Rubinstein Collection, Vol. 43

On this CD:

1. Valses nobles et sentimentales for piano (or orchestra)
Composed by Maurice Ravel
Performed by Artur Rubinstein

2. Trois mouvements perpétuels, for piano, FP 14
Composed by Francis Poulenc
Performed by Artur Rubinstein

3. Intermezzo No. 3 for piano in A flat major, FP 118
Composed by Francis Poulenc
Performed by Artur Rubinstein

4. Le tombeau de Couperin, for piano Forllane
Composed by Maurice Ravel
Performed by Artur Rubinstein

5. Miroirs, for piano (or orchestra) La vallée de cloches
Composed by Maurice Ravel
Performed by Artur Rubinstein

6. Nocturne for piano No. 3 in A flat Major, Op.33/3
Composed by Gabriel Faure
Performed by Artur Rubinstein

7. Intermezzo No. 2 for piano in D flat major, FP 71/2
Composed by Francis Poulenc
Performed by Artur Rubinstein

8. Pièces pittoresques (10), for piano
Composed by Emmanuel Chabrier
Performed by Artur Rubinstein

9. La soirée dans Grenade, for piano, L. 100/2
Composed by Claude Debussy
Performed by Artur Rubinstein

10. Jardins sous la pluie, for piano L. 100/3
Composed by Claude Debussy
Performed by Artur Rubinstein

11. Hommage à Rameau, for piano, L. 110/2
Composed by Claude Debussy
Performed by Artur Rubinstein

12. Reflets dans l'eau, for piano, L. 110/1
Composed by Claude Debussy
Performed by Artur Rubinstein

13. La plus que lente, waltz for piano (or orchestra), L. 121
Composed by Claude Debussy
Performed by Artur Rubinstein

14. Poissons d'or, for piano, L. 111/3
Composed by Claude Debussy
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
Similar Items:

Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 46
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
Rubinstein Collection, Vol. 50
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
Similar Items:

Rubinstein Collection, Vol. 48
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 46
Rubinstein Collection, Vol. 45
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

ASIN: B00004ZD5E
Release Date: 2001-03-06

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

Fabulous! Polish music at its best!

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

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

Average customer rating:

Ravel blind taste test ...
Rubinstein at His Best

Rubinstein Collection, Vol. 43

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | 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
Similar Items:

Rubinstein Collection, Vol. 42
Rubinstein Collection, Vol. 70
Rubinstein Collection, Vol. 51
Rubinstein Collection, Vol. 72
Rubinstein Collection, Vol. 40

ASIN: B00004TG7E
Release Date: 2000-08-08

Tracks:

Valses nobles et sentimentales: Modere
Valses nobles et sentimentales: Assez lent
Valses nobles et sentimentales: Modere
Valses nobles et sentimentales: Assez anime
Valses nobles et sentimentales: Presque lent
Valses nobles et sentimentales: Vif
Valses nobles et sentimentales: Moins vif
Valses nobles et sentimentales: (Epilogue) Lent
Mouvements Perpetuels: Assez modere
Mouvements Perpetuels: Tres modere
Mouvements Perpetuels: Alerte
Intermezzo In A-Flat: Intermezzo In A-Flat - As-dur - la bemol majeur
Forlane (Le tombeau de Couperin, No. 3)
La vallee des cloches (Miroirs, No. 5)
Nocturne No. 3, Op. 33, No. 3 In A-Flat: Nocturne No. 3, Op. 33, No. 3 In A-Flat - As-Dur la bemol majeur
Intermezzo No. 2 In D-Flat: Intermezzo No. 2 In D-Flat - Des - dur re bemol majeur
Scherzo-valse (Pieces pittoresques, No. 10)
La Soiree dans Grenade (Estampes, No. 2)
Jardins sous la pluie (Estampes, No. 3)
Hommage a Rameau (Images, Book I: No. 2)
Reflets dans l'eau (Images, Book I: No. I)
La plus que lente (Valse)
Poissons d'or (Images, Book II: No. 3)

Customer Reviews:

