Rubinstein Collection, Vol. 45 [Box set]

Editorial Reviews
Amazon.com
Rubinstein's is not the only way to play Chopin. Ignaz Friedman, Cortot, Horowitz, Wild, Cherkassky, and others have given us Chopin performances of incredible artistry and individuality, but Rubinstein's more objective interpretive stance set the model for succeeding generations of Chopin players. This welcome reissue from RCA's monster set of the pianist's complete recordings helps explain why his Chopin is still revered. The 1959 version of the Ballades is memorable thanks to his big, bronze tone, subtle rubato, and ability to make the keyboard sing like a great operatic diva. The great G minor Ballade illustrates Rubinstein's way with the music--the pregnant pauses in the introduction never overdone, the tenuous theme sung with quiet exactitude, the bold passages played with waves of sound that are never harsh or disproportionate, the whole coming off like a story told by a master narrator. The directness of Rubinstein's playing also suits the Scherzos, bravura pieces that the pianist recorded three times in his career. This 1959 stereo recording may miss some of the impetuosity of the earlier versions, but its stronger structural sense and subtlety make it compelling. Sonics are much improved over previous releases. --Dan Davis

Tracks:

Waltz in E flat, Op.18: Grande Valse Brillante
Waltz in A flat, Op.34 No.I: Valse Brillante
Waltz in a, Op.34 No.2: Valse Brillante
Waltz in F, Op.34 No.3: Valse Brillante
Waltz in A flat, Op.34 No.3: Valse Brillante
Waltz in D flat, Op.64 No.I: Minute
Waltz in c#, Op.64 No.2
Waltz in A flat, Op.64 No.3
Waltz in A flat, Op.69 No.I: L'Adieu
Waltz in b, Op.69 No.I
Waltz in G flat, Op.70 No.I
Waltz in f, Op.70 No.2
Waltz in D flat, Op.70 No.3
Waltz in e, Op.posth.
Impromptu No.I in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat
Fant-Impromptu in c#, Op.66
Bolero in A, Op.19

Customer Reviews:

The engaging poetry!.......2006-12-19

One of the maxim exponents of Chopin in the first decades of the Century was undeniably Arthur Rubinstein. He knew to create - if I may - the perfect link between image and the Polish sentiment ; although the pioneer in this sense was Ignaz Jan Paderewski. Lodz was his birthplace and if Chopin was a self exiled in his historical moment., Rubinstein must have taken into account in September 1 1939.

He nourished the last traces of a dying romanticism - as well as Rachmaninov did it - after his forced exile from URSS. His golden sound was far from the tragic approach given by of Alfred Cortot, for instance. He played the piano according the canons of the artist of the Century XIX, expression and sentimentality, hovered by an ardent nationalism that still inflamed the poetic imagination in some corners of the world, specially in the enormous immigrant wave who chose different places in America in order to search a promised land.

His direct phrasing without intellectual or philosophical approaches deserved to him a special name in the Western hemisphere.

He is now part of the keyboard's legend as well as one of the Chopin`s champions.

Still beautiful to me.......2005-11-04

As a piano student during the 1950s and early 1960s, I remember that there were "knock down drag out" arguments between the "pro-Rubinstein" factions and the "anti-Rubinstein" factions of the classical piano performing world. I was made keenly aware of the aforesaid because my piano instructor was a "dye-hard" member of the "anti-Rubinstein" faction. Rebelliously, I purchased all of the Rubinstein recordings that I could get my little untalented hands on including this recording of Chopin's Waltzes. I remember loving them at the time as I still do now that I've restored this recording on CD to my collection.
Rubinstein's performance in this recording really touches my very soul. Upon hearing this recording again, I'm reminded of how much I loved them almost 50 years ago. Whatever one may call his playing (eccentric, sentimental, syrupy, etc.) it certainly has retained its appeal to me--as a young person or now as an older person. (Note: Rubinstein particularly plays the "sad little" waltzes in minor keys exquisitely!)
If you want to hear a master (at least to me) of Chopin playing some wonderful works, buy this disc.

barcode piano for barcode lovers everywhere!.......2005-04-23

i must repeat myself over and over again.STAY AWAY FROM RUBINSTEIN.his playing is just too eccentric its as if he was abducted by aliens and had chopins works downloaded into his brain.what you get is a sort of robotic chemistry with a dire attempt to sound artistic.
these high reviews do baffle me to oblivion.

Artur Rubinstein great recording of Chopinýs Bolero, Waltzes.......2004-01-05

Artur Rubinstein great recording of Chopin's Bolero and 14 Waltzes
By Peter Dietrich, president, Chopin Society of New England

Artur Rubinstein's performance of the fourteen waltzes seems to be among the definitive versions. This stereo recording from a one day session in June of 1963, issued on BMG in the Rubinstein collection volume 47, and the earlier version first issued on LP RCA Victor LM-1892 recorded in December, 1953 and issued on BMG Rubinstein collection volume 29, equals in sound and profound understanding the two great versions by Alexander Brailowsky (1896-1976) recorded in the early fifties on LP for RCA Victor LM-1082 as well as the stereo recording from the early sixties issued on Sony Music SBK 46346 in 1990.

