Artur Rubinstein

Editorial Reviews
Amazon.com
Few soloists have owned composers as definitively as Artur Rubinstein could claim Chopin. Rubinstein's delivery of the composer has struck many speechless for its clarity--assurance at once that this is extraordinary, complex music and that it's likable even to general audiences (who could be easily repelled by the music in a lesser pianist's hands). The more than 150 minutes of Rubinstein's Chopin collected here are stellar, from the seductive nocturnes (recorded in 1965) to Rubinstein's head-spinning read of the Piano Sonata No. 2 ("Funeral March").

Like so much here, the music seems to display virtuosity and a kind of sheer surface of undiluted emotion, through which one can sense agony and amazement, angst and agility. What makes this Chopin collection so commendable is its revelation of Rubinstein's split-second imagination, his long-form command of line and extreme detail in tone colors as well as his dramatic sense of when the pieces should blow wide open. Which they do. There is much familiar here, but in this form, the works (all recorded between 1959 and 1965) invite plentiful new moments of discovery. --Andrew Bartlett

Tracks:

No. 1, Op. 23 in G Minor
No. 2, Op. 38 in F
No. 3, Op. 47 in A-Flat
No. 4, Op. 52 in F Minor
No. 1, Op. 20 in B Minor
No. 2, Op. 31 in B-Flat Minor
No. 3, Op. 39 in C-Sharp Minor
No. 4, Op. 54 in E

Customer Reviews:

a good collection of classical music........2007-01-10

If you enjoy piano music, you should have this CD.

As Good As It Gets.......2006-03-24

Rubinstein was in his prime when these versions of the Chopin Ballades and Scherzos were recorded in 1959. Curiously, although this was his third version of the Scherzos, he had never before recorded the Ballades.

Rubinstein was temperamentally well suited to these works, moreso than in the Mazurkas and Preludes. The narrative aspect of the Ballades suited his intuitive sense of structure well. At this point in his career, Rubinstein had known these pieces for six decades. It is no wonder, therefore, that he performs them more convincingly than, say, Kissin does on his recent recording.

The Scherzos are outright virtuoso works. Rubinstein would occasionally perform all four in concert, back-to-back. Any other pianist would have been exhasted by the effort. Not Rubinstein, who posessed a seemingly inexaustable reserve of energy. The pianist is just as on top of these pieces, technically, as any of his colleagues, and much more attuned to them musically.

The sound, made from original three channel tapes produced by RCA's legendary Jack Pfeiffer, is spectacular in this new SACD edition--sounding every bit as lifelike as the best of today's digital recordings.

This is the one to get!

Great performances and sound.......2004-11-28

Highly recommended. Rubinstein's performances of the Ballades are lyrical, and the Scherzos exciting. The difference with previous issues is the SACD sound, which adds just that much more realism, the sense that the sound is "truer." A wonderful disc both artistically and sonically.

Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas

Average customer rating:

Rubinstein: Favorite Beethoven Sonatas
Flawless Renditions of Familiar Pieces
An amateur takes pleasure
Loved for his elegant style, Rubenstein applies it to Beethoven
Excellent recordings

Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Arthur Rubinstein plays Chopin [Box Set]
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ASIN: B000031WBZ
Release Date: 2000-10-10

Tracks:

Son No.8 in c, Op.13, 'Pathetique': Grave; Allegro Molto E Con Brio
Son No.8 in c, Op.13, 'Pathetique': Adagio Cantabile
Son No.8 in c, Op.13, 'Pathetique': Rondo: Allegro
Son No.14 in c#, Op.27 No.2, 'Moonlight': Adagio Sostenuto
Son No.14 in c#, Op.27 No.2, 'Moonlight': Allegretto
Son No.14 in c#, Op.27 No.2, 'Moonlight': Presto Agitato
Son No.23 in f, Op.57, 'Appassionata': Allegro Assai
Son No.23 in f, Op.57, 'Appassionata': Andante Con Moto
Son No.23 in f, Op.57, 'Appassionata': Allegro, Ma Non Troppo
Son No.26 in E flat, Op.81a, 'Les Adieux': Les Adieux: Adagio; Allegro
Son No.26 in E flat, Op.81a, 'Les Adieux': L'Absence: Andante Expressivo
Son No.26 in E flat, Op.81a, 'Les Adieux': Le Retour: Vivacissimamente