Ravel blind taste test ..........2000-08-25

So, last night I sat four of my kids down and played four different pianists performing the first of the Ravel "Valses nobles et sentimentales". They were Paul Crossley, Jean Yves Thibaudet, Friedrich Gulda, and Arthur Rubinstein. I didn't tell them who the pianists were and simply asked them which of the performances they preferred. My middle daughter (13) and middle son (15) immediately and without hesitation picked the Rubinstein performance. They commented on the care he took to PLAY the piece. My son felt the other performers pounded too much and my daughter felt some of the others too rushed. They all liked the Gulda second best, the Crossley third. The middle daughter hated the Thibaudet. She said it sounded harsh and clanged. Brian felt the Thibaudet was all over the place - rushed, then too slow, then rushed again. My youngest daughter (9) liked them all. She noted that they were different, but didn't feel she could like one better than the others. My seven year old son was just too young but knew he liked the music. Then I played the orchestrated version conducted by Boulez and the ALL loved and responded in a big way and decided that the orchestrated version was MUCH nicer than the piano version because of the rich sounds of the orchestra.

For my own rating, I love the Rubinstein, admire the Gulda, and like the Thibaudet and Crossley for what they are while not being totally convinced by their performance choices. And being a pianist of a sort, I always like the piano best even when I also like orchestrations.

Rubinstein at His Best.......2000-08-11

Some of Rubinstein's best work on record is on this disc. Although known as a Chopin player, that was by no means the limit of his pianistic culture. Rubinstein, who lived a considerable portion of his life in Paris, was especially adept in the French repertoire.

Ravel's Valses Nobles and Sentimentales, and the other pieces, benefit from Rubinstein's urbane, unfussy approach. Rubinstein never attempts the "piano without hammers" approach of Gieseking, but his tone is far from percussive.

The Chabrier Scherzo Valse demonstrates Rubinstein's remarkable memory and ability to assimilate new music. While recording this album, a friend showed Rubinstein the printed score for the Scherzo Valse. The pianists liked the piece, memorized it overnight, and recorded it the next day. He sounds like he has known the piece his entire life.

Tracks:

Pno Con No.23 in A, K.488: Allegro
Pno Con No.23 in A, K.488: Adagio
Pno Con No.23 in A, K.488: Allegro Assai
Pno Con No.4 in G, Op.58: Allegro Moderato
Pno Con No.4 in G, Op.58: Andante Con Moto
Pno Con No.4 in G, Op.58: Rondo: Vivace
Rhap On A Theme Of Paganini, Op.43: Intro
Rhap On A Theme Of Paganini, Op.43: Var I
Rhap On A Theme Of Paganini, Op.43: Tema
Rhap On A Theme Of Paganini, Op.43: Var II
Rhap On A Theme Of Paganini, Op.43: Var III
Rhap On A Theme Of Paganini, Op.43: Var IV
Rhap On A Theme Of Paganini, Op.43: Var V
Rhap On A Theme Of Paganini, Op.43: Var VI
Rhap On A Theme Of Paganini, Op.43: Var VII
Rhap On A Theme Of Paganini, Op.43: Var VIII
Rhap On A Theme Of Paganini, Op.43: Var IX
Rhap On A Theme Of Paganini, Op.43: Var X
Rhap On A Theme Of Paganini, Op.43: Var XI
Rhap On A Theme Of Paganini, Op.43: Var XII
Rhap On A Theme Of Paganini, Op.43: Var XIII
Rhap On A Theme Of Paganini, Op.43: Var XIV
Rhap On A Theme Of Paganini, Op.43: Var XV
Rhap On A Theme Of Paganini, Op.43: Var XVI
Rhap On A Theme Of Paganini, Op.43: Var XVII
Rhap On A Theme Of Paganini, Op.43: Var XVIII
Rhap On A Theme Of Paganini, Op.43: Var XIX
Rhap On A Theme Of Paganini, Op.43: Var XX
Rhap On A Theme Of Paganini, Op.43: Var XXI
Rhap On A Theme Of Paganini, Op.43: Var XXII
Rhap On A Theme Of Paganini, Op.43: Var XXIII
Rhap On A Theme Of Paganini, Op.43: Var XXIV

Customer Reviews:

Rubinstein's First Time Around.......2001-09-09

Volume 9 of RCA's complete Rubinstein Collection contains the pianist's first recordings of three concertos from his substantial repertoire.

