ClassicsOnline Home » STRAUSS, R.: Burleske / SCHUMANN: Piano Concerto in A minor / Carnaval (Arrau) (1939-46) > Review List



STRAUSS, R.: Burleske / SCHUMANN: Piano Concerto in A minor / Carnaval (Arrau) (1939-46)

Composer(s):Schumann, RobertStrauss, Richard
Artist(s)
Period(s) 20th CenturyRomantic
Genre Classical Music
Category ConcertosInstrumentalOrchestral
Catalogue 8.111265
Label Naxos Historical
Quality   320kbps
 This album is not available in your country due to licensing restrictions or copyright laws that provide or may provide for terms of protection for sound recordings that differ from the rest of the world.


This third Naxos volume of Claudio Arrau’s recordings from the 1930s and 1940s includes two performances set down in an incredibly short period of time. Richard Strauss’s Burleske was recorded at a morning session on 13th April 1946 at Orchestra Hall in Chicago, followed immediately by Weber’s Konzertstück (Naxos 8.111263). The 1944 recording of Schumann’s Piano Concerto was recorded in one session of one hour and 45 minutes, with the first side of the second movement and both sides of the last movement done in single takes. The 1939 recording of Schumann’s Carnaval is one of Arrau’s finest recordings. A contemporary reviewer stated that, ‘This magnificent recording shows convincingly that Carnaval is one of

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Review By David Denton,Naxos,November 2007

What a horrid jumble at the rushed outset of the Burleske, some timpani tuning would have not gone amiss. The work does not seem Arrau’s scene at all, and though the performance soon settles down as the great Chilean pianist produces some scintillating runs, he seems more happy when he can introduce an unhurried lyrical quality. Uncompetitive in the light of the recent recordings of the work, a fact added to by the poor quality of the orchestral sound that even by 1946 standards is only just tolerable. Musically we are on much more rewarding ground in the Schumann concerto, the recording made in just one session with part of the performance coming from one ‘take’. It is both a joyous and warmly lyrical reading, the end of the finale sounding so vivacious.

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