Rubinstein Collection, Vol. 2

On this CD:

1. Waltz for piano in A flat major, Op. 34/1, CT 208
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

2. Waltz for piano in C sharp minor, Op. 64/2, CT 213
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

3. Mazurka for piano in D major, Op. 33/2, CT 73
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

4. Mazurka for piano in C minor, Op. 56/3, CT 85
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

5. Mazurka for piano in B major, Op. 63/1, CT 89
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

6. Consolation, for piano No. 3 in D-flat Major "Lento placido", S. 172/3 (LW A111a/2/2)
Composed by Franz Liszt
Performed by Artur Rubinstein

7. Hungarian Rhapsody, for piano No. 10 in E major (I & II), S.244/10 (LW A132/10)
Composed by Franz Liszt
Performed by Artur Rubinstein

8. Liebesträume, notturno for piano in A-flat major No. 3 (O Lieb, so lang du lieben kannst), S. 541/3 (LW A103/3)
Composed by Franz Liszt
Performed by Artur Rubinstein

9. Morceaux de fantaisie (5), for piano, Op. 3
Composed by Sergey Rachmaninov
Performed by Artur Rubinstein

10. La cathédrale engloutie, prelude for piano, L. 117/10
Composed by Claude Debussy
Performed by Artur Rubinstein

11. Danseuses de Delphes, prelude for piano, L. 117/1
Composed by Claude Debussy
Performed by Artur Rubinstein

12. Le tombeau de Couperin, for piano Forlane
Composed by Maurice Ravel
Performed by Artur Rubinstein

13. Goyescas (Guys in Love), 6 pieces in 2 books for piano, H. 64
Composed by Enrique Granados
Performed by Artur Rubinstein

14. El Amor brujo, suite from the ballet, and excerpts (see also "Ritual Fire Dance"), G. 48 Dance of Terror
Composed by Manuel de Falla
Performed by Artur Rubinstein

15. Ritual Fire Dance (from "El Amor brujo"), for orchestra and various arrangements Ritual Fire Dance
Composed by Manuel de Falla
Performed by Artur Rubinstein

16. A Prole do bebê (8), suite for piano, Book 1("A família do bebê"), A. 140 2. Moreninha
Composed by Heitor Villa-Lobos
Performed by Artur Rubinstein

17. A Prole do bebê (8), suite for piano, Book 1("A família do bebê"), A. 140 6. A pobrezinha
Composed by Heitor Villa-Lobos
Performed by Artur Rubinstein

18. A Prole do bebê (8), suite for piano, Book 1("A família do bebê"), A. 140 7. O Polichinelo
Composed by Heitor Villa-Lobos
Performed by Artur Rubinstein

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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

Rubinstein Collection, Vol. 45

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

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

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

ASIN: B00004ZD5B
Release Date: 2001-03-06

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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

Rubinstein Collection, Vol. 50

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Rubinstein Collection, Vol. 46
Rubinstein Collection, Vol. 45
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

ASIN: B00004ZD5E
Release Date: 2001-03-06

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

Fabulous! Polish music at its best!

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

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

Average customer rating:

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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Rubinstein Collection, Vol. 45

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.

Tracks:

Pno Qt No.2 in A, Op.26: Allegro Non Troppo
Pno Qt No.2 in A, Op.26: Poco Adagio
Pno Qt No.2 in A, Op.26: Scherzo: Poco Allegro
Pno Qt No.2 in A, Op.26: Allegro
Pno Qt No.1 in c, Op.15: Allegro Molto Moderato
Pno Qt No.1 in c, Op.15: Scherzo: Allegro Vivo
Pno Qt No.1 in c, Op.15: Adagio
Pno Qt No.1 in c, Op.15: Allegro Molto

Customer Reviews:

Wonderful Rubinstein.......2003-01-03

This CD makes a mockery of present day standards. To listen to the light touch, the easy "tempo giusto", the natural rubato, and the interplay with the young Guarneri, who play beautifully, without being relegated to a supporting role as with other Big Name guests of other quartets, make this performane one of my very favourites in the whole Rubinstein Edition. The sounds quality too is excellent. I have a reasonably expensive play back system including micromega stage 6 cd player, and the CD sounds superb, with little indication of the age of the recording. BUY!

Average customer rating:

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

Rubinstein Collection, Vol. 28

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Rubinstein Collection, Vol. 27
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
Rubinstein Collection, Vol. 51

ASIN: B000054279
Release Date: 2001-10-09

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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.