W. A. Mozart's Piano Concerto, K. 488 was no newcomer to Rubinstein's repertoire when he recorded it in 1931. In 1900, the then 13 year old pianist made his debut with this piece, which would remain in his active repertoire until his retirement in 1976. Rubinstein's view of this work changed over the years, as evidenced by his three official recordings of the work. While his stereo version is beautiful in an autumnal way, this early recording is probably closer to what Mozart intended. What most pianists, especially Mozart "specialists," fail to grasp these days, is that Mozart considered his Concertos virtuoso works, and designed them to "make the performer sweat." While Rubinstein never drives the music too hard, there is more tension in this recording than in the later more relaxed versions. This is especially so in the finale, taken at a breathtaking tempo. It's also nice to hear the second movement played at a listenable tempo--most pianists drag the tempo interminably here. There is, however, a small cut in the score after the first movement cadenza, which was made to fit the first movement onto two 78RPM sides. John Barbirolli, Rubinstein's favorite collaborator in those early years, leads the London Symphony Orchestra in a fine accompaniment. Purists, however, will be driven up the wall by Barbirolli's liberal use of string portamento.

Rubinstein was not as fond of Sir Thomas Beecham. In his memoirs, the pianists recalls that Beecham snubbed him during a rehearsal at the Hollywood Bowl. In an act of humorous revenge, Rubinstein offered to drive him home--peeling out of the parking lot as he informed the conductor "You're the first person I've given a ride to. I just got my license today!" Given Rubinstein's tendency to tell tall tales, this story may have been apocryphal. Nevertheless, their one recorded collaboration yielded excellent results. This is my favorite of Rubinstein's four official recordings of Beethoven's Fourth Concerto. The first movement coheres better than in later versions, the dialogue between the piano and orchestra during the Andante is strikingly caught. The finale sparkles, and there is less of Rubinstein's annoying tendency to "splash" trills here than in later versions. Rubinstein plays Saint-Saëns' rarely used and very effective cadenzas here--a welcome diversion.

Rubinstein knew Rachmaninoff casually, and heard him play numerous times. While he considered Rachmaninoff one of the greatest pianists he had ever heard, he was ambivalent about his compositions. (He recorded only the Second Concerto, the C# minor Prelude, and the Paganini Rhapsody.) This 1947 performance is more lively, flexible, and at times demonic than Rubinstein's more well known stereo remake. It is also better pianistically, with more sensitive mixing of inner voices, and cleaner passage work--all the more astonishing for being made before the era of tape editing. Although the later recording boasts far better sound, this is the version I prefer on musical terms. It almost equals the composer's own version, although my favorite recording remains the Kapell/Reiner version.

Tracks:

Mazurka No.I 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.I 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.I 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.I 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.I 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
Mazruka No.I 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
Mazurka No.I 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

Tracks:

Mazurka No.I in G, Op.50
Mazurka No.2 in A flat, Op.50
Mazurka No.3 in c#, Op.50
Mazurka No.I in B, Op.56
Mazurka No.2 in C, Op.56
Mazurka No.3 in c, Op.56
Mazurka No.I in a, Op.59
Mazurka No.2 in A flat, Op.59
Mazurka No.3 in f#, Op.59
Mazurka No.I in B, Op.63
Mazurka No.2 in B, Op.63
Mazurka No.3 in c#, Op.63
Mazurka No.I 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.I 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
Impromptu No.1 in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat, Op.51
Fant - Impromptu in c#, Op.66

Customer Reviews:

Better, on balance, than Rubinstein's stereo version........2001-05-23

Arthur Rubinstein made three recordings of Chopin's 51 Mazurkas, this second set being made in 1952-1953. As with most everything he made multiple recordings of, the three sets of Mazurkas (along with three Mazurkas he recorded separately in 1932) make for fascinating comparisons. There is a gradual metamorphosis from the more exciting, brilliant, and episodic performances of the 1930s toward the more sober, reflective, structurally cohesive approach of the 1960s recordings.