Customer Reviews:

Rubinstein: Favorite Beethoven Sonatas.......2007-06-11

I can't say enough about Rubinstein's interpretation. These are my favorite sonatas and I worship Beethoven. I also have these sonatas done by Brendle, Ashkanazi, Kemph, Buchbinder, Horowitz, and Gould, but Rubinstein does them best. Out of five stars, I would give Rubinstein ten. Although the recording is old, it is well done and does not detract at all from the performance. My only regret is that Rubenstein did not record the rest of the Beethoven sonatas.

Flawless Renditions of Familiar Pieces.......2007-03-14

The 4 Sonatas represented here are probably among the most familiar of all of Beethoven's work to the general listening public. They are beautifully rendered by Arthur Rubenstein in a recording of very good quality. This is an ideal purchase for someone who is seeking an introduction to Beethoven's work since the music is highly accessable and the price is very affordable. Rubenstein's playing is basically straightforward and sensitive, perfectly suited to the 4 selections presented here.

An amateur takes pleasure .......2006-12-28

I do not know classical music in the way that many of the people who have reviewed this work do. I cannot compare Rubinstein's performances with other pianists. I cannot analyze the technical qualities of his playing. I cannot really be a judge of the work at the level that most listeners of classical music would like.
I can however say that the deep pleasure given by this work comes in part of hearing familiar 'classical music' replayed. It comes too out of certain qualities of the playing, its grace, its lightness, its moving depth, its clear rushes of excitement.
One of the greatest of all pianists playing some of the greatest piano music ever written cannot help but inspire and move the listener.

Loved for his elegant style, Rubenstein applies it to Beethoven.......2006-06-01

When great pianists come to the the sacred Beethoven sonatas, they diverge into two camps. The first camp tries to serve Beethoven first, the second imposes a 'personal' style with secondary attention to the composer. In the first camp everyone would put Schnabel, Serkin, Annie Fischer, Wilhelm Kempff, Murray Perahia, and perhaps nowadays Andras Schiff and Leif Ove Andsnes. In the second would be Horowitz, Richter, Cortot, Rubenstein, and a panoply of earlier greats in the Lisztian romantic tradition. These were the unabashed stylists, whose fans want to hear a pianist more than they want to hear piano music.

Rubenstein's fans were particularly devoted to him--he was that rare thing, a loable human being who also happened to be a virtuoso--and since he was less agressive than Richter and less flamboyant than Horowitz, Rubenstein's gentle, sophisticated way with Beethoven, which could evoke Paris over Vienna, felt more agreeable. But it's not selfless by any means. Rubenstein is the anti-Serkin, bringing the same dreaminess to the Moonlight that he brings to Chopin, smoothing over the outbursts in the Appassionate so that it will be more civilized (but losing half of Beethoven's revolutionary genius in the bargain), and generally giving his audiences what they want.

On its own terms, this CD is a lovely example of the Rubenstein method. Personally, I side with the first camp, but I can see why many listeners so admire this epitmoe of sophisticated elegance who never slips into vulgarity or blatant showmanship.

Excellent recordings.......2006-05-26

I love these recordings! I think the interpretations Rubinstein offers are different (which is a good thing) from the "Beethoven specialists," which is very refreshing. This is especially evident in the "Pathetique" Sonata (my personal favorite). I have recordings of Ashkenazy, Pollini, Brendel, and Kempff, but the Rubinstein is my favorite (Interestingly enough, I'd say Ashkenazy is next on that list).

