Rubinstein Collection, Vol. 40 [Box set]

Editorial Reviews
Amazon.com
Szeryng and Rubinstein are splendid partners in these Beethoven Violin Sonatas recorded in 1958 and 1961. Szeryng's handsome, varied tone, with its quick vibrato, was a fine foil for Rubinstein's equally varied keyboard touch and mastery of color. And with an outsized personality like Rubinstein at the piano, the instruments are true equals. Both artists often left the impression of underinterpreting masterpieces, perhaps because they never subordinated main musical lines to local detail. But they never ignored detail, either, as we hear in these sonatas, where numerous little felicities of tonal color and phrasing enliven the music. Best of the trio is the Sonata No.8, played with the requisite force encased in a velvet glove of glorious tone from both artists. The Spring Sonata could be slightly more vernal, but it and the somewhat generalized Kreutzer Sonata will give much pleasure even if they don't quite match the versions by Francescatti and Grumiaux, among others. RCA's transfers are the best these recordings have received, so if you admire these artists (and who doesn't?), don't hesitate. --Dan Davis

Tracks:

Polonaises No.1 in c#, Op.26 No.1
Polonaises No.2 in e flat, Op.26 No.2
Polonaises No.3 in A, Op.40 No.1 'Military'
Polonaises No.4 in c, Op.40 No.2
Polonaises No.5 in f#, Op.44
Polonaises No.66 in A flat, Op.53 'Heroic'
Polonaises Fants in A flat, Op.61
Andante Spianato in E flat, Op.22
Grande Polonaise in E flat, Op.22

Customer Reviews:

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?

Aristocratic Polonaises from Rubinstein.......2001-05-17

Volume 48 of RCA's Complete Arthur Rubinstein collection features the pianist in his final authorized recordings of works he was born to play. Chopin's Polonaises were based upon the aristocratic dance of his beloved Poland--although these works are not, in the strictest sense, meant to be danced to.

Rubinstein made three complete sets of Polonaises. The first version, recorded on 78RPM discs in the 1930s, is indescribable in its elan and brio, but occasionally veers out of control. The second set--in my opinion the best of the three--was recorded in the 1950s and demonstrated Rubinstein to be in far better control, both musically and technically, with most of the vigor of the earlier version. This third version, recorded in Carnegie Hall in 1964, is more autumnal and aristocratic in approach. Rubinstein can certainly turn up the heat when he so desires, but on the whole these performances are far more mellow than in the earlier recordings. In concert, he would become fired-up by the audience's presence, and his playing live more closely resembled the earlier recordings. To hear what Rubinstein was like during "battle-conditions," check out Rubinstein in Moscow (Volume 62) which includes two of Chopin's Polonaises.

The 1964 stereo recording sounded pretty good in its day, and sounds even better now thanks to RCA's splendid remastering. Rubinstein's famous tone is recreated faithfully, with even more dynamic impact than on the earlier issues.

Rubinstein Collection, Vol. 50
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
All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
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Rubinstein Collection, Vol. 46

Rubinstein Collection, Vol. 45

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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:

an exceptional and brilliant MISS!
Brilliant Performance by the Master of Chopin
Chopin's mature Polonaises by Artur Rubinstein
Perfect, flawless...unforgettable
A Rubinstien Specialty

Rubinstein Collection, Vol. 28

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Rubinstein Collection, Vol. 51

ASIN: B000054279
Release Date: 2001-10-09

Tracks:

Polonaise No.1 in c#, Op.26
Polonaise No.2 in e flat, Op.26 No.2
Polonaise No.3 in A, Op.40 No.1 (Military)
Polonaise No.4 in c, Op.40 No.2
Polonaise No.5 in f#, Op.44
Polonaise No.6 in A flat, Op.53
Polonaise-Fant in A flat, Op.61
Andante Spianato & Grande Polonaise in E flat, Op.22
Bonus Track

Customer Reviews:

an exceptional and brilliant MISS!.......2005-04-22

1 star is too much for the price even.bad OLD recording.bad interpretation of the music.definately not definitive.this is in my opinion simpleton's music.go for chopin on naxos.

