1
Piano Sonata No. 30 in E major, Op. 109~Vivace ma non troppo, sempre legato - Adagio espressivo
2
Piano Sonata No. 30 in E major, Op. 109~Prestissimo
3
Piano Sonata No. 30 in E major, Op. 109~Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
4
Piano Sonata in B minor, S178~Lento assai - Allegro energico
5
Piano Sonata in B minor, S178~Andante sostenuto
6
Piano Sonata in B minor, S178~Allegro energico
7
Piano Sonata in B minor, S178~Andante sostenuto - Lento assai
8
Piano Sonata No. 3 in F minor, Op. 5~Allegro maestoso
9
Piano Sonata No. 3 in F minor, Op. 5~Andante espressivo
10
Piano Sonata No. 3 in F minor, Op. 5~Scherzo. Allegro energico avec trio
11
Piano Sonata No. 3 in F minor, Op. 5~Intermezzo. Andante molto
12
Piano Sonata No. 3 in F minor, Op. 5~Finale. Allegro moderato ma rubato
13
Piano Sonata No. 13 in E flat major, Op. 27 No. 1 'Quasi una fantasia'~Andante
14
Piano Sonata No. 13 in E flat major, Op. 27 No. 1 'Quasi una fantasia'~Allegro molto e vivace
15
Piano Sonata No. 13 in E flat major, Op. 27 No. 1 'Quasi una fantasia'~Adagio con espressione
16
Piano Sonata No. 13 in E flat major, Op. 27 No. 1 'Quasi una fantasia'~Allegro vivace
17
Études symphoniques, Op. 13~Theme. Andante
18
Études symphoniques, Op. 13~No. 1, Un poco più vivo
19
Études symphoniques, Op. 13~Var. 1
20
Études symphoniques, Op. 13~No. 2, Andante
21
Études symphoniques, Op. 13~No. 3, Vivace
22
Études symphoniques, Op. 13~No. 4, Allegro marcato
23
Études symphoniques, Op. 13~No. 5, Scherzando
24
Études symphoniques, Op. 13~No. 6, Agitato
25
Études symphoniques, Op. 13~Var. 2
26
Études symphoniques, Op. 13~No. 7, Allegro molto
27
Études symphoniques, Op. 13~Var. 3
28
Études symphoniques, Op. 13~Var. 4
29
Études symphoniques, Op. 13~No. 8, Sempre marcatissimo
30
Études symphoniques, Op. 13~Var. 5
31
Études symphoniques, Op. 13~No. 9, Presto possibile
32
Études symphoniques, Op. 13~No. 10, Allegro con energia
33
Études symphoniques, Op. 13~No. 11, Andante espressivo
34
Études symphoniques, Op. 13~No. 12, Allegro brillante
35
Estampes (3)~No. 1, Pagodes
36
Estampes (3)~No. 2, La soirée dans Grenade
37
Estampes (3)~No. 3, Jardins sous la pluie
38
Fantaisie in F Minor, Op. 49, B. 137
39
Années de pèlerinage II, S. 161 "Italie"~No. 7, Après une lecture du Dante. Fantasia quasi sonata
40
Piano Sonata No. 7 in D major, Op. 10 No. 3~Presto
41
Piano Sonata No. 7 in D major, Op. 10 No. 3~Largo e mesto
42
Piano Sonata No. 7 in D major, Op. 10 No. 3~Menuetto. Allegro
43
Piano Sonata No. 7 in D major, Op. 10 No. 3~Rondo. Allegro
44
Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'~Allegro assai
45
Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'~Andante con moto
46
Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'~Allegro ma non troppo - Presto
47
Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'~Das Lebewohl
48
Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'~Abwesenheit
49
Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'~Das Wiedersehen
50
Piano Sonata No. 21 in C major, Op. 53 'Waldstein'~Allegro con brio
51
Piano Sonata No. 21 in C major, Op. 53 'Waldstein'~Introduzione. Adagio molto
52
Piano Sonata No. 21 in C major, Op. 53 'Waldstein'~Rondo. Allegretto moderato - Prestissimo
Item UPC: 5060216347172
Date First Available:
Label: FIRST HAND
ABOUT THE ALBUM
Born in Chile, Claudio Arrau (1903-1991) wasone of the greatest pianists of the 20th century,an artist who was totally serious about his role inlife, a man completely dedicated to the music ofthe great composers who shared his insights andunderstanding of their work with his public.Where other famous pianists play the piano forexcitement, power or display, Arrau plays to probe,to divine, to interpret. Says Arrau, 'An interpretermust give his blood to the work interpreted.' Arrauis definitely not onesided or without spiritualgrandeur. Having won particular fame as a greatBeethoven interpreter, he is no less celebrated forhis Mozart, Schubert, Chopin, Liszt, Schumann,Brahms and Debussy. Among the famed peers ofhis generation, it is a range without equal.Located on the campus of Ambassador College inPasadena, California, the 1262 seat AmbassadorAuditorium was a major West Coast concerthall between 1974 and 1995 presenting around2500 concerts, and attracted the greatestinstrumentalists and orchestras.role in the musical life of our ensemble. It's musicalcomplexity and the depth of expression whichMozart achieves through only three voices areseemingly miraculous: it is one of those pieces whichconstantly rewards rehearsal. One simply never getstired of playing it!When the opportunity to record this masterpiecearose, we were faced with the challenge of whatto play alongside it. Our dear friend Rob Fokkenshad written two short movements for string triowhich seemed to fit beautifully with Mozart's music:Rob's translucent harmonic and rhythmic styleoffers unique expressive possibilities. The chanceto commission the great Julian Joseph was notto be missed, and his work, Bring it!, wonderfullydemonstrates his brilliance and lyricism, and thesubtly of his harmonic language. We sincerely hopeyou enjoy listening to the music on this album asmuch as we loved preparing it!to Islamic Iberia or the Al-Andalusian era of Spainbetween the 8th-15th centuries. Yet the fi rst men? onof Flamenco by name is not un? l 1774, where itappears in an epistolary novel, Cartas Marruecas, bythe playwright and soldier, Jose de Cadalso y Vazquez. In collabora? on with soparno Victoria Couper, kanunplayer, Konstan? nos Glynos, and oud/Flamencoguitarist, Ignacio Lusardi Monteverde, this album seeksto explore this ques? on by tracing the infl uences onFlamenco through Arabic music alongside Sephardicsong and the Spanish composers of the late-16th to18th centuries. What happened in these intervening centuries?
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