Claudio Arrau - Mozart: Piano Sonata No. 7 in C major, K. 309 / 284b. Rec. 1986

00:00 - I. Allegro con spirito
09:18 - II. Andante un poco adagio
17:01 - III. Rondo (allegretto grazioso)

Recorded: 1986 March. Switzerland.
Claudio Arrau León (1903–1991)

Philips Classics – 475 294-2
https://www.discogs.com/ru/release/9752962...

https://www.amazon.com/Mozart-Sonatas-Rond...
Amazon Customer
Reviewed in the United States on April 13, 2016
This set can either be rated 6 stars (unique, in a class of its own), or 1 star (intolerable). Claudio Arrau was a unique artist who had strong views as well as deep understanding of the pieces he played. Other reviewers have pointed out the slow tempi, the details and the seriousness of these interpretations of Mozart. My own view is that he has turned every Mozart piano sonata into a great masterpiece. If you like late Beethoven, and lament that there are only about five late piano sonatas, then this set is for you. Every note is treated as coming from heaven. In Arrau's readings, these piano sonatas are not pleasant, nice, care-free little sonatas. Although they are easy enough to be played by kids and amateurs, they look simple because of the technical limitations of the fortepiano. Complex chords were ugly because the notes went out of tune. Mozart therefore had to use a simple language, but the thoughts were as deep as his operas and concerti. For Arrau, Mozart typical game plan for the sonata is to have a first movement that sets up conflict and turmoil, a long central slow movement that slowly resolves the tension and brings serenity, and a relaxed final movement when the mind (or soul) is healed. In terms of tempo, instead of the conventional quick, slow and very quick for the three movements, we have deliberate, calm and relaxed. Many of the slow movements in Mozart's piano sonatas are long (even if you deliberately play it fast without repeats) in relation to the outer movements. This is a clear indication that Mozart regarded these slow movements as the crux of the work. In this respect, Arrau almost made these sonatas sound like a piano reduction of Bruckner, except that Mozart was precise where Bruckner could be clumsy. The slow movements that seem to be eternal, and the unsteady first movements, noted by some reviewers, are part and parcel of Arrau's reading. Rather than a decline in technique, they show that Arrau, with one foot in the grave, had his hands on heaven, All in all, a supremely intellectual view of Mozart that can't be equalled.