His "Moonlight" and "Les Adieux" performances are among my favorite recordings of those particular sonatas as well. "Appassionata," which he recorded the most, is still good, but better versions of him playing it exist.

This CD is worth the money.

Rubinstein Plays Saint-Saëns, Franck & Liszt [Hybrid SACD]

Average customer rating:

Ruby Does it Again
Rubinstein at his Best

Rubinstein Plays Saint-Saëns, Franck & Liszt [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000QEIM4G
Release Date: 2007-06-26

Tracks:

Piano Concerto No. 2 in G Minor, Op. 22; Andante
Piano Concerto No. 1 in E-Flat; Allegretto vivace (Redbook Stereo) 9.
Piano Concerto No. 2 in G Minor, Op. 22; Andante sostenuto (2007 SACD
Piano Concerto No. 2 in G Minor, Op. 22; Allegro scherzando (2007 SACD
Piano Concerto No. 2 in G Minor, Op. 22; Presto (2007 SACD Remastered)
Symphonic Variations; Poco allegro (2007 SACD Remastered)
Symphonic Variations; Allegro non troppo (2007 SACD Remastered)
Piano Concerto No. 1 in E-Flat; Allegro maestoso (2007 SACD Remastered)
Piano Concerto No. 1 in E-Flat; Quasi adagio (2007 SACD Remastered)
Piano Concerto No. 1 in E-Flat; Allegretto vivace (2007 SACD
Piano Concerto No. 1 in E-Flat; Allegro marziale animato (2007 SACD
Piano Concerto No. 2 in G Minor, Op. 22; Andante sostenuto (5.1
Piano Concerto No. 2 in G Minor, Op. 22; Allegro scherzando (5.1
Piano Concerto No. 2 in G Minor, Op. 22; Presto (5.1 Surround Mix)
Symphonic Variations; Poco allegro (5.1 Surround Mix)
Symphonic Variations; Allegro non troppo (5.1 Surround Mix)
Piano Concerto No. 1 in E-Flat; Allegro maestoso (5.1 Surround Mix)
Piano Concerto No. 1 in E-Flat; Quasi adagio (5.1 Surround Mix)
Piano Concerto No. 1 in E-Flat; Allegretto vivace (5.1 Surround Mix)
Piano Concerto No. 1 in E-Flat; Allegro marziale animato (5.1 Surround

Customer Reviews:

Ruby Does it Again.......2007-07-22

Sony/BMG continues their Living Stereo SACD reissue series with three Concerto recordings from the 1950s featuring pianist Arthur Rubinstein.

The Saint-Saëns Second Concerto was a great favorite of Rubinstein's. He made his American debut with this piece back in 1906. This recording was made in 1958 in collaboration with the Symphony of the Air (formerly the NBC Symphony Orchestra) under Alfred Wallenstein. There is slightly more forward motion here than in the 1969 version with Ormandy, and even more stunning virtuosity in the finale. However, the recording with Ormandy has the advantage of better orchestral playing, so the two versions balance each other out as my favorites. There is also an excellent filmed version on a Deutsche Grammophon DVD, with Andre Previn and the London Symphony Orchestra, made in 1975.

Rubinstein learned Cesar Frank's Symphonic Variations while traveling by train to a concert in Spain, practicing the passages in his lap. The man had an amazing memory. Here again, he is in top form, giving a performance of brio and élan, with Wallenstein and the orchestra providing a fine accompaniment.

The Liszt is less successful. I don't think Rubinstein ever loved Liszt the way he loved Chopin and Brahms, and as he grew older Liszt's music gradually began dropping out of his repertoire. (Rubinstein made no Liszt recordings after 1965.) Both of Rubinstein's recordings of the Liszt Concerto suffer from a great deal of technical bluffing and general sloppiness. Adding to the problem here is some crude microphone placement, with the infamous triangle passages spotlit beyond all reason. The remastering has not been able to solve this problem and the sound remains excessively dry, although the piano sound is more natural than in previous issues. Wallenstein and the RCA Victor Symphony (mostly made of members of the New York Philharmonic) do a reasonable job of accompaniment.

