Let's talk about the defects. Neither the theme, a little hesitant, nor the first variation, quite steep, are really good sign. I do not particularly like either Variation IX, without mystery. Very good things have already begun, however, especially with the charm of the variation V and the misty landscape of change VI. Variations X and XI are well perceiving the virtues of this interpretation: the rhapsodic and whimsical character that is given to certain episodes (X) and touch, exceptional for its refinement (XI). XIII variation Largamente my non piu, has the character it takes "evening in Budapest." From the XVI variation, taken at speed and capricious desire, Arrau manages all changes XVII done all hear what the two hands, much better than usual. Variation XIX is ceremonious without excess, answers the twentieth sixth and thirteenth (this is also that great art: to perceive connections), and you can see how from the Change XXIII wave begins to swell (XXIV ) then overflows (XXV). The fugue is played with elegance and subjectively, it has here nothing archaic and Arrau reserves the great organ for the coda. It is otherwise perfect, at least stately. On the whole route, you might prefer the wonderful flexibility of Egon Petri (Naxos) and Solomon (Testament), or the passionate blueprint offered by Serkin (Sony), but it's probably a matter of taste.
The changes are not plagées, which does not help the listener to understand what he means.
If my purpose is not to account for all the recordings of Brahms piano Arrau, I would point out in this case the Paganini Variations, the first book, in particular, is really a beauty. This is even more impressive than the most impressive (Michelangeli). The Ballades, Op. 10 are also very beautiful. For Concerto No. 1, I suggest to look at the concert with Kubelik Orfeo.