The four recordings are milestones of the classical waltzes. Their interpretations have achieved expert fluidity with grace and elegance of nobility. As Robert Schumann remarked "should be danced at least by countesses." To the above recordings I will add Dinu Lipatti's recording issued by EMI in the Great Recordings of the Century series. My opinion is based on hearing a great number of outstanding as well as good performances through more than fifty years. I will just list several additional names from my collection who have recorded fourteen waltzes: 1) Robert Lortat (1930), 2) Alfred Cortot (1934 and 1943), 3) Edward Kilenyi (1952), 4) Moura Lympany (1959), 5) Witold Malcuzynski (1959), 6) Regina Smendzianka (1959 and 1961), 7) Samson Francois (1964), 8) Stefan Askenase (1964), 9) Adam Harasiewicz (1965), 10) Tamas Vassary (1966); pianists who have recorded nineteen waltzes: 1) Augustin Anievas (1970), 2) Geoges Cziffra (1979), 3) Claudio Arrau (1980 - several of the waltzes are played too slow), 4) Vladimir Ashkenazy (1984), 5) Lidia Grychtolowna (1989), 6) Istvan Szekely (1992), 7) Garrick Ohlsson (1996 - 20 waltzes in this recording) 8) Jerzy Sterczynski (1996 - 23 waltzes, which will be discussed in the future).

The famous Polish poet Kazimierz Wierzynski author of the "Life and Death of Chopin" (1949) makes the following observation. "Chopin's Waltzes have little or nothing in common with the atmosphere of the ballroom. Niecks calls them Tanzdichtungen (dance poems). How does Rubinstein play the Chopin Waltzes? Surely, their worldliness and elegance are particularly suited to this worldly and elegant pianist whose incomparable virtuosity goes hand in hand with his unique feeling for Chopin. Without in the least sentimentalizing Chopin, Rubinstein fully renders his warmth: he is the ideal interpreter of the waltzes in which tenderness is so subtly blended with sparkle, playfulness and deep emotion."

Other Chopin works included in this compilation are the four impromptus recorded in 1964 and the Bolero recorded in 1962. Harvey Sachs, author of Rubinstein's biography published by Grove Press, New York, 1995, wrote the following notes for this compilation: "The 1964 version of the Impromptus, heard here is typical of the beautifully poised, yet deeply poetic Chopin recordings that Rubinstein made in his seventies as a sort of summa of his interpretations of the music of his great compatriot." However, the glory of this compilation is the Bolero in A Major, Op. 19. Until the Rubinstein recording in 1962 when he was almost 75 years old, this work was "obscure" Chopin, almost completely forgotten and recorded very seldom as well as terribly underrated. Despite the obscurity of the work for such a long time, there are several recordings of it in existence. I will list the notable recordings from my collection according to their release:
1) Adam Harasiewicz, Philips (1972); 2) Arnaldo Cohen, Dischi Ricordi, LP (1978); 3) Nikita Magaloff, Philips (1979); 4) Vladimir Ashkenazy, London/Decca (1987); 5) Georges Cziffra, EMI (1987); 6) Nelly Ben-Or, Meridian Records (1989); 7) Idil Biret, Naxos (1993); 8) Garrick Ohlsson, Arabesque, vol. 8 (1997); 9) Emil von Saur (recorded 1940) Arbiter (1998); 10) Anatol Ugorski, Chopin Complete Edition DG, vol. 7 (1999).

All the above recordings, although inspired performances and technically excellent, do not reveal the hidden beauty of the dance, as does Artur Rubinstein in his performance. Mr. Rubinstein unhurried tempos and magical play with the pedal plus his affinity for Spanish music brings this work to interpretative splendid heights unknown until his recording and since. These five star performances are highly recommended for every music lover.

The Great Chopin Master.......2003-07-26

This CD is superb. It shows the best of Rubinstein's Chopin.He did this CD with so much clearness and feeling. Rubinstein ends the CD with the little known Bolero. I reccomend it a lot.

Average customer rating:

What can you expect.
nevermind the flying dutchman reviewer...
A testament to Rubinstein's greatness, and Chopin's
Definitive Chopin? I think not
10 stars !

Rubinstein Collection, Vol. 45

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
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Rubinstein Collection, Vol. 48

ASIN: B00004ZD5B
Release Date: 2001-03-06

Tracks:

Ballade No.1 in g, Op.23
Ballade No.2 in F, Op.38
Ballade No.3 in A flat, Op.47
Ballade No.4 in f, Op.52
Scherzo No.1 in b, Op.20
Scherzo No.2 in b flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54
Tarentelle in A flat, Op.43

Amazon.com

Rubinstein's is not the only way to play Chopin. Ignaz Friedman, Cortot, Horowitz, Wild, Cherkassky, and others have given us Chopin performances of incredible artistry and individuality, but Rubinstein's more objective interpretive stance set the model for succeeding generations of Chopin players. This welcome reissue from RCA's monster set of the pianist's complete recordings helps explain why his Chopin is still revered. The 1959 version of the Ballades is memorable thanks to his big, bronze tone, subtle rubato, and ability to make the keyboard sing like a great operatic diva. The great G minor Ballade illustrates Rubinstein's way with the music--the pregnant pauses in the introduction never overdone, the tenuous theme sung with quiet exactitude, the bold passages played with waves of sound that are never harsh or disproportionate, the whole coming off like a story told by a master narrator. The directness of Rubinstein's playing also suits the Scherzos, bravura pieces that the pianist recorded three times in his career. This 1959 stereo recording may miss some of the impetuosity of the earlier versions, but its stronger structural sense and subtlety make it compelling. Sonics are much improved over previous releases. --Dan Davis

Customer Reviews:

What can you expect........2007-07-05

I bought this CD with the full knowledge of Rubinstein's ability to mesmerize worlds of people with his Chopin. His Ballades and Scherzi are no exception. Some pieces are not to my exact tastes but are very mature interpretations which one should expect from such a maestro of the piano. Great composer, great performer, great music.

nevermind the flying dutchman reviewer..........2006-05-06

...in his words:"This is by far the most transcendental recording of the chopin ballades ever created. Don't pay attention to karan jamal, he's obviously just an ignorant anti-semitic, arrogant idiot. Anyone who would give this recording 1 star knows nothing about music, which is apparent from the way the lone 1 star review was written.">>>>Now thats comedy.That made me laugh my a$$ off...........the only thing transcendental is the cheap air this recording gives off,not to mention the dutchman's transcendental stupidity.I've played classical music all my life from cello&violin to piano.If i know nothing about music it should be strange that within a month of learning piano i started work on liszt's transcendental etudes and am now up to the 5th etude after a year of hard work;and i stand by my 1 star review of this incorrigible recording.And my consolences to the poor chap who believes these are fine recordings;some of us after all are cursed with bad genes.

A testament to Rubinstein's greatness, and Chopin's.......2006-01-24

If someone wished to make a case for Rubinstein's genius not only as a Chopin interpreter, but as a pianist of the first rank, they'd need do little more than offer this one recording as evidence. The control of melodic line, lift, chordal technique, brilliance in ornamentation and fioriture - all of them are at the service of Chopin's conception, but come together with a sound that can only have been made by Rubinstein. Perhaps most moving is the first ballade; the grandeur of the main E major theme has never been brought out so compellingly, and the closing Gm section is nothing short of demonic. I've listened to this recording well over a thousand times, and have explored every other commercially-available recording of the ballades. Nothing quite compares. If I had only one piano record, perhaps even only one record of any kind, to choose for the proverbial desert island, this one would be it.

Definitive Chopin? I think not.......2006-01-03

Initially, I was suckered into buying this CD from a classical music guide that touted this CD as one of Rubinstein's greatest. Fortunately, His Ballade in G minor lives up to the hype. I love how Rubinstein is able to perfectly and naturally balance his phrasings and rubatos without resorting to cheap sentimentality. Unfortunately, its the scherzi that Rubinstein goes downhill. To me, this rendition sounds much too bland and labored. In addition, the third and fourth scherzo has lost much of the impetuosity from his earlier recordings. I know for certain that he was holding back, considering his 1964 chopin recital was much more volatile and exciting than this lethargic recording. If you really want definitive scherzi's, try Richters or Yundi Li's recordings. For the Ballades, try Moravec's or Zimerman's. And by the way, RCA's sonics don't sound that great compared to the Digital CD's of today. Get the improved (and cheaper) SACD version.

10 stars !.......2005-12-25

Chopin's Ballades, Scherzoes and 19 Nocturnes are the pinnacle of classical piano. Rubinstein Collection Vol. 45 and 49 are the reference recordings for these pieces. His interpretation of Ballades is muscular. In contrast, he is as soft as feather in the dreamy Nocturnes.

Average customer rating:

piano for the suburbanite
This would be the greatest exce[pt....
Who Better than to Record the Mazurkas?
Arthur Rubinstein: Chopin's 51 Mazurkas
The unsurpassable Rubinstein

Rubinstein Collection, Vol. 50

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Rubinstein Collection, Vol. 48
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 46
Rubinstein Collection, Vol. 45
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

ASIN: B00004ZD5E
Release Date: 2001-03-06

Tracks:

Mazurka No.1 in f#, Op.6
Mazurka No.2 in c#, Op.6
Mazurka No.3 in E, Op.6
Mazurka No.4 in e flat, Op.6
Mazurka No.1 in B flat, Op.7
Mazurka No.2 in a, Op.7
Mazurka No.3 in f, Op.7
Mazurka No.4 in A flat, Op.7
Mazurka No.5 in C, Op.7
Mazurka No.1 in B flat, Op.17
Mazurka No.2 in e, Op.17
Mazurka No.3 in A flat, Op.17
Mazurka No.4 in a, Op.17
Mazurka No.1 in g, Op.24
Mazurka No.2 in C, Op.24
Mazurka No.3 in A flat, Op.24
Mazurka No.4 in b flat, Op.24
Mazurka No.1 in c, Op.30
Mazurka No.2 in b, Op.30
Mazurka No.3 in D flat, Op.30
Mazurka No.4 in C#, Op.30
Mazurka No.1 in G#, Op.33
Mazurka No.2 in D, Op.33
Mazurka No.3 in C, Op.33
Mazurka No.4 in b, Op.33

Tracks:

Mazurka No.1 in c#, Op.41
Mazurka No.2 in e, Op.41
Mazurka No.3 in B, Op.41
Mazurka No.4 in A flat, Op.41
Mazurka No.1 in G, Op.50
Mazurka No.2 in A flat, Op.50
Mazurka No.3 in C#, Op.50
Mazurka No.1 in B, Op.56
Mazurka No.2 in C, Op.56
Mazurka No.3 in c, Op.56
Mazurka No.1 in a, Op.59
Mazurka No.2 in A flat, Op.59
Mazurka No.3 in f#, Op.59
Mazurka No.1 in B, Op.63
Mazurka No.2 in f, Op.63
Mazurka No.3 in C#, Op.63
Mazurka No.1 in G, Op.67
Mazurka No.2 in g, Op.67
Mazurka No.3 in C, Op.67
Mazurka No.4 in a, Op.67
Mazurka No.1 in C, Op.68
Mazurka No.2 in a, Op.68
Mazurka No.3 in F, Op.68
Mazurka No.4 in f, Op.68
Mazurka 'A'Emile Gaillard' in a
Mazurka 'Notre Temps' in a