Rubinstein considered the stereo version of the mazurkas (Volume 50) one of the finest recordings he had ever made. But in my opinion, his earlier versions of the mazurkas are superior. In the 1930s set (volume 6), he more effectively captures the "swing" of this Polish peasant dance, where the 1960s version tends to sound metrically stricter. This 1950s version (Volume 27) melds the youthful and mature approaches. Rubinstein also uses a wider tonal pallette in this second set.

There are many valid approaches to these elusive gems. In addition to this set, collectors would do well to aquire the 29 Mazurkas William Kapell recorded before his early death, and the scattered Mazurkas recorded by Horowitz.

Tracks:

Piano Concerto, Op. 16 In A Minor: Allegro molto moderato
Piano Concerto, Op. 16 In A Minor: Adagio - attacca
Piano Concerto, Op. 16 In A Minor: Allegro moderato molto e marcato - Quasi Presto - Andante maestoso
Ballade, Op. 24 In G Minor: Theme: Andante espressivo
Ballade, Op. 24 In G Minor: Variation No. I: Poco meno andante, ma molto tranquillo
Ballade, Op. 24 In G Minor: Variation No. II: Allegro agitato
Ballade, Op. 24 In G Minor: Variation No. III: Adagio
Ballade, Op. 24 In G Minor: Variation No. IV: Allegro capriccioso
Ballade, Op. 24 In G Minor: Variation No. V: Piu lento
Ballade, Op. 24 In G Minor: Variation No. VI: Allegro scherzando
Ballade, Op. 24 In G Minor: Variation No. VII: Allegro scherzando
Ballade, Op. 24 In G Minor: Variation No. VIII: Lento
Ballade, Op. 24 In G Minor: Variation No. IX: Un poco andante
Ballade, Op. 24 In G Minor: Variation No. X: Un poco allegro e alla burla
Ballade, Op. 24 In G Minor: Variation No. XI: Piu animato
Ballade, Op. 24 In G Minor: Variation No. XII: Meno allegro e maestoso
Ballade, Op. 24 In G Minor: Variation No. XIII: Allegro furioso
Ballade, Op. 24 In G Minor: Variation No. XIV: Prestissimo
Album Leaf, Op. 28. No. 4
Lyric Pieces: Cradle Song, Op. 68, No. 5
Lyric Pieces: Spring Dance, Op. 47, No. 6
Lyric Pieces: Berceuse, Op. 38, No. 1
Lyric Pieces: Folk Song, Op. 38, No. 2
Lyric Pieces: Papillons, Op. 43, No. 1
Lyric Pieces: Spring Dance, op. 38, No. 5
Lyric Pieces: Shepherd Boy, Op. 54, No. 1
Lyric Pieces: Little Bird, Op. 43, No. 4
Lyric Pieces: Folk Song, Op. 12, No. 5
Lyric Pieces: Elfin Dance, Op. 12, No. 4
Lyric Pieces: March Of The Dwarfs, Op. 54, No. 3

Customer Reviews:

For collectors of historic recordings.......2003-02-04

If you are a collector of historic recordings, or an avid Rubinstein collector, than this record is for you. I, on the other hand, am neither, and I had trouble enjoying the Piano Concerto due to the poor sound quality of this 60-year old recording. The sound quality of the remainder of the disc was much better. So, if an "old" sounding record doesn't bother you, I'm sure you'll love it. I'm from the CD generation, and I'm going to look for another version of the Concerto.

Rubinstein Shines in Early Grieg Recordings.......2001-01-02

Arthur Rubinstein was midway through his 75-year-long performing career before he learned the Grieg Concerto. In his autobiography, he reports that he was under the then-common impression that the Concerto was "cheap stuff" and not worthy of his time. RCA wanted to record him playing the piece, and Rubinstein's wife liked the Concerto. She purchased the score and placed it on his piano. Reading through it, he realized it "was easy to play and lovable." Thus began a love affair that was to continue until the pianist's retirement in 1976.

