Editing Claudio Arrau (section)

==Tone and approach to music==
Arrau was an intellectual and a deeply reflective interpreter. He read widely while travelling, and he learned English, Italian, German, and French in addition to his native Spanish. He became familiar with [[Carl Jung|Jung]]'s psychology in his twenties.<ref>Horowitz, J. (1999), ''Arrau on music and performance''. Courier Dover Publications.</ref>

Arrau's attitude toward music was very serious. He preached fidelity to the score, but also the use of imagination. Although he often played with slower and more deliberate tempi from his middle age onward, he had a reputation as a fabulous [[virtuoso]] earlier in his career, a reputation supported by recordings he made at this time, such as [[Mily Balakirev|Balakirev's]] [[Islamey]] and Liszt's [[Grandes études de Paganini|Paganini études]]. However, even late in his career, he often tended to play with less restraint in live concerts than in studio recordings.

Arrau was a man of remarkable fortitude, even towards the end of his life he invariably programmed very large, demanding concerts, including works such as Beethoven's [[Piano Concerto No. 5 (Beethoven)|Emperor Concerto]] and Brahms' [[Piano Concerto No. 1 (Brahms)|Piano Concerto No. 1]].<ref name="NYT"/>