Brilliant Performance by the Master of Chopin.......2005-04-03

I have heard Chopin's Polonaises performed live by Van Cliburn and recorded by no less than Horowitz, Perahia and Ashkenazy. Nothing I have heard -- no performance I can imagine -- surmounts these readings by Arthur Rubinstein. No, not even his 1964 stereo recording (Volume 48). Do not be discouraged by this mono recording. The sound is clear, brilliant and alive -- and the performance is unsurpassed in technique and passion. From the powerful Op. 40 No.1 in A (Military) and Op. 53 in A-flat (Heroic) to the delicate, moving Polonaise-Fantaisie, Rubinstein demonstrates not only his range and interpretive gifts, but also those of Chopin. The liner notes include an observation made by the poet Heinrich Heine about Chopin in 1838: "Poland has given him a chivalrous mind and its historical sufferings; France lightness, elegance and charm; whereas Germany, romantic depth... [Chopin] is not only a virtuoso but also a poet, capable of laying open the poetry of his soul. He is a poet of sounds and there is nothing to compare with the joy he gives us..." As much could be said had this been Heine's premonition of Arthur Rubinstein. My highest recommendation.

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Perfect, flawless...unforgettable.......2004-03-30

Simply the best and unforgettable performance of Chopin polonaises I have ever heard...

A Rubinstien Specialty.......2003-08-03

Absolutely no one plays a Chopin Polonaise like Arthur Rubinstein. He was at the peak of his career (which was the 1950's and 1960's) when this recording was made.

All of the polonaises are played with fine grace, style, imagination, and intelligence. I especially enjoyed the F sharp minor, Op. 44 and the A flat major, Op. 53. How exciting they are! It's amazing to me, a student, how he can toss those octaves off so fluently.

Tracks:

Piano Concerto No. 1, Op. 11 In E Minor: Allegro maestoso
Piano Concerto No. 1, Op. 11 In E Minor: Romance: Larghetto
Piano Concerto No. 1, Op. 11 In E Minor: Rondo: Vivace
Piano Concerto No. 2, Op. 21 In F Minor: Maestoso
Piano Concerto No. 2, Op. 21 In F Minor: Larghetto
Piano Concerto No. 2, Op. 21 In F Minor: Allegro vivace
Trois nouvelles etudes, Op. Posth.: No. 1 In F Minor
Trois nouvelles etudes, Op. Posth.: No. 2 In A-Flat
Trois nouvelles etudes, Op. Posth.: No. 3 In D-Flat

Customer Reviews:

i must hurl.......2005-05-23

really it's that bad...
for me, naxos is a safe bet of any classical recordings.

Fine Chopin Playing in these Early Stereo Recordings.......2001-01-10

Rubinstein recorded the Chopin Concertos numerous times. This version of Chopin's first Concerto is the most successful of Rubinstein's several versions, partly thanks to the sensitive accompaniment of the New London Symphony Orchestra, conducted by Stanislaw Skrowaczewski. Tempos are well-judged, phrasing is supple and natural, virtuosity is there, but not for its own sake. The sound on the original LP and the first CD issue, was plagued by dropouts at the beginning of the Concerto--these have been smoothed over remarkably, but not entirely eliminated. Balance between orchestra and piano has also been improved. The Second Concerto is somewhat less successful. Here, Rubinstein is partnered by Alfred Wallenstein, his favored accompanist during the 1950s and early 1960s. Wallenstein secures reasonable playing from the Symphony of the Air, then long past its earlier glory as the NBC Symphony Orchestra. Rubinstein's playing is fine, but the overall enjoyment of the performance is hampered by the sonic picture, which remains synthetic and dryish--despite the best efforts of the remastering team. Purists should be warned that, at Rubinstein's insistence, the violins do not play "con legno" as Chopin indicated.
The Three New Etudes, recorded in 1962, are similar to--if less fleet fingered than--Rubinstein's earlier stereo version from 1958.

Average customer rating:

Szeryng's Debut Recordings
Superb Beethoven from Rubinstein and Szeryng

Rubinstein Collection, Vol. 40

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000031WBR
Release Date: 2001-01-09

Tracks:

Son No.5 in F, Op.24 'Spring': Allegro
Son No.5 in F, Op.24 'Spring': Adagio Molto Espressivo
Son No.5 in F, Op.24 'Spring': Scherzo: Allegro Molto
Son No.5 in F, Op.24 'Spring': Rondo: Allegro Ma Non Troppo
Son No.8 in G, Op.30 No.3: Allegro Assai
Son No.8 in G, Op.30 No.3: Tempo Di Minuetto
Son No.8 in G, Op.30 No.3: Allegro Vivace
Son No.9 in A, Op.47 'Kreutzer': Adagio Sostenuto - Presto - Adagio
Son No.9 in A, Op.47 'Kreutzer': Andante Con Variazioni
Son No.9 in A, Op.47 'Kreutzer': Finale: Presto