The Saint-Saëns and Franck are in three channel sound, which is much more dimensional and dynamic than the previous issues. The Liszt is in standard two channel stereo.

Rubinstein at his Best.......2007-07-13

Arthur Rubinstein had performed Saint-Saens Piano Concerto No. 2 in G minor, Op. 22 many times throughout his concert career; in fact, this was one of the pieces on the program of his first public concert given in 1900. The style in which he plays it is simply captivating. It's not a serious concerto in the German-school, but rather a light-hearted and somewhat amusing concerto. This is probably the most famous recording of the composition, and it's no wonder why.

The Symphonic Variations of Cesar Franck are fantastic, full of energy, vitality and French-Romantic beauty.

Franz Liszt's First Piano Concerto is very well performed here by Rubinstein. I really cannot complain about it.

The reason I give this recording only four (4) stars is because of the sound. Having heard most of the recordings in RCA's newly released and remastered Living Stereo Hybrid-SACD collection, I can conclude that this has rather poor quality sound when compared to the others in the library. It is most noticeable in the Saint-Saens, just a background "hiss" that reminds the listener of just how old the recording is; not the intentions of the remasterers!

Overall, a great recording and well worth your money.

Arthur Rubinstein plays Chopin [Box Set]

Average customer rating:

THE GREATEST OF CHOPIN PIANISTS
The greatest interpretation
Not such a great album
Love it.
RECORDING QUALITY IS A FACTOR

Arthur Rubinstein plays Chopin [Box Set]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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ASIN: B000002S59
Release Date: 1994-03-15

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.

Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)

Average customer rating:

Food for your Spirit
An Antti Keisala Comment: Chopin Divine, Saddest Music In The World
Arthur Rubenstein - Chopin 19 Nocturnes (Vol. 49)
Hmmm...
"A whole set of marvelous miniatures"

Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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: B000031WBV
Release Date: 2000-08-08

Tracks:

Op. 9, No. 1, In B-Flat Minor
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 Minor
Op. 27, No. 1 In C-Sharp Minor
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 Minor
Op. 37, No. 2 In G
Op. 48, No. 1 In C Minor
Op. 48, No. 2 In F-Sharp Minor
Op. 55, No. 1 In F Minor
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 Minor

Amazon.com

Despite Arthur Rubinstein's extroverted personality and open-hearted interpretive approach, his performances of Chopin's introspective, half-lit Nocturnes inspired him to some of his greatest recordings, as this, the last of his three traversals of the 19, amply demonstrates. His earlier recordings, from 1936-37 and 1949-50, have their admirers, but this set dating from 1965 and 1967 is superior for its interpretive depth and realistic stereo sound. It's a touch slower than the earlier versions, and Rubinstein's glorious tone color, mastery of shadings, and unerring sense of rubato help make these among his greatest recordings. He makes the music breathe as few others have; the melodies go straight to the heart thanks to subtle phrasing that wrings worlds of emotion without wallowing. That sense of naturalness and inevitability in his playing can be heard in every one of these 19 works. It makes the start of Op. 27, No. 1 deeply moving and inspires awe at the way he brings structural clarity to Op. 48, No. 1 without compromising its mood. Others may have equaled his achievement in one or another of these works, but as a set, this is inspired pianism. --Dan Davis

Customer Reviews:

Food for your Spirit.......2007-02-28

I love, love, love this moving collection! It is divinely inspired, celestial, heavenly, stirring, emotionally filling and guaranteed to transport you to a higher dimension...

