Plays Chopin

Artur Rubenstein the master of Chopin plays the selections with beauty and passion as befits this music. Please feel free to buy this but bear in mind very little of the music from this era of recording is in stereo - but it does not make any difference.

This is a 5 CD set (2 jewel boxes total) of Frederic Chopin as played by Arthur Rubinstein. All of these recordings are quite old, dating from between 1928 and 1939, so the sound quality reflects that. But these performances are so stellar that they transcend the ancientness of the technology. Rubinstein plays all of the Nocturnes, all of the Mazurkas (my favorites by Chopin), all 4 Scherzi, all of the Polonaises, a few Waltzes, the Berceuse, the Barcarolle, and both Piano Concertos. Sir John Barbirolli conducts those babies. Everything is played with truly supreme skill and genius that made Rubinstein the undisputed master of Chopin. However, Rubinstein rerecorded a lot of this music and then some for RCA in the 40's, 50's and 60's. Those recordings are more extensive (and are currently on a must have 10 CD set from RCA) plus have far better sound quality. But my problem with those is that I often see them as a cash-in job on Rubinstein's part. He dashed off a ton of Chopin for RCA (minus the Etudes which he never recorded in full), and was paid quite handsomely for his efforts. But there doesn't seem to be the urgency that the EMI 1928 to 1939 recordings have. To put it simply, Rubinstein seems to care more about the music in the older recordings than in the latter ones. And urgency from the performers side of things can often be where the seeds of genius lay. This EMI CD set has those seeds scattered about in abundance. All told, if you are like me and have no problem with listening to much older classical recordings, then snatch this one up right away. If you don't like that old 78 sound and might be put off by the dates of these recordings, then the RCA set will do fine. But this EMi set is the one to get. Chopin will never be this good again.-------------------PEACE BTW-Don't buy the mp3 download. It's actually an album of Cole Porter tunes by someone I've never heard of before. Some of the reviews for this Chopin set reflect that. I hate it when that happens! Just a memo to AMAZON.

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 didn't believe any of that nonsense about Chopin. His respect for his compatriot informed both his interpretation of his music, and his decision to record the bulk of Chopin's piano music. This 5CD set contains Rubinstein's first cycle of Chopin's music, although it's far from complete. Rubinstein didn't get around to recording a set of Waltzes or Ballades until the LP era. It's pretty well known among his fans that he tried to record a set of Etudes in the late 1960s and quit after one session. Nor did he record any of Chopin's juvenilia such as the first Sonata. Caveats aside, these recordings deserve to be heard. There's a sense of adventure and discovery that is somewhat absent in Rubinstein's later recordings (not to mention those of certain note perfect automatons).The Barcarolle, Op 60 was recorded at Rubinstein's second recording session, in 1928. This performance is closer in tempo and phrasing to the manner in which Rubinstein played the piece "live" than his later studio recordings. Indeed, there is an erotic impulse in this version which is largely missing from his 1957 and 1962 remakes.Rubinstein made three complete versions of Chopin's Scherzos, with this first set dating from 1932. All three versions 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. It's my favorite among Rubinstein's three sets. The pianist's use of rubato is more pronounced, as is his greater emphasis on inner voices, which Rubinstein later banished from his playing. Rubinstein's 1936-1937 Nocturnes (again, the first of three sets) are also far different from his 1960s stereo version. In addition to the attributes found on the early Mazurkas, these performances are graced with more sensitive shades of pianissimo (Rubinstein's quiet passages became louder as time progressed, possibly due to hearing loss). As with his other two versions of these works, Rubinstein never allows sentiment (empathy) to be confused with sentimentality (schmaltz).If the nocturnes lull you into a sense of repose, the Polonaises will get you fired up. It is interesting to compare this 1934-1935 cycle with the more renowned stereo version from 1964. While the later cycle emphasizes a rather dignified approach, the earlier version is more spontaneous. The brio, freedom, and swagger of this set simply have to be heard to be believed. True, Rubinstein, like a runaway train, comes dangerously close to running off the rails at times. But the musical rewards the pianist reaps are well worth the technical risks, and the more reflective Polonaises are played with simple, unforced poetry. Rubinstein's innate understanding of the structural underpinnings of Chopin's music comes through in the Polonaise-Fantasie, Op. 61, a notoriously difficult work to hold together. On balance, I feel the 1950s "middle-period" set most effectively balances virtuosity with gravitas.Rubinstein made three official recordings of the E minor Concerto, and four of the F minor Concerto. (There is an additional, filmed performance of the F minor from 1975.) As was customary during the 78RPM era, the introductions of both concertos are shortened here. Rubinstein's tempos are faster than in later versions, with greater use of rubato and freer phrasing. There are some inconsequential mistakes here and there, both on the part of the pianist and the orchestra. Despite the occasional fluffs and dated sound, these are some of the most scintillating Chopin concertos on record. But I must frankly confess that I feel Rubinstein has been bettered by Krystian Zimerman (in his self-conducted version with the Polish Festival Orchestra) and Vasily Primakov in the Concertos. The London Symphony Orchestra under John Barbirolli provides a strong accompaniment to these often underrated works.These recordings originate from 78RPM discs. They have been issued several times, including by RCA as part of their complete edition of Rubinstein's recordings. If you already have those, there's no point in getting this EMI set as RCA's remastering is superior. The remastering here is acceptable, and at budget price, it is very tempting for the newcomer. Despite the slight surface noise, and occasional "tubbiness" in the piano tone, Rubinstein's fresh performances come through loud & clear.

The thirties was the sublime decade of Arthur Rubinstein. His maxim splendor as perfomer and interpreter was plainly recognized around the world. Moreover, in the eve and during the bloody WW2, his presnce on international stages was emblem of the ferocious resistance against the German besiege of his beloved Poland. In many ways Rubinstein had to have felt a tragic resemblance with Chopin. Far away his birthland, playing the Polonaises like cannons hidden between flowers.Arthur Rubinstein's expressive poetry will always be associated with Chopin, specially during the twenties, thirties and forties. After the upheaval of the WW2, the classical patterns suffered a radical transformation, and Rubinstein, as in the case of Wilhelm Kempff were regarded old fashioned styles. The new appearance of legendary soloists such as Michelangeli, Lipatti, Francois, Kapell and Moravec added new visions and his hegemony began to vanish.The influence of Cortot and Busoni forged a more sophisticated style where the dramatic language was blended with the texture and the significance of the sound gave Chopin's poetic musicality a wider dimension with unexplored horizons.Nevertheless, during the last twenty years, his preponderance has regained acknowledgement for the wider audiences, thanks (among other factors) the digital restoration.This album is a must-have. Don't miss it.

While the recording quality is not the best, the quality and feeling in the music is AMAZING. I first came across this on vinyl 35 years ago, and am so excited to be able to listen to it again.

Incomparable Rubinstein only spoilt, for me, by the background interference, presumably because of the age of the original recording.I have to be in a temperate mood to choose this recording - if not, then I have others!

Enregistré à Londres autour des années 30, ce coffret nous révèle les premières interprétations discographiques de Chopin par Arthur Rubinstein.Ils se caractérisent par une grande sensibilité et un sens de la mélodie qui nous ravit.Peut-être la technique est encore à travailler, peut-être certains préfèrerons les versions BMG, mais écouter celle-ci est un régal dont on ne doit pas se priver.Un grand moment de piano...Droit 21