fine Bach recordings from Arrau's RCA years By jsa on October 28, 2012 The history of Claudio Arrau's recording of the Bach Goldberg Variations, made in 1942, is worth recounting given that it went unreleased until 1988. Friede Rothe, Arrau's long-time manager, explained the unusual circumstances in the liner notes accompanying this release: "One of the first major works Claudio Arrau recorded for RCA following the Carnegie Hall triumph in February, 1941, that brought him his great American acclaim, was the Bach Goldberg Variations. It was a natural choice. Arrau had won fame as a Bach exponent (he was the first pianist ever to play all the keyboard works, in twelve consecutive recitals in Berlin in 1935), and RCA needed the Variations in the catalog. "But as fate would have it, it was never released. World War II was raging when Wanda Landowska arrived in New York as a refugee. To reestablish the reputation she had gained in America in 1924 and for much-needed funds, she gave a New York concert devoted to the Goldberg Variations. She then wanted to record the work. RCA asked Arrau if he would postpone his Goldberg version in favor of Landowska's on the harpsichord. He readily consented, not only because he admired Landowska's Bach enormously but also because at the time he was beginning to think that Bach's keyboard works really belonged to the harpsichord. "A few years later Arrau signed a long-term contract with his friend Godard Lieberson at CBS; RCA, having the Landowska success on its hands, saw no reason for the release of his recording, so it lay in the archives until now. "Listening to the digitally remastered tape of his version recently, Arrau was happy to hear that even so long ago he had observed the 18th century performance practice in all the variations with the exception of just one, No. XVI, where he plays the 16th notes as written instead of as 32nds as is shown in the 1965 Henle Urtext of the original Bach "Ausgabe." "But more than that, Arrau was proud to hear with what clarity he had managed to bring off the complicated contrapuntal musical fabric of the 11 variations for two keyboards. Here, more often than not, fingers can get so hopelessly entangled on the piano that all expressive needs are forgotten. Throughout, Arrau also plays virtually without pedal, yet achieved all of Bach's sonic requirements: cantabile as well as spirituality without resorting to 19th century piano style or sound. Virtuosity without sewing machine clatter. Illumination without self-indulgence." "'In fact,' says Arrau, 'I now think that Bach on the piano is not so impossible after all.'" It's too bad that Arrau abandoned Bach, as this recording of Goldberg Variations is one of the most perfectly balanced l've heard. As the lead reviewer points out, Arrau avoids the extremes (or blandness) of many others. His Goldberg is completely logical, an approach shared by Charles Rosen whose recording I also like, although Arrau is not at all academic in the way Rosen sometimes is. Underpinning the whole thing is Arrau's ability to project the score as music, never as an intellectual exercise. The three Inventions and Sinfonias are a joy to listen to, and the Chromatic Fantasy and Fugue is terrific too - again, completely logical, sturdy and utterly musical. The Goldberg Variations would benefit from today's more advanced digital remastering techniques (the balance of the material, recorded in 1945, sounds just fine), but in the meantime I wouldn't let that get in the way of acquiring these great Bach recordings.