Frederic Chopin John Barbirolli London Symphony Orchestra - Rubinstein Collection Vol 5 (25 tracks) +Album Reviews

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Frederic Chopin, John Barbirolli, London Symphony Orchestra
Rubinstein Collection, Vol. 5
Genre: Classical

Track Listings (10) - Disc #1
1. Piano Concerto No. 1 in E minor, Op. 11, CT. 47: Allegro maestoso
2. Piano Concerto No. 1 in E minor, Op. 11, CT. 47: Romance
3. Piano Concerto No. 1 in E minor, Op. 11, CT. 47: Rondo
4. Piano Concerto No. 2 in F minor, Op. 21, CT. 48: Maestoso
5. Piano Concerto No. 2 in F minor, Op. 21, CT. 48: Larghetto
6. Piano Concerto No. 2 in F minor, Op. 21, CT. 48: Allegro vivace
7. Nocturnes (3) for piano, Op. 9, CT. 108-110: Nocturne in B flat minor, Op. 9, No. 1
8. Nocturnes (3) for piano, Op. 9, CT. 108-110: Nocturne in E flat major, Op. 9, No. 2
9. Nocturnes (3) for piano, Op. 9, CT. 108-110: Nocturne in B major, Op. 9, No. 3
10. Nocturnes (3) for piano, Op. 15, CT. 111-113: Nocturne in F major, Op. 15, No. 1
Track Listings (15) - Disc #2
1. Nocturnes (3) for piano, Op. 15, CT. 111-113: Nocturne in F sharp major, Op. 15, No. 2
2. Nocturnes (3) for piano, Op. 15, CT. 111-113: Nocturne in G minor, Op. 15, No. 3
3. Nocturnes (2) for piano, Op. 27, CT. 114-115: Nocturne in C sharp minor, Op. 27, No. 1
4. Nocturnes (2) for piano, Op. 27, CT. 114-115: Nocturne in D flat major, Op. 27, No. 2
5. Nocturnes (2) for piano, Op. 32, CT. 116-117: Nocturne in B major, Op. 32, No. 1
6. Nocturnes (2) for piano, Op. 32, CT. 116-117: Nocturne in A flat major, Op. 32, No. 2
7. Nocturnes (2) for piano, Op. 37, CT. 118-119: Nocturne in G minor, Op. 37, No. 1
8. Nocturnes (2) for piano, Op. 37, CT. 118-119: Nocturne in G major, Op. 37, No. 2
9. Nocturnes (2) for piano, Op. 48, CT. 120-121: Nocturne in C minor, Op. 48, No. 1
10. Nocturnes (2) for piano, Op. 48, CT. 120-121: Nocturne in F sharp minor, Op. 48, No. 2
11. Nocturnes (2) for piano, Op. 55, CT. 122-123: Nocturne in F minor, Op. 55, No. 1
12. Nocturnes (2) for piano, Op. 55, CT. 122-123: Nocturne in E flat major, Op. 55, No. 2
13. Nocturnes (2) for piano, Op. 62, CT. 124-125: Nocturne in B major, Op. 62, No. 1
14. Nocturnes (2) for piano, Op. 62, CT. 124-125: Nocturne in E major, Op. 62, No. 2
15. Nocturne for piano in E minor, KK IV/b

CD Details

All Artists: Frederic Chopin, John Barbirolli, London Symphony Orchestra, Artur Rubinstein
Title: Rubinstein Collection, Vol. 5
Members Wishing: 1
Total Copies: 0
Label: RCA
Original Release Date: 1/1/1949
Re-Release Date: 8/7/2001
Album Type: Box set, Original recording remastered
Genre: Classical
Styles: Forms & Genres, Concertos, Historical Periods, Modern, 20th, & 21st Century, Instruments, Keyboard, Symphonies
Number of Discs: 2
SwapaCD Credits: 2
UPC: 090266300525

CD Reviews

Dazzling & Poetic Chopin from the 1930s Rubinstein

Hank Drake | Cleveland, OH United States | 08/29/2001

(5 out of 5 stars)

"For those who know Rubinstein's Chopin only from his stereo recordings, this 2-CD set of Concertos and Nocturnes will come as something of a shock. 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), but they are understandable given the fact that editing of recordings was not possible then. Despite the occasional fluffs, and the dated sound, I prefer these versions to Rubinstein's later versions. The London Symphony Orchestra under John Barbirolli provides a strong accompaniment to these often underrated works. As with the Concerto, Rubinstein's 1936-1937 Nocturnes are far different from his 1960s stereo version. His approach to these miniatures is markedly freer, with more sensitive shades of pianissimo (Rubinstein's quiet passages became louder as time progressed, possibly due to hearing loss), and far more pronounced use of rubato. As with his other two versions of these works, Rubinstein ever allows sentiment (empathy) to be confused with sentimentality (schmaltz), and the inherent dignity and structural integrity of Chopin's music is preserved. Considering that these recordings come from the 1930s, the sound restoration is astonishing. There has been some filtering of surface noise, but the high frequencies are well preserved. The balance in the Concerto is acceptable, although the piano has a somewhat "tubby" sound that one usually associates with Decca/London recordings."