An Antti Keisala Comment: Chopin Divine, Saddest Music In The World.......2007-02-09

Sometimes we feel we're unspeakably down: nights when you're exhausted by your daily routines and the dreamer in you wakes up in vain. Some people read romantic short stories. Some go to have long walks on the beach. When I'm blue, I either go running or watch Wong's "Chunking Express", some Tarkovsky or listen to the saddest music. To music most divine. That's this Rubinstein's interpretations of Chopin are high on that list, as they are on every other best-of list I've yet compiled.

Simply put, this is a masterly artist interpreting the most masterly artist of our time.

Chopin is, to me, the epitome of an artist who invests his whole soul to his music. A poet whose own poems start to shape his heart. Others can comment (and have already done so) on the technical aspects of either Chopin or Rubinstein's skill, but I merely wish to articulate how shocking his music is in how it bares the soul, how naked it is. In modern rock music, I've found Peter Gabriel to work this way, at least the Peter Gabriel of the untitled era, up to the album "Us". This is the greatest of commitment, almost a secret made between the composer and listener. The music approaches the listener in such a direct way not from the outside but from within. And this has nothing to do with who's playing the piano. There are simply passages that are larger than either the player or our comprehension. The silences, the rubatos, the relation of the notes to the mood of the thing, to the heart of the matter. Rubinstein just happens the most open-hearted, as one of the editorial reviews points out.

About Chopin. He's not like Bach in my books, whom I've found to appear emotionally majestic yet who's more like the Peter Greenaway of classical music; more showy and mathematical, calculating. Adhering to a certain cosmology rather than inventing and investing straight from and to the soul. Whereas Bach relies on framework in which he fills his music (this is, of course, the Zeitgeist of his time and style of music and in itself nothing remarkably revealing) with the finest of contrapuncts, Chopin's method is to create a free flow of melody, harmony, tempo and dynamics. It's organic and it's fluid. I don't think I should even mention Mozart's badinage. Rubinstein uses the rubato of Chopin to a great extent, which makes for some of the most breathtaking passages ever played on a piano. I play piano so badly I'll never have the possibility to play Chopin properly, but I've done the 'next best thing', that is, I've played him as transcribed for the guitar by Franscisco Tárrega. Those transcriptions, in my mind, contain that bittersweet chance of rubato, and that nakedness translates to the guitar quite well. But that's not the real thing.

This is. Of course, the best thing is to get all of Rubinstein's recordings, but if I was to make the hardest decision and choose only one, this would be it. Very close would be the Preludes as well as the Mazurkas, but this is perhaps the most heavenly music. Only Pärt's "Alina" continually reaches me on such a personal level. These songs made me believe that music can change your life.

Now I'm going to try and sell this item to you. Thus I'll have to ask that particular question: what is it about Rubinstein? We know him as the mastermind, the giant interpreter, who revolutionized how we listen to Chopin. But this isn't just merits, or otherwise he wouldn't be celebrated today for anything else than just showing a different path at the time. And this is a sad destiny some other artists share. Where Rubinstein triumphs is that his playing is much like what Chopin's music is like: it's a rare gift for us to find two artists with the same soul. This is why I think Rubinstein continues to be important and these records even life-altering. That's not in his technical skill, per se, it's in his ability to channel something from within, lift up something from the notes that can only be read between the lines. He's intimate, much like the music, and that's why I let him come close and do his best. Most beautiful music, most uplifting music; the saddest music in the world.

With best regards,
AK

Arthur Rubenstein - Chopin 19 Nocturnes (Vol. 49).......2007-01-21

Arthur Rubenstein interprets Chopin beautifully with great emotion. It would have been interesting, were it possible, to have him play these great works in the presence of Chopin to get his reaction. The "Red Seal" RCA label lives up to it reputation for having made some of the very best quality recordings ever made. The crisp, clear and true to the original sound makes you feel as though you were in the studio while the recording was being made.