Tracks:

Son No.1 in e, Op.38: Allegro Non Troppo
Son No.1 in e, Op.38: Alegretto Quasi Menuetto
Son No.1 in e, Op.38: Allegro
Son No.2 in F, Op.99: Allegro Vivace
Son No.2 in F, Op.99: Adagio Affetuoso
Son No.2 in F, Op.99: Allegro Passionato
Son No.2 in F, Op.99: Allegro Molto
5 Intermezzos: Op.118, No.2 in A
5 Intermezzos: Op.119, No.2 in e
5 Intermezzos: Op.117, No.3 in c#
5 Intermezzos: Op.119, No.3 in C
5 Intermezzos: Op.118, No.6 in e flat

Customer Reviews:

Incredible.......2003-01-04

Piatigorsky was a wonderful cellist and man. He often played with the violinist great Heifetz and the violist William Primrose. He had a great sense of music and when he played he strangely didn't move much. He kind of played beautifully without using his body. I love his playing. If you get a chance, try to buy that movie titled Heifetz/Piatigorsky. Rubinstein is my favorite pianist. He knows Brahms better than any other that I know. He was a great accompanist and knows when to play loud and when to back off. I adore this CD.

The Joy of Chamber-Music Making.......2001-10-17

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

Arthur Rubinstein and Gregor Piatigorsky were friends from 1931 until the cellist's death in 1976. Legend has it that the easy going cellist was a calming factor in the many quarrels which sprang up between violinist Jascha Heifetz and the pianist during their days as the Million Dollar Trio. Much of that personal warmth comes through in these performances, which were recorded in 1966. There is a give-and-take here which recalls the great chamber music recordings of Rachmaninoff and Kreisler. One never gets the sense that Rubinstein and Piatigorsky are trying to "one-up" each other. Everything is in perfect balance. Rubinstein loved Brahms, approached him as a living composer, and the result is performances which continue to inspire decades later.

The five Intermezzos were recorded at RCA's Hollywoood studios in 1953, and were originally issued as part of "Rubinstein plays Brahms" (LM-1787). Rubinstein plays the works with disarming directness.

Customer Reviews:

disappointing sound quality.......2002-12-16

Everybody knows Rubinstein is the best. So I was enormously disappointed to pop the CD in and hear horrible background scratchiness. Surely in this technological age, this can be avoided. I'm returning the CD and wondering how to get one that sounds good.

Great vintage Ruby.......2001-03-15

Brahms' concertos were Rubinstein's favorite for many years. He played them for most of his life, and he thought he was as close to them as he was to Chopin's Nocturnes or Mazurkas. He recorded each concerto three times, and in any of these recordings you can fill a real "full-immersion", a great sympathy between the composer and the pianist. Rubinstein's concept of these two masterpieces is slightly "anti-German": Ruby doesn't believe in monumental structures, he believes in music as an expression of deep and intimate emotions, and he even shows that in big pieces like these. His four recordings of the Second Concerto show three different kinds of approach: youthful and firing freshness in this 1929 recording, powerful and optimistic energy in the 1952 and 1958 recordings with Munch and Krips, crepuscular melancholy in his last achievement with Ormandy. Yet, such different readings have something in common: humanity and love for music. Here you get an old fashioned Rubinstein, a Rubinstein that does not actually look like himself; but his beautiful sound and his spontaneous musicianship are already there.

Tchaikovsky's most popular Concerto was an absolute must for pianists in the 30's. This Rubinstein-Barbirolli recording was unmatched for many years, until people stopped listening to music and started listening to notes; then Horowitz and Richter became the favorite. But if you're not too involved in keyboard-killing or cold exegesis, this 1932 performance will sound extremely good.

Rubinstein in First Recordings of Favorite Concertos.......2000-08-14

Arthur Rubinstein's earliest recordings of two of his favorite piano concertos are preserved here. Rubinstein, like a fine wine, improved with age, and the reverse is also true. These are his weakest performances of these works, despite the legendary pianist's patented brio.

Both the Brahms and Tchaikovsky Concertos on this disc are marred by rushed tempi, technical slips, and overpedaling. Making recordings during thi 78-rpm era was a more complicated process for performers than it would later be. Since there was no tape splicing, in the event of a technical slip, either the entire 4 1/2 minute side was re-recorded, or mistakes were left in the finished product. The balance between piano and orchestra also leaves much to be desired.

For those wishing to hear Rubinstein in these concertos, I would recommend his 1958 recording of the Brahms with Krips, and the 1963 Tchaikovsky with Lensdorf.

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.

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