Piano Lessons with Claudio Arrau: A Guide to His Philosophy by Victoria A. von Arx

By Victoria A. von Arx

Piano classes with Claudio Arrau provides an insider's view of the artwork of piano functionality as exemplified by means of one of many nice artists of the 20th century. Chilean pianist Claudio Arrau dedicated his existence to the piano and its song. As a baby prodigy, he received nationwide popularity from executive officers in Chile, together with President Pedro Montt, who funded Arrau's schooling in Germany. Arrau studied in Berlin with Martin Krause, a student of Franz Liszt, and later immigrated to ny urban the place he taught and mentored a huge team of scholars whereas while handling a world acting profession. Arrau's profound musical perception and exact kind of instructing encouraged his scholars and stimulated them to coach his rules to the subsequent iteration of students.

This in-depth examine of Arrau's ideas and philosophy of process and function attracts on info from released interviews with Arrau, from a variety of interviews with Arrau's students, and from the author's adventure in learning piano with of them. Transcripts of exact classes given by way of Arrau and preserved on tape found in his personal phrases an in depth account of his technical and interpretive rules approximately 5 significant works of the piano repertory. References to over 100 examples from Arrau's filmed recordings allow readers to watch the weather of Arrau's famed strategy in motion.

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3 Silverman, “Conversation with Claudio Arrau on Liszt,” 8. 4 Joseph Horowitz, Conversations with Arrau (New York: Knopf, 1982), 38. 10 Liszt also had practiced technical exercises intensively in the development of his own technique, and his continuing interest in technique later in life is evident from two sets of exercises published under his name. 12 These volumes contain many exercises in double notes, perhaps including or at least resembling some of those written out by Krause for Arrau’s use.

And like Liszt, Arrau took no payment from his pupils. Signs of Arrau’s identification with Liszt came from other sources as well. 17 Articles in newspapers and periodicals, especially those written after Arrau reached age seventy, frequently pointed out Arrau’s connection to Liszt. On a video recording of Arrau’s eightieth-birthday recital, the commentator states, “Arrau can claim a direct connection to Liszt. His teacher . . ”18 14 Eleanor Perényi, Liszt: The Artist as Romantic Hero (Boston and Toronto: Little, Brown, 1974), 307.

Though Liszt reportedly opposed the uniformity and regimented drill characteristic of conservatory training,13 he clearly appreciated the value of what he 5 Krause gave Arrau one week to learn three etudes, Mazeppa, Eroica, and Feux Follets, and scolded him when he failed to finish them in time. Horowitz, Conversations, 37. 6 Horowitz, Conversations, 39. See also Mary Weaver, “Interview with Claudio Arrau,” Piano Quarterly (Winter, 1962–63), 19. 7 Alan Walker, Franz Liszt: the Virtuoso Years (New York: Knopf, 1983), 83.

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