Hmmm..........2006-12-04

Well, here's the good: Rubinstein is far more adept than you or I will ever be at interpreting these pieces. His playing is rich, yet rather restrained. A bit too restrained at times. Now then, the bad:

1. sound quality is in dire need of remastery. I can't emphasize that enough. While not as thick with background noise as the Cortot Box set recorded in the 30s and onward... It's still pretty thick, which bothers the hell out of me, making listening straight throughh almost impossible at times.

2: only 8 (!!!) of the minor key Nocturnes are accounted for. I'm sorry, but the minor key pieces are VASTLY more interesting and varied and sensual and full of sturm und drang than the major key pieces. Three are missing, though I'm too lazy to go picking through and find out which 3 they are. Still, that's about 1/4th of the minor key NOcturnes: unaccounted for.

That plus the issue of sound quality: I'll stick with my Claudio Arrau set, hushed breath and all, which I have had to purchase twice and which never fails to take me where I need to go.

I love the Rubins, but still: Buyer Beware.

"A whole set of marvelous miniatures".......2006-05-22

Although most of people tend to consider, Chopin' s Nocturnes as tearful salon pieces, they perhaps retains, with major effervescence than any other genre composed by him, the essential principles that support the Romantic mood. The night conceived as a frame for the febrile imagination, that may originate the most beautiful dreams or on the contrary the most horrid nightmares.

"Chopin loved the night and its soft mysteries as much as did Robert Louis Stevenson, and his nocturnes are true night pieces, some with agitated, remorseful countenance, others seen are whispering at dusk." ..."He ennobled the form originated by Field, giving it dramatic breadth, passion and even grandeur." These smart considerations belong to James Huneker (1860--1921) the famed author and music and drama critic.

Under this perspective any analysis around Chopin should be done according the specified genre you consider, due it would explain preconceived attitudes and superficial generalizations that frequently lead to trivial thoughts and originate distorted and deformed opinions around the egregious figure of the beloved Polish composer.

There have been three famed and renowned pianists that have shone with radiant splendor at the moment to play this set of Nocturnes. Of course that Rubinstein was one of them, (the others two are Samson Francois and Alfred Cortot), and the reason why they are above the most, resides in the fact they played every one of these works, with a special connotation and intimate atmosphere. As Huneker previously emphasized, every Nocturne has its particular blaze, texture, color, personality and expression.

So if you want to experiment a true experience listening this set of Nocturnes, don' t think it over and acquire it.

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

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Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 45
Rubinstein Collection, Vol. 46
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Rubinstein Collection, Vol. 50

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

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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:

A top recording in the Rubi collection
Magical
A true must-have album

Rubinstein Collection, Vol. 67

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Rubinstein Collection, Vol. 73
Rubinstein Collection, Vol. 72

ASIN: B00005427O
Release Date: 2001-10-09

Tracks:

Pno Qnt in f, Op.34: Allegro Non Troppo
Pno Qnt in f, Op.34: Andante, Un Poco Adagio
Pno Qnt in f, Op.34: Scherzo
Pno Qnt in f, Op.34: Finale
Pno Qnt in A, Op.81: Allegro Ma Non Tanto
Pno Qnt in A, Op.81: Dumka: Andante Con Moto
Pno Qnt in A, Op.81: Scherzo (Furiant): Molto Vivace
Pno Qnt in A, Op.81: Finale: Allegro

Customer Reviews:

A top recording in the Rubi collection.......2006-11-01

Rubinstein and Guarneri give us a very important contribution in the field of chamber music recordings. A must, one of the finest RCA recording in the Rubi collection.

Magical.......2006-02-11

I was first introduced to the Guarneri String Quartet in high school. My friend made me a cd of this recording and I listened to it every single day because it is so addicting. The Brahms is unlike anything I've ever heard before. The andante is dissonant and tense, yet melodic. It's very romantic and powerful! The Dvorak piano quintet is a different kind of listening; pleasant, not boring. The recording is altogether perfect.

A true must-have album.......2005-07-30

Rubinstein and crew provide insightful, emotional insights into two of the greatest piano quintets in the repertoire.

There are moments where Rubinstein's playing could be a little more sensitive (more a matter of interpretive differences from my playing of the pieces), but the overall effect is so great that minor quibbles can certainly be forgiven.

I've told friends and family that their lives will not be complete until they hear this album, and I'd stand by that statement for anyone who asks.

Average customer rating:

Strong, Committed Performances

Beethoven Sonatas [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000E1NWGO
Release Date: 2006-02-07

Tracks:

Adagio Sostenuto
Allagretto
Presto Agitato
Adagio; Allegro
Andante Espressivo
Vivacissimamente
Allegro Di Molto E Con Brio
Adagio Cantabile
Rondo: Allegro
Allegro Assai
Andante Con Moto
Allegro Ma Non Troppo

Customer Reviews:

Strong, Committed Performances.......2006-02-15

Rubinstein knew all 32 of Beethoven's Sonatas by heart, but in public and on record, limited himself to the most popular half dozen or so. The four Sonatas on this CD--originally recorded at RCA Italiana Studios in the early 1960s--were, with the five Concertos, the core of Rubinstein's Beethoven repertoire.
Rubinstein's approach to the Pathetique is characteristic of his Beethoven playing: Tempos are sensible, avoiding extremes of speed or slowness; phrasing is devoid of artifice; pedaling is sparser than Beethoven's written indications, but many of Beethoven's contemporaries claim Beethoven over-pedaled; repeats are generally taken. Some purists will object to the way Rubinstein plays some of the grace notes and ornaments in the first movement, but there has been no conclusive evidence either way on the "correct" manner to handle them (Beethoven probably didn't care anyway).

This CD contains Rubinstein's only recording of the inescapable Moonlight Sonata. He performed it in public several times during the 1962-1963 season, and then dropped it from his repertoire. The first movement is played simply, even a little dryly, as is the second movement. But Rubinstein lets loose in the Finale, bringing the work to a stunning close. Nobody else could hit a piano that hard and still create such a beautiful sound.

The Appassionata was a favorite of Rubinstein's. He featured it in his earliest concert performances, played it almost to the end of his career, and recorded it three times. This recording is more successful than the previous two (the first was almost comically slapdash). Max Wilcox, the producer of the original recording, has noted that this was one of the few times Rubinstein became hampered in the recording studio, and many takes were required before Rubinstein was satisfied. But one could never guess that from listening to the resulting performance, it is totally organic and betrays no hint of being spliced together.

The Les Adieu Sonata rounds out the album, bringing a joyous conclusion to a wonderful recording.

RCA's SACD remastering has not radically altered the sound picture, but there is a greater sense of space around the piano. The packaging recreates the original cover art and liner notes.

Average customer rating:

Not the best recording
Stunning Goldberg Aria
Great CD
Piano Perfection!
A Classic in Every Sense!

50 Most Loved Piano Classics

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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Fantasies | Forms & Genres | Classical | Styles | Music

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Suites | Forms & Genres | Classical | Styles | Music

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Release Date: 2005-08-30

Tracks:

'Aria' - 50 Most Loved Piano Classics
'Jesu, Joy Of Man's Desiring' - 50 Most Loved Piano Classics
Prelude No.1 In C Major, BWV 846 - 50 Most Loved Piano Classics
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I. Allegro - 50 Most Loved Piano Classics
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Fur Elise - 50 Most Loved Piano Classics
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Fruhlingslied (Spring Song) - 50 Most Loved Piano Classics
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Tracks:

Waltz Op.64 No.1 In D-Flat Major Minute Waltz - 50 Most Loved Piano Classics
Prelude Op.28 No.15 Raindrop Prelude In D-Flat Major - 50 Most Loved Piano Classics
Nocturne Op.9 No.1 In B-Flat Minor - 50 Most Loved Piano Classics
Etude Op.10 No.12 Revolutionary - 50 Most Loved Piano Classics
Nocturne Op.27 No.2 In D-Flat Major - 50 Most Loved Piano Classics
GRand Valse Brilliante Op.18 In E-Flat Major - 50 Most Loved Piano Classics
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Etude Op.10 No.3 In E Major - 50 Most Loved Piano Classics
Prelude Op.28 No.20 In C Minor - 50 Most Loved Piano Classics
Prelude Op.28 No.4 In E Minor - 50 Most Loved Piano Classics
Waltz Op.69 No.1 In A-Flat Major Farewell Waltz - 50 Most Loved Piano Classics
Kindererszenen (Scenes From Childhood) Op.15 No.7: Traumerei (Dreaming) - 50 Most Loved Piano Classics
Fantasiestucke (Fantasy Pieces) Op.12 No.1: Des Abends (In The Evening) - 50 Most Loved Piano Classics
Widmung (Dedication) - 50 Most Loved Piano Classics
Consolation No.3 In D-Flat Major - 50 Most Loved Piano Classics
Aria - 50 Most Loved Piano Classics

Tracks:

Hungarian Dance No.5 In F-Sharp Minor - 50 Most Loved Piano Songs
Intermezzo Op.118 No.2 In A Major - 50 Most Loved Piano Songs
Waltz Op.39 No.15 In A-Flat Major - 50 Most Loved Piano Songs
June - 50 Most Loved Piano Songs
Berceuse - 50 Most Loved Piano Songs
Tango - 50 Most Loved Piano Songs
Granada - 50 Most Loved Piano Songs
To A Wild Rose - 50 Most Loved Piano Songs
Clair DE Lune - 50 Most Loved Piano Songs
The Girl With The Flaxen Hair - 50 Most Loved Piano Songs
Golliwogg's Cake Walk - 50 Most Loved Piano Songs
Arabesque No.I - 50 Most Loved Piano Songs
Gymnopedie No.I - 50 Most Loved Piano Songs
The Maiden And The Nightengale - 50 Most Loved Piano Songs
Prelude Op.3 No.2 In C-Sharp Minor - 50 Most Loved Piano Songs
Prelude Op.23 No.5 Ini G Minor - 50 Most Loved Piano Songs
I. Pavane - 50 Most Loved Piano Songs

Customer Reviews:

Not the best recording.......2007-07-15

The songs were played flawlessly, however, it's really quiet. When you turn up the volume, you will hear hissing in the background.

Stunning Goldberg Aria.......2006-02-21

Who is the performer of that amazing recording of the Goldberg Aria??!?! It must be Gould.

Great CD.......2006-01-29

Nice set of songs. I enjoyed it a lot, I see no reason why anyone wouldn't like this CD set.

Piano Perfection!.......2005-10-16

Saw it on TV and thought the music was beautiful, but forgot to write the information down... but managed to buy it online (now I see it frequently at the music stores)and I absolutely love this album -- all my favorite pieces! (I'm not big on writing comments or reviews, but was compelled by the artistry and passion I heard throughout this CD!)

A Classic in Every Sense!.......2005-10-12

I overheard some people at the record store talking about this album - one guy was actually a piano teacher and couldn't stop raving about it. I bought the album on his recommendation and couldn't be happier - it's stunningly beautiful. Beethoven's "Moonlight" sonata is haunting and Chopin's "Minute Waltz" is spectacular in its precision and speed! This will make a great stocking stuffer at Christmas for my friends (... I'm getting them now cause I've gone to a couple places and they're out of stock). If you're into piano, this is truly a classic!

Track Listings:

Track Listings

track listings

Track Listings

Music For Lonely Housewives

Parade [Cast Recording]

The Best Symphonies, Vol.2

Progressive Rock-Rock Legends [Import]

New Music For the Piano

Reality Check

Recuerdos Romanticos [Import]

Pa' Milonguear [Import]

If You Don't Know Me by Now

Bing! His Legendary Years, 1931 to 1957