Amazon.com

Szeryng and Rubinstein are splendid partners in these Beethoven Violin Sonatas recorded in 1958 and 1961. Szeryng's handsome, varied tone, with its quick vibrato, was a fine foil for Rubinstein's equally varied keyboard touch and mastery of color. And with an outsized personality like Rubinstein at the piano, the instruments are true equals. Both artists often left the impression of underinterpreting masterpieces, perhaps because they never subordinated main musical lines to local detail. But they never ignored detail, either, as we hear in these sonatas, where numerous little felicities of tonal color and phrasing enliven the music. Best of the trio is the Sonata No.8, played with the requisite force encased in a velvet glove of glorious tone from both artists. The Spring Sonata could be slightly more vernal, but it and the somewhat generalized Kreutzer Sonata will give much pleasure even if they don't quite match the versions by Francescatti and Grumiaux, among others. RCA's transfers are the best these recordings have received, so if you admire these artists (and who doesn't?), don't hesitate. --Dan Davis

Customer Reviews:

Szeryng's Debut Recordings.......2002-03-19

Henryk Szeryng was one of the greatest violinists of the 20th century. But his budding career was interupted by WW II and for several years after that war he disappeared from the international concert scene and instead taught violin in Mexico City. Fortunately, he was discovered there by Rubinstein during one of his concert tours. After hearing Szeryng play, Rubinstein pronounced him to be one of the greatest violinists in the world (a highly accurate assessment) and arranged with RCA to record this set of sonatas to enable Szeryng to gain the exposure he so richly deserved. Quite frankly I have never been an ardent fan of Rubibstein's playing, but I am deeply grateful to him for having rescued this great violinist from undeserved obscurity. Apart from serving as Szeryng's recording debut on a major label, these performances are outstanding. On these performances, I am a Rubinstein fan; the collaboration between Szeryng and Rubinstein is almost intuitive and quite wonderful to hear. No matter what other recordings you may have of these sonatas, please treat yourself to these.

Superb Beethoven from Rubinstein and Szeryng.......2001-01-22

Arthur Rubinstein received his early training in a manner totally foreign to today's young students. His early teachers were Joseph Joachim (a close friend of Johannes Brahms) and Heinrich Barth. He was permitted by his teachers to give only occasional perfomances, required to attend numerous concerts, and played through the chamber repertoire with his fellow pupils. This is in contrast to the current generation which is consigned to the practice rooms of crowded conservatories (virtuoso factories, really) and bred to win competitions, often at the expense of true musical developement. As a result, Rubinstein was able to make the crossover between stunning virtuoso performances, and more intimate chamber music appearances.

Henryk Szeryng first performed with Rubinstein in the 1950s. Immediately, their musical chemistry evolved into friendship, and it is this atmosphere which suffuses all of their recorded performances. There is a give-and-take in these performances which recalls the great chamber music recordings by Kreisler and Rachmaninoff. One never gets the sense that Rubinstein and Szeryng are trying "one-up" each other, yet there is a greater virtuosity than one usually hears in these pieces. A special highlight is the Scherzo movement of the "Spring" Sonata, where Rubinstein and Szeryng handle the tricky syncopation with infectious aplomb.

Tracks:

Son in A: Allegro Bene Moderato - Arthur Rubinstein/Jascha Heifetz
Son in A: Allegro - Arthur Rubinstein/Jascha Heifetz
Son in A: Recitativo - Fantasia - Arthur Rubinstein/Jascha Heifetz
Son in A: Allegro Poco Mosso - Arthur Rubinstein/Jascha Heifetz
Nocturne No.3 in A flat, Op.33
3 Movts Perpetuels
Napoli Ste: Barcarolle
Napoli Ste: Nocturne
Napoli Ste: Caprice Italienne
Cordoba, Op.232 No.4
Sevillanas (Ste Espanola No.3)
Evocacion (Iberia No.1)
Triana (Iberia, No.6)
Navarra

Customer Reviews:

For a collector of Franck's Sonata in A - this is a Must Hav.......2003-01-28

This version w Rubinstein and Heifetz is absolutely beautiful, it brings one to tears. I have an LP of the Ax/Perlman version and a CD of the version by Licad/Sonnenberg. I heard the LaBeque sisters have a version for 2 pianos and I think there's one for violin & viola. I'm looking, I'm looking - for now let me wallow in this one! Bliss immeasurable!!!! - Evic846

2/3 of the Million Dollar Trio.......2001-03-13

One of the most remarkable facets of Arthur Rubinstein's musicianship was his ability to work with nearly anybody. Nowhere is this more evident than in his recordings with Jascha Heifetz. The pianist and violinist reportedly disliked each other--Rubinstein issues scorching criticism of Heifetz as a musician and as a human being in his autobiography, My Many Years--yet they obtained excellent results in their recordings together. (In performances with the cellist Gregor Piatigorsky, they were sometimes referred to as The Million Dollar Trio--a moniker Rubinstein regarded with contempt.)

Their version Franck Sonata has been a classic of the gramophone since it was issued in 1937. There is an element of competitiveness here, yet also underlying agreement as to the nature of the music. Heifetz' technical control is, of course, astonishing, but so is his phrasing and nuance.

Rubinstein knew Poulenc and ALbeniz personally--and his playing is appropriately authoritative. This 1938 performance of Poulenc's Mouvements perpetuels makes for fascinating comparison with his 1963 version. There is remarkably little change in phrasing between the two recordings, but tempos in the earlier version are noticably brisker. Did Rubinstein rush the piece to fit it onto one 78-RPM side? The performance of Poulenc's Napoli Suite is from 1947--the piece appeared in Rubinstein's repertoire only infrequently and this is his only recording of it.

Rubinstein became a specialist in Spanish music after he first fell in love with that country while on tour there in 1915. The performances here of Albeniz' music sparkle and remain a joy to hear. Cordoba and Navarra (the latter a frequent Rubinstein encore) are stunning examples of Rubinstein's early devil-may-care virtuosity.

Tracks:

Nocturne in b flat, Op.9, No.1
Nocturne in E flat, Op.9, No.2
Nocturne in B, Op.9, No.3
Nocturne in F, Op.15, No.1
Nocturne in F#, Op.15, No.2
Nocturne in g, Op.15, No.3
Nocturne in c#, Op.27, No.1
Nocturne in D flat, Op.27, No.2
Nocturne in B, Op.32, No.1
Nocturne in A flat, Op.32, No.2
Nocturne in g, Op.37, No.1
Nocturne in G, Op.37, No.2
Nocturne in c, Op.48, No.1
Nocturne in f#, Op.48, No.2

Tracks:

Nocturne in f, Op.55, No.1
Nocturne in E flat, Op.55, No.2
Nocturne in B, Op.62, No.1
Nocturne in E, Op.62, No.2
Nocturne in e, Op.72, No.1 (Posth.)
Scherzo in b, No.1, Op.20
Scherzo in b flat, No.2, Op.31
Scherzo in c#, No.3, Op.39
Scherzo in E, No.4, Op.54
Trois Nouvelles Etudes, Op. Posth.: No.1 in f
Trois Nouvelles Etudes, Op. Posth.: No.2 in A flat
Trois Nouvelles Etudes, Op. Posth.: No.3 in D flat
Fant-Impromptu in c#, Op.66

Customer Reviews:

The Transcendental Rubinstein.......2001-12-23

Although I have just barely started my career as a musicologist, I do have some words to say about Rubinstein's vol. 26. Surpassing Kissin renditions of Chopin's nocturnes, Rubinstein obtains moments of claritative expressiveness that trancends all forms of idiosyncratic critiques and allows listeners to enjoy it's refreshing sound: pure sentimental enjoyment. By juxtaposing Rubinstein's with Horowitz definitive perceptions about who understood Chopin's motives will never be posited, but it is for certain that if a person is interested in Chopin's nocturnes they must buy both to settle this question to their satisfaction.

Restless Nocturnes and Furious Scherzos.......2001-09-16

It probably never occurred to Arthur Rubinstein that all of his recordings would eventually be re-released, available in a gargantuan complete edition, and that enthusiasts would compare and debate the merits of various performances.

Rubinstein made three traversals of the complete Nocturnes (well, mostly complete, except for some juvenile pieces which the pianist ignored). This, the second set, was made for long playing records in 1949-50 and was intended to replace the 78RPM set made in 1936-37. I find this later set curiously unsatisfying. It has neither the seductiveness of the 1930s Nocturnes, nor the sober gravitas of the 1965 stereo remake. There are moments of restlessness here, some technical problems(the trills in Op. 62, No. 1 are thoroughly messed-up), and even some misinterpretations of the text (there is a serious mis-interpretation of the ending of Op. 32, No. 1). Although Rubinstein was the 20th Century's most important Chopin interpreter, he didn't play many of the works in public, and I have the sneaking suspicion that many of the pieces in this collection are being sight-read.

Rubinstein is more successful in the Scherzos. Again this is the second of three complete sets. This version, from 1949, is more stable technically than the rather wild 1932 set, and more dazzling than the 1959 stereo remake. Although each set has its merits, on most levels this is the most successful of the three.

Although Rubinstein never made a complete version of Chopin's Etudes (an attempt at these works was abandoned after one session) he did make two recordings of the Trois Nouvelles Etudes. This first version, from 1958, was one of his first stereo solo recordings, and is somewhat more fleet fingered and lively that the 1962 remake.

Rubinstein's 1964 recording of Chopin's ubiquitous Fantasie-Impromptu (Volume 47) is to be preferred over the earlier version included here. Not only is the recorded sound superior in the later version, but Rubinstein in 1964 performed the piece from a then recently discovered manuscript which is undoubtedly the definitive version.

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:

nevermind the dutchman idiot with the 5 star reviews..
beautiful...
Chopin's mature Polonaises by Artur Rubinstein
Incendiary Chopin from Rubinstein

Rubinstein Collection, Vol. 4

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

Barcarolles | Vocal Non-Opera | Opera & Vocal | 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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Rubinstein Collection, Vol. 6
Rubinstein Collection, Vol. 8
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 45

ASIN: B00004V5X6
Release Date: 2001-07-10

Tracks:

Polonaise No.1 in c#, Op.26, No.1
Polonaise No.2 in e flat, Op.26, No.2
Polonaise No.3 in A, Op.40, No.1 ('Military')
Polonaise No.4 in c, Op.40, No.2
Polonaise No.5 in f#, Op.44
Polonaise No.6 in A flat, Op.53 ('Heroic')
Polonaise-Fant in A flat, Op.61
Andante Spianato & Grande Polonaise in E flat, Op.22: Andante Spianato
Andante Spianato & Grande Polonaise in E flat, Op.22: Grande Polonaise
Barcarolle in F#, Op.60
Berceuse in D flat, Op.57

Customer Reviews:

nevermind the dutchman idiot with the 5 star reviews.........2006-10-13

some people just cannot get their incorrigible genes to synchronize to good taste...as for artistes like rubinstein who cater to this demographic with their awful interpretations of these masterworks,well i suppose every breed of retard needs their hero so arthur has his own special place in the world for them.

beautiful..........2005-06-10

Rubinstein's rendition's of the Bercuese and Barcarolle are so beatiful. They literally bring tears to my eyes at every listen. Best Chopin grand polinaise out there. Get this recording.

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Incendiary Chopin from Rubinstein.......2001-09-02

Volume 4 of RCA's mammoth Rubinstein Collection contains some of the pianist's earliest Chopin recordings, dating from 1928-1935.

The bulk of this CD is devoted to Rubinstein's first of three traversals of the Polonaises. It is interesting to compare this 1934-1935 cycle with the more renowned stereo version from 1964. While the later cycle emphasizes the architectural mastery of each work, the earlier version is more spontaneous. The brio, freedom, and swagger of this earlier version (recorded before the existence of tape editing, and with a healthy dash of wrong notes) simply have to be heard to be believed. True, Rubinstein, like a runaway train, comes dangerously close to running off the rails at times. But the musical rewards the pianist reaps are well worth the technical risks, and the more reflective Polonaises are played with simple, unforced poetry. Rubinstein's innate understanding of the structural underpinnings of Chopin's greatest works comes through in the Polonaise-Fantasie, Op. 61, a notoriously difficult work to hold together.

The Barcarolle, Op 60 was recorded at Rubinstein second recording session, in 1928. This performance is closer in tempo and phrasing to the manner in which Rubinstein played the piece live than his later studio recordings. Indeed, there is an erotic impulse in this version which is largely missing from his 1957 and 1962 remakes.