Amazon.com

Chopin wrote mazurkas throughout his all-too-brief life, using this Polish dance as the basis for short pieces that encompass a world of harmonic explorations and varied emotions, from the subtly comic to the intensely sad. Rubinstein plays the 51 in the standard canon, skipping the unpublished youthful ones. Of his three recordings of the set, connoisseurs tend to prefer his first, from 1938-1939 (available on RCA, EMI, and Naxos) for their spontaneity. But these 1965-1966 stereo recordings in refreshingly alive transfers can't fail to please most listeners. They're a bit weightier than the early ones, but the added depth and Rubinstein's characterization of each piece yield big dividends. In the great C sharp minor Mazurka, Op. 50, No. 3, for example, he plays the beautiful opening theme with disarming simplicity that invests it with mournful regret, manages the transitions to bolder statements flawlessly, and turns a charming dance into a dramatic tone poem that says in five minutes what some composers need a full symphony to say. That miracle is repeated often in this set, as Rubinstein appears at first to be underplaying a piece until you realize the sophistication of his carefully modulated dynamics, gentle rubato, and varied tone. His was an outward simplicity that hid complex art. Throughout, he plays with a wonderful, singing tone, rhythmic life, and an aristocratic authority few have matched. --Dan Davis

Customer Reviews:

piano for the suburbanite.......2005-04-23

nothing artistic here.
plays like a student.
pass it up...

This would be the greatest exce[pt...........2002-01-08

This would be the greatest of all Rubinstein Chopin recordings except...there are the Polonaises (Volumte 28!), and the Nocturnes (Volume 46!). Count this one tied for 3rd, with the Ballades, the Waltzes, the.... Hey, wait -- you might as well get them all.

My only problem with this recording is that the repeat button on my CD player isn't working. I listen to one and say, "That's gotta be the best Rubinstein/Chopin Mazurka there could possibly be," but no sooner than I think that, that another one comes on, EVEN BETTER.

Okay, I have my fav. The great B Minor Opus 33 Number 4. This is mid-period Chopin at his finest, and Rubinstein at his finest, and we are privileged to be alive so that we can rehear it.

Who Better than to Record the Mazurkas?.......2001-12-01

Chopin. Rubinstein. Mazurkas. Perfection. The impeccable Rubinstein rubato shines most when he plays the works which invite overindulgence, like the dance forms, or the easily sentimentalized nocturnes. Especially in these mazurkas where his rhythmic restraint is admirable. These recordings are quirky yet authoritative enough to make me wonder whether only a fellow Pole can play Chopin with such multifariousness (16 letters!) of movement within the staff. I've heard other recordings of the mazurkas, mainly Ashkenazy (boring... where's the life?) and individual performance pieces in compiliations, but none sparkle like the way Rubinstein makes them sparkle. Sublime.

Arthur Rubinstein: Chopin's 51 Mazurkas.......2001-04-07

Fabulous! Polish music at its best!

The unsurpassable Rubinstein.......2001-03-29

While his recordings of other composers is somewhat uneven, Rubinstein is the absolute master of Chopin. Noone else captures the beauty, nuance, depth, poetry, and feel of his music in quite the same way, and the Mazurkas (which by the way sound wonderful in their new remastering) are no exception. Even the very familiar ones sound fresh in Rubinstein's hands, and whether you listen to these a few at a time (as I usually do) or straight through, I highly recommend this recording as well as the other reissues in this series.

Average customer rating:

ignore the 1 stars
Self-recommending Rubinstein Chopin and a listening tip
It's still Ruby
Terrible.
Noisy Source material overwhelms.

Rubinstein Collection, Vol. 16

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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ASIN: B000031WBN
Release Date: 2000-08-08

Tracks:

24 Preludes, Op. 28: No. 1 In C
24 Preludes, Op. 28: No. 2 In A Minor
24 Preludes, Op. 28: No. 3 In G
24 Preludes, Op. 28: No. 4 In E Minor
24 Preludes, Op. 28: No. 5 In D
24 Preludes, Op. 28: No. 6 In B Minor
24 Preludes, Op. 28: No. 7 In A
24 Preludes, Op. 28: No. 8 In F-Sharp Minor
24 Preludes, Op. 28: No. 9 In E
24 Preludes, Op. 28: No. 10 In C-Sharp Minor
24 Preludes, Op. 28: No. 11 In B
24 Preludes, Op. 28: No. 12 In C-Sharp Minor
24 Preludes, Op. 28: No. 13 In F-Sharp
24 Preludes, Op. 28: No. 14 In E-Flat Minor
24 Preludes, Op. 28: No. 15 In D-Flat
24 Preludes, Op. 28: No. 16 In B-Flat Minor
24 Preludes, Op. 28: No. 17 In A-Flat
24 Preludes, Op. 28: No. 18 In F Minor
24 Preludes, Op. 28: No. 19 In E-Flat
24 Preludes, Op. 28: No. 20 In C Minor
24 Preludes, Op. 28: No. 21 In B-Flat
24 Preludes, Op. 28: No. 22 In G Minor
24 Preludes, Op. 28: No. 23 In F
24 Preludes, Op. 28: No. 24 In D Minor
Berceuse, Op. 57 In D-Flat
Barcarolle, Op. 60 In F-Sharp
Piano Sonata No. 2, Op. 35 ('Funeral March') In B-Flat Minor: Grave - Doppio movimento
Piano Sonata No. 2, Op. 35 ('Funeral March') In B-Flat Minor: Scherzo
Piano Sonata No. 2, Op. 35 ('Funeral March') In B-Flat Minor: Marche funebre: Lento
Piano Sonata No. 2, Op. 35 ('Funeral March') In B-Flat Minor: Final: Presto
Impromptu No. 3, Op. 51In G-Flat

