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Rubinstein Collection Vol 59 - Beethoven, Brahms: Concertos


Release Date: 07/10/2001 
Label:  Rca Victor Red Seal Catalog #: 63059   Spars Code: ADD 
Composer:  Ludwig van BeethovenJohannes Brahms
Performer:  Artur Rubinstein
Conductor:  Erich Leinsdorf
Orchestra/Ensemble:  Boston Symphony Orchestra
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 16 Mins. 

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This CD is reissued by ArkivMusic.

Works on This Recording

1.
Concerto for Piano no 2 in B flat major, Op. 19 by Ludwig van Beethoven
Performer:  Artur Rubinstein (Piano)
Conductor:  Erich Leinsdorf
Orchestra/Ensemble:  Boston Symphony Orchestra
Period: Classical 
Written: 1793/1798; Vienna, Austria 
Date of Recording: 1967 
2.
Concerto for Piano no 1 in D minor, Op. 15 by Johannes Brahms
Performer:  Artur Rubinstein (Piano)
Conductor:  Erich Leinsdorf
Orchestra/Ensemble:  Boston Symphony Orchestra
Period: Romantic 
Written: 1854-1858; Germany 
Date of Recording: 1964 

Customer Reviews

Average Customer Review:  2 Customer Reviews )
 Hard to find March 29, 2014 By george m. (Sound Beach, NY) See All My Reviews "this excellent recording is my favorite among all other recordings and performances of the concerto.Very happy with it and I recommend to all music lovers to own it" Report Abuse
 Top Drawer Beethoven & Brahms from Rubinstein & L December 16, 2011 By T. Drake (South Euclid, OH) See All My Reviews "This recording of Beethoven's Second Concerto (which was actually written before the First Concerto), made in 1967, demonstrates Rubinstein was just as "on top" of the piece technically as he was in the earlier set with Krips (1956) and much more "into" it musically. In addition, the playing is notably more alert and straightforward than in his later set with Barenboim (1975). To be sure, purists will quibble with Rubinstein's use of rubato and approach to ornamentation, but this performance is a joy from the first bar to the last. Leinsdorf and the Boston Symphony Orchestra are to be credited for a fine accompaniment, far more detailed and sensitive than in the 1950s era recording with Krips. The Brahms D minor Concerto is a difficult work to pull off successfully: the piano part is ungrateful, and often drowned out by an over-orchestrated accompaniment. Also, many pianists--most notably Glenn Gould--tend to drag the tempos beyond all reason. Rubinstein, who was ten years old when Brahms died, would never have considered such a nonsensical approach. The Concerto was written early in Brahms career, and was the work of a young man. In essence, "Brahms without the beard." This 1964 performance, again with superb accompaniment from Leinsdorf and the Boston Symphony, represents the very antithesis of the dragged out, boring approach that has recently tested concert audiences' endurance. As in the 1954 version with Reiner (which was the first stereo recording the pianist ever made) Rubinstein brings all the fire necessary to the score, with a more sober, less rhapsodic approach to the more inward sections. Rubinstein's sparing use of the sustaining pedal helps clarify some of Brahms' thick keyboard writing, and he is in far better shape technically than in his 1976 recording with Mehta. Although almost forty years old, this is still one of the very few "essential" recordings for any Brahms collection, along with the Fleischer/Szell and Serkin/Szell performances. The sound is much improved over earlier versions. The piano is now properly balanced with the orchestra (it was originally too dominant, which apparently was how Rubinstein wished it), and the mix of instruments within the orchestra is smoother." Report Abuse
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