This performance, recorded in 1942, was the first of four recordings of the work Rubinstein made--there is an additional, filmed performance from 1975. One can take the technical finish of this brisk, polished performance for granted. Not to be underestimated is the orchestral contribution. Eugene Ormandy, one of the most underrated conductors of the 20th century, was an especially sympathetic and gifted accompanist. He matches Rubinstein phrase-for-phrase, rubato-for-rubato.

The solo works on this album are taken from the legendary "Rubinstein Plays Grieg" LP recorded in 1953. This recording had the unique distinction of remaining in the active catalogue until the demise of the LP in the late-1980s. The performances here are as fresh, direct, and lacking in phony sentiment as the Concerto. It is a pity that Rubinstein was never persuaded to re-record these solo pieces in stereo, as there are always those closed-minded individuals who will refuse to purchase a mono recording, no matter how great the performance is.

Customer Reviews:

Chopin Solo Piano, Vol 1.......2007-01-04

I like this album! It opened new worlds for me, of great Chopin interpreters of long, long ago. I bought both volumes of the album by mistake, hoping to get a full album of Alexandre Brailovski's keyboard work. But I'm very pleased with the music. It should be noted I am not a musician of any kind and have a somewhat limited background in classical music. But a friend who is both a professional musician and quite knowledgeable in these matters says the recordings of these artists of bygone days are, well, priceless!!

Average customer rating:

Get this especially for Maryla Jonas
A Treasure Trove of Historic Chopin Performances

Chopin: Solo Piano, Vol. 2

Manufacturer: Andante
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Chopin: Solo Piano, Vol. 1
Alfred Cortot: The Master Classes

ASIN: B0007MR0XG
Release Date: 2005-03-22

Customer Reviews:

Get this especially for Maryla Jonas.......2005-12-08

I heartily agree with Mr. Morrison's previous review and would only add that one of the more obscure pianists on this set, Maryla Jonas, was de Pachmann's successor -- and there is no higher praise.
Vladimir de Pachmann was lauded in the late 19th century for rescuing Chopin from Lisztian virtuosi and restoring him to the charm, intimacy and mystery of the salon (although de Pachmann managed to make his confessional tone carry in the largest halls).
More recently, the salon aspects of Chopin have been disparaged and pianists like Rubinstein were praised for giving us more masculine, literal performances. But Rubinstein, who spent more time training in Berlin with Joachim and his circle than he ever did in Poland, always struck me as being more sympathetic to Brahms than he was to Chopin. Indeed, it took many years and a changing aesthetic for Rubinstein's Chopin to be hailed by the same audiences who considered Toscanini and Heifetz to reign supreme.
Which brings us to Maryla Jonas. She was Polish through and through and somehow, like the Russian de Pachmann, channeled what I sense was Chopin's own capricious, witty, nostalgic and nocturnal poetry.
It speaks well for Rubinstein that, though his compatriot's playing was so different from his own, he helped bring Jonas back to the piano after the broken woman was forced to flee to Brazil to escape the Nazis. Sadly, Maryla Jonas was too ill to build a major carreer and died at just 48.
For more Jonas, including her revelatory Schumann, buy the Pearl issue before it disppears. But this is a fine introduction.

A Treasure Trove of Historic Chopin Performances.......2005-03-25

Collected here on 4 CDs, in Volume 2 of this Andante series, are historic performances of some of Chopin's solo piano works. In Volume 1 were performances of the Waltzes, Impromptus, Scherzos, Andante spianato and Grande polonaise, Ballades, Études, Préludes, the 2nd & 3rd Sonatas, Barcarolle and Berceuse. In Volume 2, CD 1 are the legendary performance of the Op. 10 Études by Edward Kilenyi, plus some single études played by various other great historic artists (including the only student of Chopin to live into the recording era, Francis Planté). On CD 2 are Nocturnes played by such artists as Rubinstein, Paderewski, Sofronitsky, Busoni, Cortot, Lipatti, Maryla Jonas, and Raoul Koszalski. On CD 3 are some Polonaises, most played by Rubinstein, but with single polonaises played by Paderewski, Friedman, Sofronitsky and Jonas. CD 4 is devoted to Mazurkas played by Horowitz, Friedman, Sofronitsky, Kapell and Jonas. Volume 1 was a huge artistic success (although for some strange reason it has not been reviewed here at Amazon.com). The same is true for the present volume. It is hard to imagine any other collection containing so many important historic recordings all in one place. If you are a Chopin lover you will be in heaven.

Not all the performances are necessarily the very best available, one supposes--although the marvelous performances far outnumber those about which one might have some question--but the different pianists give us a view of how Chopin playing may have changed or varied over the years. Musically, from start to finish, this is a very satisfying collection. I've spent literally hours and hours listening and comparing with other Chopin performances I own. I know that I would never want to be without this collection. Add to that the very fine presentation with a hard-bound book that contains essays in three languages, and one has a real winner.

As to individual performances I would want to single out, let me just mention a few. First of all the Kilenyi performances, which I'd heard a few of in the past but never heard at such length, are terrific. Of course, Kilenyi, who recorded the études of Op. 10 in 1937, had made the first really good recording of the set and they were the standard-bearer for years. (Cortot's first recording of them antedated Kilenyi's but they are, to be honest, not nearly as good; he rectified that in later recordings.) While we're talking about the Études I must mention also the two in E major, No. 3, recorded by Paderewski and Brailowsky. The sound, here as in almost all the examples in this set, is marvelous, and both artists caress the keyboard in such a way that this most romantic of all the études is given sumptuous treatment. Busoni's performance of No. 5 in G flat is in not very good sound (an exception) but there are glints of lightning in his playing. Jean-Marie Darré's performance of Étude No. 6 in G sharp minor 'Thirds' is electrifying.

The Nocturnes disc (CD 2) is arranged so that one often gets several performances of a single Nocturne in a row so that one can compared Rubinstein, say, with Paderewski (No. 2) or Sofronitsky with Cortot (No. 4). I was particularly struck with the two (Nos. 19 and 20) by Maryla Jonas, a Polish pianist only vaguely known to me previously. I must hasten to add that these discs do not attempt to give complete traversals of, say, the Nocturnes or Polonaises. These are selected single performances.

CD 3 (the Polonaise disc) starts with performances of six of them by Rubinstein from 1934, among the earliest recordings he made. Not only is the sound marvelous, the playing is supple and echt-Chopin. (I confess that I was weaned on these performances, so they strike a particular chord with me.) Also included, though, is a gangbusters Paderewski performance of the popular A major Polonaise, Op. 40, No. 1 and this then is followed by two performances that are even more striking: Friedman and Sofronitsky in the A flat major, Op. 53 (the one with the horrific left hand octaves). Wow!

The set closes out (CD 4) with two of the greatest ever players of the Mazurkas--Horowitz, who plays eight of them, and Friedman who plays six. But then, and new to me, are performances of ten of them by Vladimir Sofronitsky, recorded in somewhat crude sound but no matter, that blew me away with their rhythmic spring. These are followed by another set very familiar to me, five mazurkas (Nos. 9, 14, 24, 35, and 44) by William Kapell. Simply superb. The disc closes out with four played by Maryla Jonas. She was unknown to me before, but I was won over by her rather airy take on these mazurkas which, for all their delicacy, are so rhythmically alive that one wants to get up and dance.

Hats off to Andante for this wonderful collection of treasurable performances, the excellent sound of the transfers, and for the really classy presentation. First class all round.

Recommended.

4 CDs TT=5hrs 20mins

Scott Morrison

Music Track:

Music Track

music track

Recommended Music:

Rare Tracks [Enhanced] [Import]

The World's Greatest Symphonies [Box set]

Vanhal: Four Symphonies

Music: No Regrets

Heaven Or Hell [Import]

Well

Walk On

The Spirits of England and France, Vol. 5: Missa Veterem Hominem

Universe

Verdi: Luisa Miller [Import]

University Of Akron Concert

Tubbs Tours [Import]

Tirana: Cantos Y Bailes Ceremoniales [Import]

Axis: Bold As Love

The Chillout Sessions, Vol. 3