Search - Frederic Chopin, Artur Rubinstein :: Rubinstein Collection, Vol. 4

Incendiary Chopin from Rubinstein

Hank Drake | Cleveland, OH United States | 09/02/2001

(5 out of 5 stars)

"Volume 4 of RCA's mammoth Rubinstein Collection contains some of the pianist's earliest Chopin recordings, dating from 1928-1935.The bulk of this CD is devoted to Rubinstein's first of three traversals of the Polonaises. It is interesting to compare this 1934-1935 cycle with the more renowned stereo version from 1964. While the later cycle emphasizes the architectural mastery of each work, the earlier version is more spontaneous. The brio, freedom, and swagger of this earlier version (recorded before the existence of tape editing, and with a healthy dash of wrong notes) 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 greatest works comes through in the Polonaise-Fantasie, Op. 61, a notoriously difficult work to hold together.The Barcarolle, Op 60 was recorded at Rubinstein 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. All of these recordings originated from 78RPM disks. Given the source material, the sound is little short of remarkable, with only slight surface noise and a somewhat "tubby" piano sound. But the fiery genius of these performances more than compensates for any limitations of recording technology."

Chopin's mature Polonaises by Artur Rubinstein

Peter Dietrich | Boston, MA United States | 05/20/2004

(5 out of 5 stars)

"Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?"

Beautiful...

the flying dutchman | 06/09/2005

(5 out of 5 stars)

"Rubinstein's rendition's of the Bercuese and Barcarolle are so beatiful. They literally bring tears to my eyes at every listen. Best Chopin grand polinaise out there. Get this recording."