to mark end-of-year university celebrations. Generally music of this kind consisted of several short movements. Other examples of the form by Mozart include the so-called ‘Posthorn’ Serenade, K. 320, which uses the posthorn itself during its course, and the ‘Haffner’ Serenade, designed to celebrate an event in the Haffner family in Salzburg. The Serenade, K. 361, known as the ‘Gran Partita’, was written during the composer’s first years of independence in Vienna and scored for a dozen wind instruments and a double bass.

Dance Music

Mozart wrote a great deal of dance music both in Salzburg and in Vienna. His only court appointment under Emperor Joseph II was as a composer of court dance music, a position that, in his words, paid him too much for what he did and not enough for what he could have done. The dance music includes German dances, Ländler and contredanses—popular forms of the time.

Concertos

Mozart wrote some 30 keyboard concertos. The earliest of these are four arrangements of movements by various composers, made in 1767. In 1772 he arranged three sonatas by the youngest son of J.S. Bach, Johann Christian, although these three works are not generally included in the numbering of the concertos. Apart from these arrangements he wrote six keyboard concertos during his years in Salzburg. The more important compositions in this form, designed clearly for the fortepiano (an instrument smaller than the modern pianoforte and with a more delicately incisive tone), were written in Vienna between 1782 and 1791. They were principally for the composer’s use in subscription concerts with which he at first won success in the imperial capital. Of the 27 numbered concertos, particular mention may be made of No. 20 in D minor, K. 466, and No. 24 in C minor, K. 491. He completed his last piano concerto—No. 27, K. 595 in B flat major—in January 1791.

Mozart wrote a series of five concertos for solo violin, one in 1773 and four in 1775, at a time when he was concertmaster of the court orchestra in Salzburg. Of the last four, K. 216 in G major, K. 218 in D major and K. 219 in A major are the best known, together with the splendid Sinfonia concertante of 1779 for solo violin and solo viola. The Concertone for two solo violins, written in 1774, is less frequently heard.

Mozart’s concertos for solo wind instruments include one for bassoon, two for flute, one for oboe, and one for clarinet—his final concerto, written in October 1791. He wrote four concertos for French horn, principally for the use of his friend, the horn player Ignaz Leutgeb, and a Sinfonia concertante for solo wind instruments, designed for performance by Mannheim friends in Paris. During his stay in France in 1778 he also wrote a fine concerto for flute and harp, intended for unappreciative aristocratic patrons there.

Chamber Music

It was inevitable that Mozart should also show his mastery in music for smaller groups of instruments. With some reluctance he accepted a commission in Mannheim for a series of quartets for flute and string trio, two of which he completed during his stay there in 1777–8. A third flute quartet was completed in Vienna in 1787, preceded by an oboe quartet in Munich in 1781; a quintet the following year for French horn, violin, two violas and cello; and finally, in 1789, a clarinet quintet. The wind part of this last work was for Mozart’s friend Anton Stadler, a virtuoso performer on the newly developed clarinet and on the basset-clarinet, an instrument of extended range and of his own invention.

Mozart’s work for string instruments includes a group of string quintets written in Vienna in 1787, and, over the course of around 20 years, some 23 string quartets. Particularly interesting are the later quartets, a group of six dedicated to and influenced by Joseph Haydn, and three final quartets, the so-called ‘Prussian’ Quartets, intended for the cello-playing King of Prussia Friedrich Wilhelm II. Ein musikalische Spass (‘A Musical Joke’), K. 522, for two horns and solo strings, was written in 1787; the music is a recreation of a work played for and presumably composed by village musicians, including formal solecisms and other deliberate mistakes of structure and harmony.

There are other chamber-music compositions, principally written during the last 10 years of Mozart’s life in Vienna and involving the use of the piano, an instrument on which Mozart excelled. These later compositions include six completed piano trios, two piano quartets, and a work that Mozart himself considered his best: a quintet for piano, oboe, clarinet, bassoon and French horn, K. 452.

Mozart added considerably to the repertoire of sonatas for violin and piano, writing his first between the ages of six and eight, and his last in 1788, making up a total of some 30 compositions. On the whole, the later sonatas intended for professional players of a high order have more to offer than the sonatas written for pupils or amateurs, although there is fine music, for example, in the set of six sonatas written during the composer’s journey to Mannheim and Paris in 1777 and 1778.

Piano Music

Mozart’s sonatas for the fortepiano cover a period from 1766 to 1791, with a significant number of mature sonatas written during the years in Vienna. The sonatas include much fine music, ranging from the slighter C major Sonata for beginners, K. 545, to the superb and more technically challenging B flat Sonata, K. 570. In addition to his sonatas he wrote a number of sets of variations, while his ephemeral improvisations in similar form are inevitably lost to us. The published works include operatic variations as well as a set of variations on the theme Ah, vous dirai-je, maman, known in English as ‘Twinkle, Twinkle, Little Star’.

Organ Music

There is very little organ music by Mozart or, indeed, by other great composers of the period, although organ improvisation was an art generally practised, then as now. Mozart’s organ music includes a few compositions for mechanical organ, one improvisation (transcribed from memory by a priest who heard most of it), and a number of smaller compositions perhaps intended for organ but written in childhood. Mozart’s last appointment in Salzburg was as court organist, and there are significant organ parts in some of the church sonatas he wrote during that brief period, in 1779 and 1780.