Amazon.com

Artur Rubinstein was a Chopin specialist and recorded the composer's work often throughout his very long career. But he only recorded the complete 24 Preludes once, in 1946, and that is the recording we have here. (All the other material on the CD was recorded the same year, albeit at different times.) The Preludes are wonderful little works, none longer than four and a half minutes. Rubinstein is particularly masterful in the popular Nos. 19 and 20, which can sound too familiar; he makes us hear them anew. I also wouldn't want to be without the fiery No. 8 or the elegant No. 11, and elsewhere there are fine details to be found as well. As for the other works, the big Sonata, op. 35, is a gem, with its oft-heard but always gripping Funeral March and its overt theatricality, which Rubinstein takes full advantage of. He may have added more depth (and the sound is certainly fuller-bodied and clearer) in his later recordings, but his energy and brilliant technique were never better than they are here. --Robert Levine

Customer Reviews:

ignore the 1 stars.......2004-04-05

apparently the people who voted one stars don't know jack about historical recordings... this recording sounds how it's supposed to sound: 1940's but the sound doesn't take away from the good performance given by rubinstein here. my five star is to counter those two one star votes... if we still treasure schnabel's 1930's traversal of beethoven sonatas, there is no reason to ignore this because of sound... sound mavens u can stay away because obviously you do not care about a good performance.

Self-recommending Rubinstein Chopin and a listening tip.......2002-02-25

I waited years for reissues of historic Rubinstein recordings and am grateful for this one especially. It is the only complete set of the Preludes. When I put this disc on I heard the noise, too. But I have been down this road before and suggest one should turn down the treble drastically. Won't that make the sound "muffled"? Not at all. Try it on someone who has never heard the CD before and see if they don't think the recordings sound fine. The remastering is wonderful, but BMG is not tampering too much with the source material as was so often done in the bad old days. You are being shown respect as a record buyer. Try sound tailoring of this special kind on historic recordings when necessary.

It's still Ruby.......2001-09-04

This CD is best suited for Rubinstein's fans; other listeners have no reason to prefer these recordings of the Sonata, the Impromptu, the Berceuse and the Barcarolle to the later stereo versions. The Preludes are a strange case in Ruby's carreer: though being the best performer of Chopin ever, Rubinstein never found the key to the heart of these pieces; anyway, it's still Ruby, and you can feel it in that particular mixture of passion and noblesse that surrounds, for example, n. 6, n. 15 or n. 16, or in the beautiful tone of n. 1 and n. 21. Sound quality is quite bad, but I don't think that's enough for a one-star review, right?

Terrible........2001-08-07

Take this review with a grain of salt, for I am by no means an expert on Chopin interpretation/performance. I also am not quite sure what "digitally remastered" is supposed to mean. But if the CD I bought isn't defective, it has got to be the worst--THE WORST--sounding CD ever produced. Granted, the recordings were made in 1946...but, umm, I thought "digital remastering" was supposed to take care of the incessant "pops" and "hisses" on this recording. I'm not sure how to judge the performance, because in some places I have trouble hearing the piano over the hissing! I've heard 30-year old vinyl that sounds better than this...vinyl, mind you, that WASN'T well taken care of. I say again, IF MY CD WAS WORKING PROPERLY, this recording is terrible. Avoid. [Pollini's performance of the Preludes isn't half bad, and sure sounds better (a 70's-era recording). Try that one instead.]

Noisy Source material overwhelms........2001-01-21

The folks at RCA put this on the market despite many technical flaws. Perhaps the original source material from the 40s had lots of back ground noise (record hiss and pop and crackle) so I should not be surprised, however the back ground noise on this CD is really distracting. I have some RCA LPs having the same performer and music and they play better than this CD.

Don't spend the money. RCA probably wanted to bring these Rubinstein recordings out to add to their Rubinstein ouvre. But

Tracks:

Mazurka No.I in f#, Op.6
Mazurka No.2 in c#, Op.6
Mazurka No.3 in E,Op.6
Mazurka No.4 in e flat, Op.6
Mazurka No.I in B flat, Op.7
Mazurka No.2 in a, Op.7
Mazurka No.3 in f, Op.7
Mazurka No.4 in A flat, Op.7
Mazurka No.5 in C, Op.7
Mazurka No.I in B flat, Op.17
Mazurka No.2 in e, Op.17
Mazurka No.3 in A flat, Op.17
Mazurka No.4 in a,Op.17
Mazurka No.I in g, Op.24
Mazurka No.2 in C, Op.24
Mazurka No.3 in A flat, Op.24
Mazurka No.4 in b flat, Op.24
Mazurka No.I in c, Op.30
Mazurka No.2 in b, Op.30
Mazurka No.3 in D flat, Op.30
Mazurka No.4 in c#, Op.30
Mazruka No.I in g#, Op.33
Mazurka No.2 in D, Op.33
Mazurka No.3 in C, Op.33
Mazurka No.4 in b,Op.33
Mazurka No.I in c#, Op.41
Mazurka No.2 in e, Op.41
Mazurka No.3 in B, Op.41
Mazurka No.4 in A flat, Op.41

