Review of Rubinstein Collection, Vol. 27 [BOX SET] [ORIGINAL RECORDING REMASTERED]

Arthur Rubinstein made three recordings of Chopin's 51 Mazurkas, this second set being made in 1952-1953. As with most everything he made multiple recordings of, the three sets of Mazurkas (along with three Mazurkas he recorded separately in 1932) make for fascinating comparisons. There is a gradual metamorphosis from the more exciting, brilliant, and episodic performances of the 1930s toward the more sober, reflective, structurally cohesive approach of the 1960s recordings.
Rubinstein considered the stereo version of the mazurkas (Volume 50) one of the finest recordings he had ever made. But in my opinion, his earlier versions of the mazurkas are superior. In the 1930s set (volume 6), he more effectively captures the "swing" of this Polish peasant dance, where the 1960s version tends to sound metrically stricter. This 1950s version (Volume 27) melds the youthful and mature approaches. Rubinstein also uses a wider tonal pallette in this second set.
There are many valid approaches to these elusive gems. In addition to this set, collectors would do well to aquire the 29 Mazurkas William Kapell recorded before his early death, and the scattered Mazurkas recorded by Horowitz.
The mono sound is a bit dry, with little sense of space round the piano, but acceptable.

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Review of Arthur Rubinstein plays Chopin [Box Set] [BOX SET]

If someone put a gun to my head and demanded to know the best choice for a Chopin cd purchase, I would state with confidence "get the EMI classics Rubinstein collection".These recordings, made mostly in the 30s, contain some of the very best Chopin ever recorded.I've spent a lot of effort trying to find definitive versions of every Chopin piece, with the result that the Rubinstein 30s recordings of the Concertos, Nocturnes, Mazurkas (which are contained in the present set) are historically definitive.For competitors, I mention Moravec's 60s recording of the Nocturnes and Zimerman's two recordings of the concertos.I know of no better recording of the complete Mazurkas.Also, no Chopin fan should be without the present recordings of the Scherzi and Polonaises, which have few competitors.For the Barcarolle I suggest Dinu Lipatti, and for the Berceuse, Solomon.But each recording here, definitive or not, is first rate and a front runner.The recordings were made at the beginning of a transition period Rubinstein made in his 40s when he forced himself to relearn his repertiore in a more disciplined manner than he had previously; it was at this stage in his life that Rubinstein acquired the status of being one of the greatest piano artists of the century.Thus these recordings are very inspired and more reliable than later Chopin recordings he made.Of course Rubinstein is, over all pianists, most closely associated with Chopin.This is somewhat unfair in the sense that there are many brilliant pianists who have outstanding recordings of Chopin which do compare and sometimes exceed Rubinstein's.The present set is an outstanding selection which will best represent Rubinstein's contribution to a library of Chopin recordings.

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Review of Rubinstein Collection, Vol. 6 [BOX SET] [ORIGINAL RECORDING REMASTERED]

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.
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.

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