Rubinstein Collection Vol 6 - Chopin: Mazurkas, Scherzos
Rca Victor Red Seal
Number of Discs:
2 Hours 32 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
Average Customer Review: ( 1 Customer Review )
Rubinstein, the Trailblazer December 16, 2011
By T. Drake (South Euclid, OH) See All My Reviews
"Complete recorded editions of Classical music were almost unheard of in the 1930s. Artur Schnabel was making a complete version of Beethoven's 32 Sonatas, but many "musicians" didn't consider Chopin's music worthy of such attention--he was just a salon composer, after all. Arthur Rubinstein, of course, didn't believe any of that nonsense about Chopin. His respect for that composer informed both his interpretation of his music, and his decision to record his Scherzos and Mazurkas. Rubinstein made three complete versions of Chopin's Scherzos, with this first set dating from 1932. All three versions by Rubinstein are exciting, and offer testament to the pianist's solid technique, innate virtuosity, and natural sense of musical architecture. Tempos are breathtakingly faster in these earlier performances than in the later ones. Considering the fact that editing was impossible during this era, and his considerable risk taking, Rubinstein's very few inconsequential mistakes are understandable. As with the Scherzos, Rubinstein recorded three versions of the Mazurkas. This first version (from 1938-1939) is markedly freer, more compelling, and more poetic than his later remakes. The pianist's use of rubato is more pronounced, as is his greater emphasis on inner voices, which Rubinstein later banished from his playing. These recordings originate from 78RPM discs. Despite the slight surface noise, and occasional tubbiness in the piano tone, Rubinstein's eternally fresh interpretations come through loud & clear."