Tracks:

Mazurka No.I in G, Op.50
Mazurka No.2 in A flat, Op.50
Mazurka No.3 in c#, Op.50
Mazurka No.I in B, Op.56
Mazurka No.2 in C, Op.56
Mazurka No.3 in c, Op.56
Mazurka No.I in a, Op.59
Mazurka No.2 in A flat, Op.59
Mazurka No.3 in f#, Op.59
Mazurka No.I in B, Op.63
Mazurka No.2 in B, Op.63
Mazurka No.3 in c#, Op.63
Mazurka No.I in G, Op.67
Mazurka No.2 in g, Op.67
Mazurka No.3 in C, Op.67
Mazurka No.4 in a, Op.67
Mazurka No.I in C, Op.68
Mazurka No.2 in a, Op.68
Mazurka No.3 in F, Op.68
Mazurka No.4 in f, Op.68
Mazurka 'A Emile Gaillard' in a
Mazurka 'Notre Temps' in a
Impromptu No.1 in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat, Op.51
Fant - Impromptu in c#, Op.66

Customer Reviews:

Better, on balance, than Rubinstein's stereo version........2001-05-23

Arthur Rubinstein made three recordings of Chopin's 51 Mazurkas, this second set being made in 1952-1953. As with most everything he made multiple recordings of, the three sets of Mazurkas (along with three Mazurkas he recorded separately in 1932) make for fascinating comparisons. There is a gradual metamorphosis from the more exciting, brilliant, and episodic performances of the 1930s toward the more sober, reflective, structurally cohesive approach of the 1960s recordings.

Rubinstein considered the stereo version of the mazurkas (Volume 50) one of the finest recordings he had ever made. But in my opinion, his earlier versions of the mazurkas are superior. In the 1930s set (volume 6), he more effectively captures the "swing" of this Polish peasant dance, where the 1960s version tends to sound metrically stricter. This 1950s version (Volume 27) melds the youthful and mature approaches. Rubinstein also uses a wider tonal pallette in this second set.

There are many valid approaches to these elusive gems. In addition to this set, collectors would do well to aquire the 29 Mazurkas William Kapell recorded before his early death, and the scattered Mazurkas recorded by Horowitz.

Customer Reviews:

Get this especially for Maryla Jonas.......2005-12-08

I heartily agree with Mr. Morrison's previous review and would only add that one of the more obscure pianists on this set, Maryla Jonas, was de Pachmann's successor -- and there is no higher praise.
Vladimir de Pachmann was lauded in the late 19th century for rescuing Chopin from Lisztian virtuosi and restoring him to the charm, intimacy and mystery of the salon (although de Pachmann managed to make his confessional tone carry in the largest halls).
More recently, the salon aspects of Chopin have been disparaged and pianists like Rubinstein were praised for giving us more masculine, literal performances. But Rubinstein, who spent more time training in Berlin with Joachim and his circle than he ever did in Poland, always struck me as being more sympathetic to Brahms than he was to Chopin. Indeed, it took many years and a changing aesthetic for Rubinstein's Chopin to be hailed by the same audiences who considered Toscanini and Heifetz to reign supreme.
Which brings us to Maryla Jonas. She was Polish through and through and somehow, like the Russian de Pachmann, channeled what I sense was Chopin's own capricious, witty, nostalgic and nocturnal poetry.
It speaks well for Rubinstein that, though his compatriot's playing was so different from his own, he helped bring Jonas back to the piano after the broken woman was forced to flee to Brazil to escape the Nazis. Sadly, Maryla Jonas was too ill to build a major carreer and died at just 48.
For more Jonas, including her revelatory Schumann, buy the Pearl issue before it disppears. But this is a fine introduction.

A Treasure Trove of Historic Chopin Performances.......2005-03-25

Collected here on 4 CDs, in Volume 2 of this Andante series, are historic performances of some of Chopin's solo piano works. In Volume 1 were performances of the Waltzes, Impromptus, Scherzos, Andante spianato and Grande polonaise, Ballades, Études, Préludes, the 2nd & 3rd Sonatas, Barcarolle and Berceuse. In Volume 2, CD 1 are the legendary performance of the Op. 10 Études by Edward Kilenyi, plus some single études played by various other great historic artists (including the only student of Chopin to live into the recording era, Francis Planté). On CD 2 are Nocturnes played by such artists as Rubinstein, Paderewski, Sofronitsky, Busoni, Cortot, Lipatti, Maryla Jonas, and Raoul Koszalski. On CD 3 are some Polonaises, most played by Rubinstein, but with single polonaises played by Paderewski, Friedman, Sofronitsky and Jonas. CD 4 is devoted to Mazurkas played by Horowitz, Friedman, Sofronitsky, Kapell and Jonas. Volume 1 was a huge artistic success (although for some strange reason it has not been reviewed here at Amazon.com). The same is true for the present volume. It is hard to imagine any other collection containing so many important historic recordings all in one place. If you are a Chopin lover you will be in heaven.

Not all the performances are necessarily the very best available, one supposes--although the marvelous performances far outnumber those about which one might have some question--but the different pianists give us a view of how Chopin playing may have changed or varied over the years. Musically, from start to finish, this is a very satisfying collection. I've spent literally hours and hours listening and comparing with other Chopin performances I own. I know that I would never want to be without this collection. Add to that the very fine presentation with a hard-bound book that contains essays in three languages, and one has a real winner.

