Rubinstein Collection, Vol. 61 [Box set]

Editorial Reviews
Amazon.com
It's a shame Rubinstein didn't record more of Mozart's music, for his obvious affinity for the composer shines through these 1958-1960 stereo recordings of five concertos. Rubinstein's Mozart is forthright--he refuses to sentimentalize by swooning over the music's beauties or to indulge in larger-than-life playing that would rupture its classical framework. Even in the famous Andante of the 21st Concerto, his melting legato traces the curve of the melody without excess. Moderation was his byword, so while there are times one could wish for over-the-top risk taking--a more unbuttoned Allegro of the K. 453, a tad more melodrama in the first movement of the K. 466, some extra sizzle in the outer movements of K. 488--what we have is built to last for the long term. These are performances you can't get tired of. There's a general sense of rightness about tempo choices, and everything, from the singing tone to the exquisite phrasing to the perfectly managed transitions, reflects a master pianist playing music he feels deeply. The accompaniments are fine and the transfers significantly improved over past issues. --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
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
Similar Items:

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:

Bueno pero.....
Rubinstein -MOZART
A TRUE MASTER PLAYS MASTERFULLY REMASTERED MOZART CONCERTOS
I don't know everything, but, I know what I like !
Sensational performances, vastly improved sound

Rubinstein Collection, Vol. 61

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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
Similar Items:

Rubinstein Collection, Vol. 58
Rubinstein Collection, Vol. 59
Rubinstein Collection, Vol. 57
Rubinstein Collection, Vol. 51
Rubinstein Collection, Vol. 54

ASIN: B000031WC1
Release Date: 2001-01-09

Tracks:

Allegro
Andante
Allegretto
Allegro
Romance
Allegro Assai
I. Allegro Maestoso

Tracks:

II. Andante
III. Allegro Vivace Assai
Allegro
Adagio
Allegro Assai
Allegro
Larghetto
Allegretto

Amazon.com

It's a shame Rubinstein didn't record more of Mozart's music, for his obvious affinity for the composer shines through these 1958-1960 stereo recordings of five concertos. Rubinstein's Mozart is forthright--he refuses to sentimentalize by swooning over the music's beauties or to indulge in larger-than-life playing that would rupture its classical framework. Even in the famous Andante of the 21st Concerto, his melting legato traces the curve of the melody without excess. Moderation was his byword, so while there are times one could wish for over-the-top risk taking--a more unbuttoned Allegro of the K. 453, a tad more melodrama in the first movement of the K. 466, some extra sizzle in the outer movements of K. 488--what we have is built to last for the long term. These are performances you can't get tired of. There's a general sense of rightness about tempo choices, and everything, from the singing tone to the exquisite phrasing to the perfectly managed transitions, reflects a master pianist playing music he feels deeply. The accompaniments are fine and the transfers significantly improved over past issues. --Dan Davis

Customer Reviews:

Bueno pero............2007-03-10

La interpretacion al piano de Rubinstein es magnifica el problema es la orquesta es bastante mediocre y el sonido es bueno para haberse grabado en los 60's, vale la pena tener este CD.

Rubinstein -MOZART.......2005-10-05

In 2 CD we have 5 MOZART' concertos played perfectly by
Arthur RUBINSTEIN.
Concerto n.24 with the great Josef KRIPS(1958)
Concertos n.17,20,21,23 with Alfred WALLENSTEIN(1961)
I had already these concertos by Rubinstein on 3 ninyls but on
CD,in new remastering,the sound is better.

A TRUE MASTER PLAYS MASTERFULLY REMASTERED MOZART CONCERTOS.......2004-03-08

___________________________________________________________________________________________

This is Mozart the way he was meant to be played. Each of these concertos is a delight to listen to and they keep you coming back for more. It's hard to pick favorites here, although I thoroughly enjoyed K. 467. I sometimes cringe at a pianist's attempt to play his own cadenzas, particularly in a Mozart concerto because the music is so perfect and delicately balanced in the first place - something that can so easily be ruined. This is certainly not the case in this rendition of K. 467. Rubinstein does a magnificent job weaving his own variations among the main body of this sublime work. I was also deeply moved by his performance in the dark central movement of K. 453, simply gorgeous.

Part of what so many reviewers have expressed here concerning their appreciation of Rubinstein's Mozart has to do with the artist's view of and great love for the composer. In a 1962 interview (recounted in the CD Booklet) Rubinstein says, "Mozart and Hayden have just as much emotion in them . . . as any Beethoven had. For me Mozart can express in a few bars more than Beethoven in a whole movement of a sonata. I adore Mozart; he is my great, great, great, deep love. The thing is simply that Mozart was able to put all his heart and soul, his musical talent, his genius, into the forms, into the mold . . . " I share this quote here, not as a put down to Beethoven at all and I'm sure Rubinstein didn't mean it that way either. He made these comments at a time when Beethoven, then as now to a large degree, was preferred by many audiences due to the more bombastic and controversial nature of his work. Mozart's concertos, though bright and beautiful, are just so jam-packed with emotion on a very deep and consistent level.

We're very lucky to have this selection of concertos so lovingly performed by Rubinstein. I can only wish there were more. The remastered quality is excellent. This two CD set is a gem, a real treat that'll keep you coming back again and again.

I don't know everything, but, I know what I like !.......2001-10-14

I listen to a lot of music.
I have dabbled in performance, but, I am not a professional.
With that disclaimer, I feel I must do everything in my power to
promote this exceptional collection of exceptional performances.
I have each and every one of these concertos performed by various pianists.
I won't name names or compare one to another.
I had one that I even particularly liked.
For some reason I am continually returning to these hypnotic
and enthralling performances.
I can't put it into any sort of learned or academic terms.
I am just simply captivated by the graceful force of Rubinstein's playing and the direction and sonority of the orchestras in these recordings.
What else can I say ?
Well, I have quite a few more of these discs from the Rubinstein
collection.
I heartily recommend them to any music enthusiast !
Check out his Villa-Lobos.
Yummylicious!

Sensational performances, vastly improved sound.......2001-03-22

Although you may think of Rubinstein primarily as a Chopin interpreter, where he is unsurpassed, his Mozart can stand up to anyone in terms of tonal beauty and imagination, if not technical perfection. These are all classic performances of four of the very greatest piano concerti ever written, and Rubinstein puts his individual stamp on each of them, well worth listening to even if you already have a favorite recording (such as, in my case, Perahia). The great thing about this new release is that the sound quality is DRAMATICALLY improved and you would scarcely know that these are recordings from the late 50s and early 60s.

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

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
Similar Items:

Rubinstein Collection, Vol. 45
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 27
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
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.

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.