Rubinstein Collection Vol 28 - Chopin: Polonaises, Etc
Rca Victor Red Seal
Number of Discs:
1 Hours 13 Mins.
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Notes and Editorial Reviews
Artur Rubinstein. RCA RCD1-7156 [Ballades, with Scherzos]; 5613-2-RC [19 Nocturnes; 2 CDs]; 5614-2-RC [51 Mazurkas; 2CDs]; 5615-2 [7 Polonaises]; RCD1-5492 [14 Waltzes]
If there is one sure bet in the music of Chopin, it is Artur Rubinstein. His recordings of the composer’s music can be recommended without hesitation for their warmth, lyricism, and expressive point. Never over-interpreted, the music emerges with spontaneity and freshness in his accounts, always alive, always delightful and surprising. His fiery renditions of the Ballades and Polonaises combine drama and poetry in brilliant fashion, while his readings of the Nocturnes, Mazurkas, and Waltzes are notable for their Mediterranean color and unerring sense of mood.
The sound of the 1960s stereo recordings for RCA may occasionally lack depth and seem slightly veiled, but it holds up well enough to convey unmistakably the tone and the touch that made Rubinstein one of the greatest pianists of all time. – Ted Libbey, author of
The NPR Guide to Building a Classical CD Collection. Read less
Works on This Recording
Polonaises (2) for Piano, Op. 40 by Frédéric Chopin
Artur Rubinstein (Piano)
Written: 1838-1839; Paris, France
Date of Recording: 1950-51
Polonaise No. 5, Op. 44, in F-Sharp Minor
Polonaise No. 6, Op. 53, in A-flat
Polonaise-fantaisie, Op. 61, in A-Flat
Average Customer Review: ( 1 Customer Review )
The Best Chopin Polonaises--EVER! December 16, 2011
By T. Drake (South Euclid, OH) See All My Reviews
"Volume 28 of RCA's complete Arthur Rubinstein Collection features the Polish pianist in music he was born to play.
Rubinstein made three recordings of Chopin's Polonaises (he did not consider the posthumously published Polonaises to be canon), and there are recordings of individual Polonaises scattered elsewhere. The first version, from 1934-1935 is incendiary and compelling, but occasionally veers out of control technically. The 1964 version, probably the most well known because it is in stereo, is aristocratic, autumnal and has a greater sense of each work's architectural underpinnings. But the later set lacks the brio of the earlier versions.
The 1951 version, on Volume 28, has all of the power of Rubinstein's first set, combined with greater technical control and structural understanding. Take for example, the ubiquitous A-flat: Here, the opening is clear and proportioned, the main theme has an almost sexual swagger, and the octaves in the central section are effortlessly tossed off (they sound labored in the 1964 version). I have never heard a more compelling A-flat Polonaise in my life, either live or on record.
Rounding out this CD are the Polonaise-Fantasy (which is really much more fantasy than Polonaise) and the Andante Spianato and Grand Polonaise in E-flat.
The remastering opens up the dynamics, but retains just a hint of hardness from the original tapes. "