As to individual performances I would want to single out, let me just mention a few. First of all the Kilenyi performances, which I'd heard a few of in the past but never heard at such length, are terrific. Of course, Kilenyi, who recorded the études of Op. 10 in 1937, had made the first really good recording of the set and they were the standard-bearer for years. (Cortot's first recording of them antedated Kilenyi's but they are, to be honest, not nearly as good; he rectified that in later recordings.) While we're talking about the Études I must mention also the two in E major, No. 3, recorded by Paderewski and Brailowsky. The sound, here as in almost all the examples in this set, is marvelous, and both artists caress the keyboard in such a way that this most romantic of all the études is given sumptuous treatment. Busoni's performance of No. 5 in G flat is in not very good sound (an exception) but there are glints of lightning in his playing. Jean-Marie Darré's performance of Étude No. 6 in G sharp minor 'Thirds' is electrifying.

The Nocturnes disc (CD 2) is arranged so that one often gets several performances of a single Nocturne in a row so that one can compared Rubinstein, say, with Paderewski (No. 2) or Sofronitsky with Cortot (No. 4). I was particularly struck with the two (Nos. 19 and 20) by Maryla Jonas, a Polish pianist only vaguely known to me previously. I must hasten to add that these discs do not attempt to give complete traversals of, say, the Nocturnes or Polonaises. These are selected single performances.

CD 3 (the Polonaise disc) starts with performances of six of them by Rubinstein from 1934, among the earliest recordings he made. Not only is the sound marvelous, the playing is supple and echt-Chopin. (I confess that I was weaned on these performances, so they strike a particular chord with me.) Also included, though, is a gangbusters Paderewski performance of the popular A major Polonaise, Op. 40, No. 1 and this then is followed by two performances that are even more striking: Friedman and Sofronitsky in the A flat major, Op. 53 (the one with the horrific left hand octaves). Wow!

The set closes out (CD 4) with two of the greatest ever players of the Mazurkas--Horowitz, who plays eight of them, and Friedman who plays six. But then, and new to me, are performances of ten of them by Vladimir Sofronitsky, recorded in somewhat crude sound but no matter, that blew me away with their rhythmic spring. These are followed by another set very familiar to me, five mazurkas (Nos. 9, 14, 24, 35, and 44) by William Kapell. Simply superb. The disc closes out with four played by Maryla Jonas. She was unknown to me before, but I was won over by her rather airy take on these mazurkas which, for all their delicacy, are so rhythmically alive that one wants to get up and dance.

Hats off to Andante for this wonderful collection of treasurable performances, the excellent sound of the transfers, and for the really classy presentation. First class all round.

Recommended.

4 CDs TT=5hrs 20mins

Scott Morrison

Average customer rating:

Brilliant Performances!
Rubinstein at his zenith
Rubinstein's 1964 Recital in Moscow
Rubinstein Live... Almost

Rubinstein Collection, Vol. 62

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B000031WC2
Release Date: 2000-10-10

Tracks:

Polonaise No. 5, Op. 44 In F-Sharp Minor
Impromptu No. 3, Op. 51 In G-Flat
Nocturne No. 8, Op. 27, No. 2 In D-Flat
Sonata No. 2, Op. 35 'Funeral March' In B-Flat Minor: Grave - Doppio movimento
Sonata No. 2, Op. 35 'Funeral March' In B-Flat Minor: Scherzo
Sonata No. 2, Op. 35 'Funeral March' In B-Flat Minor: Marche funebre: Lento
Sonata No. 2, Op. 35 'Funeral March' In B-Flat Minor: Finale: Presto
Sonata No. 2, Op. 35 'Funeral March' In B-Flat Minor: Barcarolle, Op. 60 In F-Sharp

Tracks:

4 Etudes: No. 4, Op. 10, No. 4 In C-Sharp Minor
4 Etudes: No. 5, Op, 10, No. 5
4 Etudes: No. 13, Op. 25, No. 1 In A-Flat Major
4 Etudes: No. 17, Op. 25, No. 5 In E Minor
Waltz No. 3, Op. 34, No. 2 In A Minor
Polonaise No. 6, Op. 53 In A-Flat Major 'Heroic'
Fantasiestucke, No. 1, Op, 12: Des Abends
Waltz No. 2, Op. 34, No. 1 In A-Flat Major
Preludes, Book II: No. 8: Ondine
Prole do bebe, Book I, No. 7: O Polichinelo

Customer Reviews:

Brilliant Performances!.......2003-08-03

This is just one of those recitals in which you really wish you were there! Rubinstien is in fine form on this two-disc recital performed in Moscow during the 1960's.

He starts off with a few "light" pieces. The Polonaise in F minor (the finest of Chopin's polonaises) is played with such excitement and drive. It sort of makes you want to jump out of your seat! The Impromptu (which is the least familiar of Chopin's impromptus) is played with a nice amount of grace. The last is the rather well known Nocturne in D-Flat Major. He plays this piece with much beauty and delicacy. These three pieces make a very nice introduction.

The Sonata in B-Flat minor is up. Rubinstein is obviously very fired up during this performance. During the Scherzo, the train runs of the tracks a bit, but you will definitely feel his energy. The last movement might give you a bit of the shivers!

Last on this disc we have the Barcarolle, Opus 60. This is one of the great compositions showing Chopin's maturity as a composer. Our pianist gives a very fine execution of this piece.

