Artur Rubinstein - The Chopin Collection [Box set]

Editorial Reviews
Amazon.com
This set doesn't include all of Chopin's piano music because Artur Rubinstein didn't record all of it. (The Etudes are the most notable omission.) But it does include the last, and usually best, versions of all the Chopin he did record, along with three earlier versions. Other pianists have had other things to say about Chopin, and it's a mistake to think that any one performer can give you the complete picture of any music. But these performances, for the most part, are as good as we've come to think they are, so at mid-price this 11-disc set is a real bargain for Chopin lovers. --Leslie Gerber

Tracks:

Piano Concerto No. 1 In E minor, Op. 11: Allegro maestoso risoluto
Piano Concerto No. 1 In E minor, Op. 11: Romanze (Larghetto) -
Piano Concerto No. 1 In E minor, Op. 11: Rondo vivace
Piano Concerto No. 2 In F minor, Op. 21: Maestoso
Piano Concerto No. 2 In F minor, Op. 21: Larghetto
Piano Concerto No. 2 In F minor, Op. 21: Allegro vivace
Waltz In C Sharp Minor, Op. 64, No. 2
Nocturne No. 1 In B Flat Minor, Op. 9 No. 1
Nocturne No. 2 In E Flat Major, Op. 9 No. 2
Nocturne No. 3 In B Major, Op. 9 No. 3

Tracks:

Nocturne No. 4 In F Major, Op. 15 No. 1
Nocturne No. 5 In F Sharp Major, Op. 15 No. 2
Nocturne No. 6 In G Minor, Op. 15 No. 3
Nocturne No. 7 In C Sharp Minor, Op. 27 No. 1
Nocturne No. 8 In D Flat Major, Op. 27 No. 2
Nocturne No. 9 In B Major, Op. 32 No. 1
Nocturne No. 10 In A Flat Major, Op. 32 No. 2
Nocturne No. 11 In G Minor, Op. 37 No. 1
Nocturne No. 12 In G Major, Op. 37 No. 2
Nocturne No. 13 In C Minor, Op. 48 No. 1
Nocturne No. 14 In F Sharp Minor, Op. 48 No. 2
Nocturne No. 15 In F Minor, Op. 55 No. 1
Nocturne No. 16 In E Flat Major, Op. 55 No. 2
Nocturne No. 17 In B Major, Op. 62 No. 1
Nocturne No. 18 In E Major, Op. 62 No. 2
Nocturne No. 19 In E Minor, Op. 71 No. 1 (posth.)

Tracks:

Waltz In A-Flat Major, Op. 34, No. 1
Mazurka In F-Sharp Minor, Op. 6, No.1
Mazurka In C-Sharp Minor, Op. 6, No.2
Mazurka In E-Major, Op. 6, No.3
Mazurka In E-Flat Major, Op.6, No.4
Mazurka In B-Flat Major, Op. 7, No. 1
Mazurka In A-Minor, Op. 7, No.2
Mazurka In F-Minor, Op. 7, No. 3
Mazurka In A-Flat Major, Op. 7, No.4
Mazurka In C-Major, Op. 7, No. 5
Mazurka In B-Flat Major, Op. 17, No.1
Mazurka In E-Minor, Op. 17, No. 2
Mazurka In A-Flat Major, Op. 17, No. 3
Mazurka In A-Minor, Op. 17, No. 4
Mazurka In G-Minor, Op. 24, No. 1
Mazurka In C-Major, Op. 24, No. 2
Mazurka In A-Flat Major, Op. 24, No. 3
Mazurka In B-Flat Minor, Op. 24, No. 4
Mazurka In C-Minor, Op. 30, No. 1
Mazurka In B-Minor, Op. 30, No. 2
Mazurka In D-Flat Major, Op. 30, No. 3
Mazurka In C-Sharp Minor, Op. 30, No. 4
Mazurka In G-Sharp Minor, Op. 33, No. 1
Mazurka In D-Major, Op. 33, No. 2
Mazurka In C-Minor, Op. 33, No. 3
Mazurka In B-Minor, Op. 33, No. 4
Mazurka In C-Sharp Minor, Op. 41, No. 1
Mazurka In E-Minor, Op. 41, No. 2
Mazurka In B-Major, Op. 41, No. 3
Mazurka In A-Flat Major, Op. 42, No. 4
Mazurka In G-Major, Op. 50, No. 1
Mazurka In A-Flat Major, Op. 50, No. 2
Mazurka In C-Sharp Minor, Op. 50, No. 3

Tracks:

Mazurka In B-Major, Op. 56, No. 1
Mazurka In C-Major, Op. 56, No. 2
Mazurka In C-Minor, Op. 56, No. 3
Mazurka In A-Minor, Op. 59, No. 1
Mazurka In A-Flat Major, Op. 56, No. 2
Mazurka In F-Sharp Minor, Op. 56, No. 3
Mazurka In B-Major, Op. 63, No. 1
Mazurka In F-Minor, Op. 63, No. 2
Mazurka In C-Sharp minor, Op. 63, No. 3
Mazurka In G-Major, Op. 67, No. 1
Mazurka In G-Minor, Op. 67, No. 2
Mazurka In C-Major, Op. 67, No. 3
Mazurka In A-Minor, Op. 67, No. 4
Mazurka In C-Major, Op. 68, No. 1
Mazurka In A-Minor, Op. 68, No. 2
Mazurka In F-Major, Op. 68, No. 3
Mazurka In F-Monor, Op. 68, No. 4
Mazurka In A-Minor, Op. Posth. (A son ami Emile Gaillard)
Mazurka In A-Minor, Op. posth. (Notre temps)
Scherzi In B-Minor, Op. 20
Scherzi In B-Flat Minor, Op. 31
Scherzi In C-Sharp Minor, Op. 39
Scherzi In E-Major, Op. 54

Tracks:

Barcaolle In F-Sharp Major, Op. 60
Berseuse In D-Flar Major
Polonaise In C-Sharp Major, Op. 26, No. 1
Polonaise In E-Flat Major, Op. 26, No.2
Polonaise In A-Major, Op. 40, No. 1
Polonaise In C-Minor, Op. 40, No. 2
Polonaise In F-Sharp Major, Op. 44
Polonaise In A-Flat Major, Op. 53 (Heroic)
Polonaise In A-Flat Major, Op. 61 (Polonaise-Fantaisie)
Andante splanato & polonaise brillante In E-Flat Major, Op. 22

Customer Reviews:

THE GREATEST OF CHOPIN PIANISTS.......2007-03-01

These are the earlier discs of Rubinstein's Chopin, recorded by HMV in London during the 1930's. It is less complete than his later recordings for RCA - no Sonatas, no Ballades, no Etudes. The sound is naturally of its time - but in many ways more natural than the sharply-lit, slightly edgy piano sound RCA favoured in the 50's and 60's. Nevertheless, these are the Chopin performances I return to most.

Rubinstein's natural affinity with Chopin is legendary. He seemed always able to capture precisely the right degree of rubato at exactly the right moment in these pieces. And he had a unique ability in his countryman's music to balance the lyrical with the impassioned, what seems completely spontaneous with what is clearly deeply considered. The Nocturnes here are, I think, the best you'll hear anywhere on disc. In the greatest of them - the Opp.37 & 48 sets, for example - Rubinstein gets the contrast between the dreamy nocturnal outer sections with the darker, more impassioned central sections just right. These are not salon miniatures in his hands but big works, if not in length then in content. And no-one can match Rubinstein in the elusive diversity of this complete set of Mazurkas. The two Concerti both have Barbirolli as the sympathetic conductor, following Rubinstein's lead in the ebb and flow of phrases and whole sections of these gorgeous and often maligned works. Interestingly the recording of Concerto No.2 (actually the first composed) dates from before the pianist's famous withdrawal from public performance to reconstruct his technique and his approach, that of Concerto No.1 from after. Perhaps one can detect a touch more maturity and refinement in his approach to the latter, but they are both ravishing performances.

Many of the performances on these 5 discs are the greatest Chopin you're likely to hear. And the ear soon adjusts to the somewhat old-fashioned recorded piano sound. This is a highly desirable set for any lover of Chopin and/or great piano playing.

The greatest interpretation.......2007-02-17

The interpretation is stunning. Mono - but no matter for solo piano - and a wee bit hissy but still quite superb.

Not such a great album.......2007-01-12

This album was recorded from records as you can hear the scratches and skips. Don't recommend it!

Love it........2006-06-22

This is my favorite album. I think that not even Rubinstein's later recordings attain this quality of musical involvment.

There is a fair amount of background noise, but the music helps to forget it rather quickly overall.

RECORDING QUALITY IS A FACTOR.......2005-02-10

Otherwise, I would have given 5 stars. The fact that these have a hiss (and you can practically hear him close the piano on several numbers) should be mentioned. I guess we are spoiled to audio quality, but this is an expensive collection and this fact was glaringly omitted. That said, I have enjoyed the recordings, in spite of the very audible hiss.

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Average customer rating:

The engaging poetry!
Still beautiful to me
barcode piano for barcode lovers everywhere!
Artur Rubinstein great recording of Chopinýs Bolero, Waltzes
The Great Chopin Master

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Rubinstein Collection, Vol. 46
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ASIN: B000031WBU
Release Date: 2001-01-09

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

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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:

Chopin's mature Polonaises by Artur Rubinstein
Aristocratic Polonaises from Rubinstein

Rubinstein Collection, Vol. 48

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | 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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ASIN: B00004ZD5D
Release Date: 2001-05-15

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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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.

Artur Rubinstein - The Chopin Collection: The Waltzes

Average customer rating:

They don't play 'em like this any more
Nearly the best

Artur Rubinstein - The Chopin Collection: The Waltzes

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

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Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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The Chopin Collection, The Mazurkas
The Chopin Collection: The Ballades; The Scherzos
Artur Rubinstein - The Chopin Collection: 7 Polonaises
Artur Rubinstein - The Chopin Collection: The Nocturnes
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)

ASIN: B000003ENW
Release Date: 1990-10-25

Tracks:

Op. 18 - In E-Flat ('Grande valse brillante')
Op. 34: No. 1 in A-Flat ('Valse Brillante')
Op. 34: No. 2 In A Minor ('Valse Brillante')
Op. 34: No. 3 In F ('Valse Brillante')
Op. 42: In A-Flat (The 'Two Four' Waltz)
Op. 64: No. 1 In D-Flat ('Minute' Waltz)
Op. 64: No. 2 In C-Sharp Minor
Op. 64: No. 3 In A-Flat
Op. 69: No. 1 In A-Flat ('L'Adieu') (Posth.)
Op. 69: No. 2 In B Minor (Posth.)
Op. 70: No. 1 In G-Flat (Posth.)
Op. 70: No. 2 In F Minor (Posth.)
Op. 70: No. 3 In D-Flat (Posth.)
In E Minor (Posth.)

Amazon.com

You just can't listen to this music without feeling good. These waltzes--aside from containing some of the most famous tunes ever written for the piano--are so lovely, so toe-tappingly appealing, so perennially fresh sounding (even the Minute Waltz) that you won't believe they're more than 150 years old. They sound like they were composed yesterday. A lot of the credit for this belongs to Rubinstein, who plays them with such grace and naturalness that you're hardly even conscious of a human being at the keyboard. The music seems to float effortlessly from Chopin's fertile imagination right into you heart and mind. It's so lovely it's almost embarrassing. --David Hurwitz

Customer Reviews:

They don't play 'em like this any more.......2006-10-31

Barry De Boer's review below is obviously knowledgeable - but I feel he has missed the forest for the trees. Maybe a Juilliard student would be concerned whether Rubinstein is using the Debussy edition here or not. But I certainly don't - and I doubt whether any one else consulting these reviews will either. What they *will* care about, I suspect, is whether the playing will deliver that sense of being transported back to a 19th century salon [where George Sand is flicking her cigar ash in the pianoforte, no doubt] that someone in the market for the Chopin waltzes would be looking for.

The answer is: Oh my goodness, yes. Rubinstein was one of the last survivors of the Golden Age of Pianism, and he brings an aristocratic feel for this music that today's competition technicians - for all their chops and digital sound - can only mime. Dinu Lipatti's performance of these pieces has its cult, and I'll grant it has a genuine youthful charm beneath its dim, boxy recording. But to my mind there's no comparison. This is a mature performance by one of the universally-acknowledged master Chopinists, presented in soft-edged but easy-on-the-ears 50s stereo. You don't need to bother with any of the others.

Nearly the best.......2000-07-21

In the 60's there were two choices for the Watzes, Lipatti and Rubinstein. Learned philosophers, music critics and brain surgeons spent hours debating the relative merits over their coffees. Upstarts came along like Cziffra (good but not good enough,) Ashkenazy (misses the point too often,) Lipatti's last Besancon recital (historically important but not complete and the G-flat was a disaster by his standards,) and the "new" Rubinstein recording reviewed here. Recording quality was much superior, the maestro was in superb technical form (for him) and the clarity and sense of joy were as present as ever, BUT....he had a problem with the key of A-flat major! Not a technical problem, mind. More a willful decision to make it different. Take the little No.9 in A flat, "L'Adieu". Some folks say he is using the Debussy edition, others say he was bored with it and changed it, not dramatically, but just enough to stop it being definitive. Now take the Opus 42 in the same key. The changes here are very dramatic - a consistent error/modification to part of the text and enough to make me use the program buttons on my CD player to leave it out! The rest is magic! A best ever C sharp minor, for example. What a shame, nearly the best - but do listen if you get a chance

Average customer rating:

waste of money
One of Rubinstein's greatest Chopin recordings
Chopin of the First Rank from Rubinstein

Rubinstein Collection, Vol. 46

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Fantasies | 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

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Similar Items:

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
Rubinstein Collection, Vol. 45
Rubinstein Collection, Vol. 48
Rubinstein Collection, Vol. 50
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)

ASIN: B00004ZD5C
Release Date: 2001-05-15

Tracks:

Grave - Doppio Movimento
Scherzo
Marche Funebre: Lento
Finale: Presto
Allegro Maestoso
Scherzo: Molto Vivace
Largo
Presto Ma Non Tanto
Fantasie, Op.49 In F Minor
Barcarolle, Op.60 In F-sharp
Berceuse, Op.57 In D-flat

Customer Reviews:

waste of money.......2005-09-13

it seems poeple buy these rubinstein disks for nostalgia,i certainly cant figure out any other valid reasons they might have.

One of Rubinstein's greatest Chopin recordings.......2005-04-11

This CD, Volume 46, contains Chopin's 2nd and 3rd Piano Sonatas, plus the Fantasy, Op. 49, Barcarolle, Op. 60, and Berceuse, Op. 57.

The performances of the Sonatas are gorgeous, wonderfully poetic. The versions of the Fantasy and Barcarolle are no less fine. This is a must CD for lovers of Chopin, great piano playing and Rubinstein.

Good recorded sound.

Chopin of the First Rank from Rubinstein.......2001-05-17

Volume 46 of RCA's complete Arthur Rubinstein Collection features the pianist in recordings from 1961-62, performing works by Chopin which were staples of his public repertoire.

Rubinstein never recorded Chopin's First Sonata, which was written when the composer was still a teenager. That piece is largely, and justifiably, forgotten. Chopin's Second Sonata, with its famous Funeral March, figured prominently in his repertoire. He first recorded the work in 1946 (Volume 16), a harsh sounding, overdriven performance. The present version dates from 1961 and shows the pianist near his autumnal prime. Rubinstein wisely avoids the first movement repeat, and his tempos are well chosen. This is, on the whole, a rather more mellow reading of this work than one is accustomed to hearing, with a restrained Funeral March. Other fine recordings of this work include Rubinstein's "live" version from Moscow in 1964 (Volume 62, which has a slightly touched-up Scherzo); Horowitz' 1962 recording on Sony; and the mightiest Chopin Sonata of them all, Rachmaninoff's 1935 RCA recording.

Chopin's Third Sonata figured somewhat less prominently in Rubinstein's repertoire, and this is his only recording of the work. Many of the same attributes from the companion Second Sonata are here also: natural sense of phrasing and tempos, understanding of structural relationships, solid technique, and Rubinstein's inimitable gorgeous tone. The pianist avoids the trap of playing the outer movements too quickly, which would underpin their dramatic effect. Collectors of fine Chopin playing on CD would do well to obtain this version, in addition to Kapell's outstanding mono version on RCA.

The Barcarolle, Fantasie, and Berceuse are fine makeweights to a fulfilling Chopin recital.

RCA has done an excellent job of remastering Max Wilcox's fine sounding original tapes. Rubinstein's golden sonority is evident in all its splendor, with an even greater dynamic impact than in the earlier CD versions.

Artur Rubinstein - The Chopin Collection: The Nocturnes
Average customer rating:

Beautiful Nocturnes

Rubinstein Nocturnes

Wonderful

This is the Album that turned me onto Classical Piano

A timeless recording

Artur Rubinstein - The Chopin Collection: The Nocturnes

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music
Nocturnes | Short Forms | Forms & Genres | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
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Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra

Fantasia (60th Anniversary Special Edition)

ASIN: B000003ENY
Release Date: 1990-10-25

Tracks:

Op. 9 - No. 1 In b flat
Op. 9 - No. 2 In E-Flat
Op. 9 - No. 3 In B
Op. 15 - No. 1 In F
Op. 15 - No. 2 In F-Sharp
Op. 15 - No. 3 In g
Op. 27 - No. 1 In c sharp
Op. 27 - No. 2 In D-Flat
Op. 32 - No. 1 In B
Op. 32 - No. 2 In A-Flat

Tracks:

Op. 37 - No. 1 In g
Op. 37 - No. 2 In G
Op. 48 - No. 1 In c
Op. 48 - No. 2 In f sharp
Op. 55 - No. 1 In f
Op. 55 - No. 2 In E-Flat
Op. 62 - No. 1 In B
Op. 62 - No. 2 In E
Op. 72 - No. 1 In e

Amazon.com

Whether you are a musical scholar in search of artistic perfection, or an ordinary soul wanting to create a romantic mood, this complete collection of Chopin's nocturnes delivers. The nocturnes, which by definition are dreamy, pensive compositions, are fully realized by Artur Rubinstein's indescribably delicious interpretation. He captures all the fantastic imagery with crisp, dynamic playing, never once entering the realm of bathos. A must-have for any classical collection worth its weight in G clefs. --Barbara Eisner Bayer

Customer Reviews:

Beautiful Nocturnes.......2006-01-28

This is definitely Rubinstein territory. The pianist is known for his warm melodic phrasing and intelligent use of rubato in these pieces. One of reasons he excells in these pieces is because of the proper right hand-left hand dynamic balancing which can make or break these pieces. The left hand obviously has to be softer, but how much softer? We still need to hear it - Rubinstein has the answer to this. In addition he always plays a mild forte that is more characteristic for these Nocturnes. I also like Moravec's set but this is my favorite. Rubinstein and Chopin go together well. Warm rather than aggressive.

Rubinstein Nocturnes.......2002-03-07

Rubinstein's first set of the complete Chopin Nocturne's recorded in the late 1930s in Europe is outstanding (as with those of the Mazurkas etc.). He was then working hard to compete with great Chopin interpreters performing in Europe. Things change when it comes to his later recording of the Nocturnes in the US for RCA. You would not even recognise that it is the same pianist anymore. He realised that with the US audiences he could get away playing Chopin with much less effort and during the war as pianists from Europe could not travel to the US there was hardly any competition and possibility for comparison. The result is there to compare for anyone interested who can find the older recordings.

As to Idil Biret's Chopin, referred to by one comment, her playing is far above Rubinstein's recordings made in the US but perhaps not equal to his 1930s recording of the Nocturnes. It is strange and interesting, however, that her recordings are mentioned with negative comments here. One wonders why she is being constantly targeted.

Wonderful.......2002-01-25

I should start off by saying I don't have this exact CD, but I do have a CD with Rubinstein playing Chopin's Nocturnes. They Are beautiful. His playing is always tasteful and restrained, yet emotion shines from them. I'll admit I've felt a lump in my throught and water in my eye listening to this recording... but I've got a soft spot for them.
Idil Biret, has 1/4 of the emotion that this has and this recording is played without overt rubato of arrau, but is suble. Very Good. :)

Op.9 No.1 - I never understood the tempo marking for this until I heard Rubinstein do his stuff. Idil Biret's version doesn't compare.

Op.9 No.2 - Not cliche at all!

Op.9 No.3 - shorter than the music I've got for it. I'm not sure why. In my opinion, an improvement. Does anyone know why? was it just Rubinsteins preference?

.... The rest are beautiful too, but I've run out of time. Please get a recording.

This is the Album that turned me onto Classical Piano.......2001-12-01

My favorite piano album of all time. I moved a few years ago and lost all my CD's, and because of financial problems have only recently begun to repurchase many recordings. When I bought this again and listened to it after a few years away, I could have cried. It was like meeting an old love, and none of the thrill was gone. She was as beautiful as ever. Rubinstein's sense of rubato is perfect; affective and full of rhythm within rhythm, yet only consciously noticeable when you carefully examine the playing. Totally natural. Like Liszt said of Chopin's rubato, "See that tree? See how the leaves move yet the shape stays the same?" The tone is bold and sharp, proving that Chopin's music was not to be maudlinly caressed as the stereotype of a weak, tubercular genius has perpetuated. This is music to lay in the dark with, not to fall asleep to, but to ride the night blanket away in.

A timeless recording.......2000-05-28

This is one of the greatest recordings of all time in any genre. It's melancholy, delicate and haunting. Artur is a darling artist.

Average customer rating:

Spectacular playing!
Definitive Chopin from Rubinstein

Chopin: Waltzes; Impromptus

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | 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. 16
Rubinstein Collection, Vol. 48
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
Mendelssohn: Songs Without Words, etc.
Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas

ASIN: B0001TSWNC
Release Date: 2004-04-20

Customer Reviews:

Spectacular playing! .......2007-07-18

I'm not a Rubinstein expert yet, since I'm just beginning to get seriously introduced to his music, apart from having listened to his playing from friends or YouTube. This is actually my second Rubinstein CD, the first being a Polonaises CD.

I have first listened to these works from Idil Biret, whose complete Chopin set I own, issued from Naxos. (Another great jewel) Then I listened to some of these from others but Biret's recording always remained the yardstick with which I compared later interpretations. Then I came across this CD and bought it. From the very first piece (op. 18) I was blown away. Very warm sounding compared to some from the Biret's versions, it is very apparent that Rubinstein felt at home when playing Chopin.

There's actually no more to say, the work speaks for itself. Recommended at all costs!

Definitive Chopin from Rubinstein.......2004-06-17

This stereo version of the Waltzes was recorded over the course of a single night in 1963, at RCA's Italiana Studios in Rome. For those accustomed to thinking of Arthur Rubinstein as a "Romantic" pianist, this edition of the Chopin Waltzes will come as a surprise. The pianist plays the Waltzes straight, with very little rubato and at moderate tempos. This is in marked contrast to his 1953 mono set, which was freer in tempo and phrasing. Which way is the "right" way? Comparing both recordings demonstrates that there are many equally valid ways to interpret this music.

Rubinstein recorded the Impromptus several times over the course of his long career--this is his only complete version in stereo. He plays the posthumously published Fantasie-Impromptu (which Chopin, ironically, wanted destroyed after his death) from a previously unknown manuscript, which differs in numerous details from more well known versions.

Tracks:

Piano Concerto No.2, Op.21: Maestoso
Piano Concerto No.2, Op.21: Larghetto
Piano Concerto No.2, Op.21: Allegro Vivace
Fantasia On Polish Airs, Op.13: Largo Non Troppo
Fantasia On Polish Airs, Op.13: Andantino
Fantasia On Polish Airs, Op.13: Kujawiak: Vivace
Andante Spianato & Grande Polonaise, Op.22
Andante Spianato & Grande Polonaise, Op.22: Untitled

Customer Reviews:

Rubinstein's Late Chopin.......2002-05-28

Volume 69 of RCA's mammoth Rubinstein Collection contains some of Rubinstein's last authorized recordings of the music of his compatriot Chopin.

Rubinstein made no fewer than four recordings of Chopin's popular Second Concerto (there is an additional, filmed, performance from 1975). The pianist's conception of the concerto changed over the course of his career, from the brilliant, scintillating, and somewhat sectionalized playing of his early years, to the more mellow, mature, and structurally minded performance heard here. Rubinstein, 81 at the time of this recording, is occasionally cautious during the concerto's more demanding passages, uses less rubato, and less pedal than in his earlier recordings. Eugene Ormandy proves a most sympathetic accompanist here, even accommodating Rubinstein's rather questionable changes to Chopin's text: Rubinstein ordered a cut at the end of the first movement, and the violins in the mazurka episode of the finale play the passages with their bows, rather than sul ponticello (with the wood) as Chopin indicated.

The Fantasia on Polish Airs is one of the few works by Chopin that has never made it into the standard repertoire. Rubinstein rarely played the piece, and this is his only recording of it. His straighforward performance, along with Ormandy's accompaniment, fit the music like a glove.

Chopin's Andante Spianato and Grande Polonaise is better known as a solo piece than in the version with orchestra heard here. Indeed, Rubinstein made three versions of the solo version. Truth be told, the orchestration is rather scanty, and best dispensed with altogether. Rubinstein plays the piece with his usual brilliance, and the pick-up orchestra under Alfred Wallenstein tries to stay out of the pianist's way.

The recordings with Ormandy were made in 1968, and sound lush and full. The Wallenstein recording comes from ten years earlier, and despite remastering remains rather dry and compressed.

Track Listings:

Track Listings

track listings

Track Listings

Hope: 25th Anniversary [Original recording remastered]

Praludium Und Fuge in C-Dur

Mezzanine

Get Lucky

Anthology - Bad Manners [Explicit Lyrics] [Import]

On My Own

Nine - The Musical (2003 Broadway Revival Cast)

Mozart Genius: 1 Enhances your creativity [Import]

Phobos (Import) [Import]

Martha Argerich 2

No Borders [Import] [Original recording remastered]

Linea Mexicanisimo

La Orquesta de Mi Tierra [Import]

The Animus Diaries

Mag Earwhig!