Arthur Rubinstein Plays Great Pianoc Oncertos

I'm old enough to have heard Rubenstein play. He was about the same age as Rudolf Serkin. Both were huge stars in the classical world, and both were known as high exponents of romantic music from Beethoven through Chopin and Brahms. These collections reaffirm my sense of Rubenstein, not as the better musicians perhaps, but as the one I preferred to hear. His recordings cover an immense range of music. This collection covers most of what are called the "warhorses" of the repertoire, thirteen hours of concerti of surprisingly good recording quality with marvelous orchestras and conductors. His music, without a view of him, is just as lovely, though he had an appearance that was quite theatrical compared to Serkin's. Like Serkin, he was one of the last of that long chain of pianists who could count ancestor-teachers through Chopin, Czerny, and Beethoven. His interpretations for me were dependable and I far prefer them to more recent efforts. A wonderful bargain -- don't miss it.

As I listened to this impressive 11 CD compendium of core piano concert repertoire, the word that kept coming to mind was "unhurried." I do not mean slow. Just someone supremely confident in his ability to play this music clearly and effortlessly, so no need for frenetic pounding just to impress you. These are wonderful performances, with at least serviceable sound, and frequently excellent acoustics, capturing both the piano and the orchestra fully. And Rubinstein does what all great artists do - he makes the difficult sound effortless. Included are 5 Mozart concerti (17, 20, 21, 23, & 24), all 5 Beethoven concerti, both Chopin concerti, both Brahms concerti, Tchaikovsky No 1, Shumann, Grieg, Saint-Saens No. 2, Rachmaninoff No. 2, Rachmaninoff's Rhapsody on a Theme by Paganini, and several other works by De Falla, Chopin, and Szymanowski. I am not competent to debate the merits of various performances of these works by Rubinstein or to compare these performances to the hundreds of other recordings of these pieces, but I assure you, you will not be disappointed with this set. If you are just starting a collection, it is a great place to start. If you are a longtime collector, this is still a very worthy addition to any collection. Great music, brilliantly performed, with generally very good sound, for a ridiculously low price. What's not to like?

After watching the 1946 movie, " I've always loved you", on Amazon Fire TV, had to get a CD of the music, Arthur Rubenstine playing Rocmoniof concerto no.2. My family owned just one classical album and I listened to it at top volume endlessly. It brings back all the good feelings of those years.I might have played that. Album still In my garage if I owned a record turn table, but I don't. Better yet a CD! Disk 9 has what I needed, so all the rest of this set is a bonus.If you need good technical information on this set, be sure to read the whole review by F. P. Walter. It is so complete you can't do better. He mentions the flaws well. The one I especially noticed is the missing few notes at the end of one movement. So my mind fills in what should be there.I am so blessed to have this at such a reasonable cost. It restores my soul.

Arthur Rubinstein was a top draw on concert stages around the world, and a top-selling RCA recording artist who generated a constant stream of LP's throughout his long, productive career. While the quality of Rubinstein's recorded output was astonishingly good - indeed, many of his solo recordings are in a class by themselves - the recordings gathered together in this collection illustrate that his collaborations with orchestra were not always on the same high level. While there are no certifiable duds, there are recordings that just aren't the best Rubinstein made of the same repertoire earlier in his career, sometimes only a decade or so before.Some insight into this may be found in comments Rubinstein made to an interviewer prior to a recital he gave in Ann Arbor in 1960. On the subject of his recordings Rubinstein said that "Every time I make a record of course I'm thrilled that a machine can pick up my emotions. I like to play it for my family and friends. But, invariably, after about three months, I go forward, I change. I think I do better. But the recording remains the same. So we are divorced. Then I want to record it again. I get frightfully upset and I want to do it over immediately. That is why I remake so many of my records, even if they haven't been so bad." His artistic feelings aside, Rubinstein went on to acknowledge that RCA wanted replacements of recordings that he was perfectly satisfied with. One such project was his 1953 recording of the Chopin E minor concerto, one of his own favorites. It "survived the three months. That's all I can say about it. But still, I will give you a secret: two days ago I signed up to remake it. That is not especially because I don't like it any more but simply because they need a stereo of it. I will make the Brahms First Concerto again also."While the points of disagreement over what should have been included in this collection are relatively few, they're still not insignificant. Rubinstein, for example, was a great champion of Spanish music and had a real flair for it. Of the three recordings he made of "Nights in the Garden of Spain" (1949, 1957 and 1969), it's the second with Enrique Jorda that has the most going for it - atmosphere, charm and sensuality - yet it's the final one with Ormandy that was selected for inclusion here. That decision probably had to do with the sonics, for while the recording with Jorda is in reasonably good stereo the later one with Ormandy is cleaner and richer sounding. Listeners won't be disappointed by the Rubinstein-Ormandy record, but if they've never heard the earlier collaboration with Jorda, they'll have missed one of the pianist's finest concerto recordings.Another case in point is the inclusion of the Chopin F minor concerto recording with Ormandy versus the 1958 session with Wallenstein. Again, the selection was likely based on sonics; while the earlier record sounds just fine, the later one is a bit fuller and richer. And while there's absolutely nothing wrong with the remake, it's the earlier recording that shows Rubinstein in a more spontaneous mood. Likewise, the Beethoven concerto cycle made with Leinsdorf is a clear choice over the final series with Barenboim that the producers opted for. While this is perhaps academic since Beethoven wasn't Rubinstein's strongest suit, it's representative of a period in the pianist's career (and indeed, almost any famous musician's career) where re-recordings were most likely commercially motivated rather than artistically-driven undertakings, especially so in this case where perfectly viable records were replaced with supposedly superior ones that are in fact often less desirable. There are, however, exceptions - the 1969 recording of the second Saint-Saens concerto is a marvel, and while it doesn't quite have the crackle as the 1958 collaboration with Wallenstein, it more than makes up for it with its unique combination of poise and youthful spirit.There are other pluses and minuses here. As stated above, Rubinstein is not a pianist I would turn to for the music of Beethoven and the same is true of Mozart, where his sound can be a little too Romantic for me. The Brahms D Minor concerto with Leinsdorf is very good, although it's eclipsed by the classic 1954 recording with Fritz Reiner (one of RCA's earliest stereo recordings) - yet another example of the producers apparently thinking sonically newer must be better. There's a wonderful Paganini Rhapsody from 1956, also with Reiner; no one else I've heard develops the great theme of the 20th variation (so masterfully ushered in by the 19th) with just the right blend of mystery, romance and majesty. Although Rubinstein's Tchaikovsky concerto has always been a staple of the catalog, I've always found it to be rather flat, preferring instead Emil Gilel's more charismatic recording with Reiner. Although Rubinstein may have proclaimed his 1961 recording of the Grieg concerto "the most perfect recording I have made," I think it's arguable that this was more marketing than fact, even though he didn't go back to the studio to record it yet again. But who am I to disagree with the great pianist? While it's not my favorite reading of the Grieg (Lipatti/Galliera and Fleisher/Szell are supreme), it's still very good, with an equal balance of poetry, structure and momentum although the sound is cold and distant. Conversely, Rubinstein's Chopin E minor Concerto with Skrowaczewki from 1961 is a top recommendation. It's sturdy, elegant, fresh and inspired, splashed with poetic touches and also has plenty of muscle in the virtuoso passages. Unfortunately, Rubinstein's Schumann concerto with Giulini shares common ground with Claudio Arrau's studio recordings in that both are far too mellow, with all the edges smoothed over. This is an old man's reading from the eighty year-old pianist who, paradoxically, was far from losing his fire. And while Rubinstein could be a formidable Liszt player (see  Rubinstein Collection 31 ), his E flat concerto with Wallenstein sounds undernourished compared to his 1947 recording with Antal Dorati. The sonics no doubt precluded the older record from inclusion in this anthology, in this case justifiably, which is a shame because it's a reading that's totally together in a way that the one with Wallenstein isn't. On the other hand, Rubinstein's 1958 recording of Franck's "Symphonic Variations," also with Wallenstein, is one of the best in the catalog. Lastly, after decades of listening to (and revering) Richter's Rachmaninoff Second with Stanislaw Wislocki, it's always been tough for me to judge the work of others; so prejudice (and conditioning) prevents me from commenting on Rubinstein's reading.There are a few real chestnuts here, and therefore this is a set that's recommendable given the right price.

The major (if not all) concerto performances are served beautifully in this bargain-priced set. Sound is excellent, especially considering that some of the recordings date from the 1950s. Was delighted to find the Szymanowski Sinfonia Concertante included in the set, as my old vinyl copy is rather worn. For those familiar with Rubinstein's playing, I urge you to buy this set even if you already have some of the recordings. If you do not know Rubinstein's work, this is an excellent introduction to it..

This is a priceless collection by one of the greatest pianists of all. The refurbished sound makes these recordings sound newly minted. There are no duds amongst any of these performances and some of them could be considered as clear first choices ( Brahms 1st, Tchaikovsky, Saint Saens, Franck, Grieg). I’ve always like Rubinstein’s Mozart concertos as he made them sound distinct and different from each other. His Beethoven cycle was his last set with Barenboim and the LPO and is reflective rather than dramatic - it wouldn’t be my first choice but it is thoughtful and revealing. Rubinstein clearly felt at home with the underrated Alfred Wallenstein as an accompanist and all of their recordings are special. The Szymanowski 4th Symphony , virtually a piano concerto, is a real discovery. Rubinstein was a pianist of clarity, poise and elegance with a beautiful rosewood tone who could bring a fresh approach to everything he played. Highly recommended- piano playing doesn’t come better than this.

I was really pleased to find this collection of piano concertos by Rubinstein from the original RCA Red Seal recordings. I have the the same RCA recording on Vinyl records from back in the 1970's... I was wondering for years if they would ever come available on CD's...The quality of the recordings are superb. The best purchase that I've made in years. Bill Wells...........

Come risulta da altre mie recensioni, essendo fruitore di CD e non di vinile, sono appassionato per gli interpreti della stagione d'oro del CD, dagli anni 80 al 2000, quando le grandi orchestre rinnovavano il loro patrimonio con esecuzioni riprese con tecnica aggiornata, anche se a volte con errori di gioventù. Rubinstein (1886-1982) è stato il grande maestro-divo del pianismo fra le due guerre fino agli anni metà '70. Quindi il Nostro è stato lontano dalla mia lista dei desideri, fino a quando, come già ricordato, ho scoperto la sua arte cristallina grazie a SKY Classical. Visto questo cofanetto, il suo prezzo assai invitante, e avendo sperimentato le qualità tecniche delle rimasterizzazioni Sony, effettuate meritoriamente sul grande patrimonio di registrazioni analogiche delle orchestre USA, non ho esitato ad acquistarlo. Le aspettative, viste anche le altre positive recensioni, non sono andate deluse. Forse i due CD dedicati a Mozart e le incisioni di Chopin, che risalgono a anni a cavallo del '60, appaiono leggermente appannate, ma in genere la qualità del suono è veramente molto appagante: si può ascoltare musica eccellente eseguita da un grande inarrivabile, accompagnato da degni direttori, che magari non sono così famigliari in Europa (Krips e Wallenstein)E' rappresentato tutto il grande concertismo ottocento: Mozart, Beethoven, Chopin, Brahms, Greig, Saint Saens, con una puntata su Rachmaninoff. Si ascolta con grande gioia. Non può mancare in una CD teca di un medio appassionato.

11枚すべてステレオ録音のピアノ協奏曲。(11枚目のシマノフスキーのみ52年録音）ルービンシュタイン70歳を越えた頃から88歳頃までの演奏が殆ど。さすがに88歳頃のベートーベンは、伴奏のバレンボイムに敬意をあらわしたいような覚束ない運びになっている。面白かったのは、モーツアルト。5曲残している。今まで聴いてきたモーツアルトと違って、ルービンシュタインだけのモーツアルト。せめてあと10曲ぐらいは、残して欲しかったと5曲を聴いて思った。チャーミングこの上ないモーツアルト。カデンツァもルービンシュタインらしく華やか。同時代、同じアメリカで活躍したヴィルトーゾピアニスト、ホロヴィッツとキャラが全然違うのが面白い。ルービンシュタインは、聴いていると幸福感に満たされ、セレブになれる事。非日常を体験させてくれる。しかし、悪い見方をすれば、陰影に乏しく、コスモポリタン的な同じマンネリのピアニズム。それを承知で、SP時代の30年代録音からのルービンシュタインを聴いている。　時代は変わりルービンシュタインの年齢も変わっているのに、ルービンシュタインの美学が統一されている事に驚かされる。生前から華麗な生き様で話題が尽きなかった。そして、死して残した録音でも華麗でゴージャスな演奏群である。凡人には、到底真似の出来ない一生であった。

Über Rubinstein wurde schon viel aus berufenerer Feder geschrieben, kurz: er ist einer der ganz herausragenden Pianisten des 20. Jahrhunderts. Meine Erwartungen waren im Hinblick auf den Preis der Box dennoch nicht allzu hoch, immerhin ist ein Teil der Aufnahmen schon etliche Jahrzehnte alt.Technisch wurden die Aufnahmen wohl überarbeitet, kein Rauschen, kein Knacken. Noch konnte ich nicht alles hören, aber es ist im Vergleich zu neueren Aufnahmen schon faszinierend, wie sehr Rubinstein sich als Künstler bei aller technischen Brillianz zurücknimmt, mit dem Instrument zu verschmelzen scheint und sich ganz der von ihm so interpretierten .ursprünglichen Intention des Komponisten unterordnet. Bislang waren bei Chopin für mich die Aufnahmen mit Clara Haskil Referenz, das werde ich jetzt zumindest überdenken.müssen.Der gleichzetig angebotene Download fast in CD-Qualität ist mehr als ein Bonbon. Bei den "Tags" fiel mir auf, dass insbondere bei Mozart sich teilweise falsche Tags eingeschlichen hatten.Das tut aber meiner vorbehaltlosen Kaufempfehlung keinen Abbruch. .