Disc two opens with four Etudes! A-Flat Major (Opus 25, No. 1), the first, is played quite delicately. Second, we have the G-Flat Major (Opus 10, No. 5) that is known as the "black key" study. It is amazing how he makes the difficult hand rotations sound so free! Third, we have the E minor (Opus 25, No. 5)-another brilliant execution. Finally we come to the Etude in C-Sharp Minor (Opus 10, No. 4). This is such a difficult study for both hands, but he makes it sound effortless.

Well now that the fireworks are over, we can settle in for the Waltz in A Minor. A very nice piece to have after so much excitement this is. Rubinstein plays it well. Next we have the familiar Polonaise in A-Flat Major. I love this piece! He makes it sound very bright and colorful.

Now for the encores! They're fantastic, especially the Waltz and O Polichinelo.

The sound is not the world's greatest, but by far not the worst. If you happen to find this recording somewhere, please buy it. I have had many happy hours of enjoyment with it and certainly hope you do too!

Rubinstein at his zenith.......2001-03-24

The concert from which this recording was taken had its origins in diplomacy, and the "trade" between the east and the west of their great pianists. Here, Rubinstein returned to Moscow, which of all cities has witnessed some of the very greatest pianistic talents, for the first time in over half a century. This undeniable sense of occasion comes over in the recording. It demonstrates how Rubinstein could respond to the exigencies of a great occasion, something his studio legacy only really hints at.

The core of this set is his performance of the Second Sonata, one of the most dramatic ever recorded. At the opening, which sounds the ur-motif, which from which much of the music is generated, Rubinstein makes his intentions clear, playing the music faster in grim black-sounding chords. The first movement is keenly dramatic, arousing the Moscow audience to applaud, a breach of protocol that we can relate to. The scherzo has similar dramatic qualities, relenting only in the middle section. The funeral march chooses an ideal moderate tempo, not as slow as, say, Kissin or Sokolov, not as fast as Cortot. Rubinstein yet builds up a tremendous sense of power in the return from the middle berceuse, anxious, vehement, and foreboding. It is far superior to his studio recording of the work, and is surely amongst the finest of all.

The other big dramatic pieces he chooses -- the fifth and sixth polonaises are charged with the same electricity. The A flat in particular is a miracle, its middle section, in which Liszt heard the hooves of the Polish cavalry, pulsates ferociously in a superb crescendo. Yet Rubinstein's program allows him to show a complete picture of Chopin -- the glorious bel canto lyricism of the Barcarolle is on display, as is the wistful langour of the a minor waltz. To cap this, Rubinstein shows Chopin's grace in a touching performance of the D flat nocturne and his wit in characterisation in the four Etudes (and how often do you find wit in performances of these works?)

The encores are very fine. Rubinstein chooses to play one Chopin waltz and pieces by Debussy, Schumann and Villa-Lobos (the latter in particular is wonderful).

Viewed objectively, the disk is not very good value -- a single disk could have been used for the program and the Chopin encore. But the music-making is so fine that the disk is worth twice the asking price.

Rubinstein's 1964 Recital in Moscow.......2000-11-21

It would be impossible to tell you how astonished I was to hear and re-hear this live recording. Being only 21, I've only heard his recordings that are very beautiful and sometimes a bit too cautious. Hearing this concert, I can believe every word people have told me about Rubinstein "in concert". That his sound was golden, his charisma overwhelming and that he continued to be their favorite. I couldn't see why, when I'd heard the Horowitz live recordings and what-not..

I'm absolutely convinced now of what a Master he was and I feel very fortunate to have heard him and bought this recording.

A critic from Stereophile said it best: "If there's a single evening in which Rubinstein was everything he was and would be, it's this. He simply plays like a god."

BUY THIS RECORDING!!!!!!

Rubinstein Live... Almost.......2000-10-16

This 2 CD set features one of the rare recorded examples of Arthur Rubinstein in live performance. For those only familiar with his studio recordings, these CDs will be something of a revelation. In front of an audience, Rubinstein became infinitely more fired up and abandoned any pretense at note perfect performances. On occasion, he would become so caught up in the moment that he would suffer a memory lapse--which he would skillfully cover up, improvising and finding his way back to the music without batting an eye.

For his 1964 Moscow recital--given in the same hall where Horowitz gave his historic 1986 recital--Rubinstein chose an all Chopin program (except for the encores, which Rubinstein announces in Russian).

The Chopin Sonata, Op. 35 is given a more fiery, powerful performance than in his 1961 studio version. The "Descent into Hell" episode midway throught the first movement is indeed terrifying. Rubinstein ran off the rails during the Scherzo, and RCA has spliced in a portion from Rubinstein's studio recording. (The touching up of "live" recordings is commonplace. But it would have been helpful if RCA had included the untouched Scherzo as an appendix, as it is an excellent example of how Rubinstein could cover up memory lapses.)

The two Chopin Polonaises are played in a splashy manner altogether different than in Rubinstein's more formal 1964 studio versions. They recall his legendary earlier recording from the 1930s.

We also have a rare example here of Rubinstein playing Chopin Etudes. Rubinstein attempted to record a complete set of Etudes in the early 1970s, but abandoned the project after one session. This is a pity, because the brilliance of these live performances indicates it would have been a stunning set--note-perfect or not.

The recorded sound is passable, although it is not listed as such, it sounds like mono to my ears. Recommended for all fans of great piano playing.

Music Review: