It's a shame Rubinstein didn't record more of Mozart's music, for his obvious affinity for the composer shines through these 1958-1960 stereo recordings of five concertos. Rubinstein's Mozart is forthright--he refuses to s... more »entimentalize by swooning over the music's beauties or to indulge in larger-than-life playing that would rupture its classical framework. Even in the famous Andante of the 21st Concerto, his melting legato traces the curve of the melody without excess. Moderation was his byword, so while there are times one could wish for over-the-top risk taking--a more unbuttoned Allegro of the K. 453, a tad more melodrama in the first movement of the K. 466, some extra sizzle in the outer movements of K. 488--what we have is built to last for the long term. These are performances you can't get tired of. There's a general sense of rightness about tempo choices, and everything, from the singing tone to the exquisite phrasing to the perfectly managed transitions, reflects a master pianist playing music he feels deeply. The accompaniments are fine and the transfers significantly improved over past issues. --Dan Davis« less
It's a shame Rubinstein didn't record more of Mozart's music, for his obvious affinity for the composer shines through these 1958-1960 stereo recordings of five concertos. Rubinstein's Mozart is forthright--he refuses to sentimentalize by swooning over the music's beauties or to indulge in larger-than-life playing that would rupture its classical framework. Even in the famous Andante of the 21st Concerto, his melting legato traces the curve of the melody without excess. Moderation was his byword, so while there are times one could wish for over-the-top risk taking--a more unbuttoned Allegro of the K. 453, a tad more melodrama in the first movement of the K. 466, some extra sizzle in the outer movements of K. 488--what we have is built to last for the long term. These are performances you can't get tired of. There's a general sense of rightness about tempo choices, and everything, from the singing tone to the exquisite phrasing to the perfectly managed transitions, reflects a master pianist playing music he feels deeply. The accompaniments are fine and the transfers significantly improved over past issues. --Dan Davis
CD Reviews
Warm-Hearted and Red-Blooded Mozart
Hank Drake | Cleveland, OH United States | 01/22/2001
(4 out of 5 stars)
"Despite his early reputation as a hell-for-leather virtuoso, Arthur Rubinstein, was in fact one of the first pianists to record a Mozart Concerto (K. 488, recorded in 1931). The early stereo recordings on this 2CD set were made in 1958 and 1961. Purists who are obsessed with certain details of ornamentation and embellishment will not enjoy these performances. Rubinstein does not embellish the slow movements, and he generally takes trills from the main note, in contradiction to current Mozart scholarship. For those who are obsessed with details, rather than totality, there are Alfred Brendel's numerous performances--in attaining scholarly perfection, they are perfectly boring. Rubinstein's performances are another matter entirely. This is a red-blooded, warm-hearted Mozart. There is a natural rise-and-fall in Rubinstein's phrasing and rubato which wears well, even after numerous hearings. Even Mozart's more overplayed Concertos, such as K. 467 (dubiously known as the "Elvira Madigan") sound fresh and new here. Incidentally, Rubinstein plays his own candenzas in this concerto, and they are very convincing. Wallenstein (and Krips in K. 491) draw fine playing from the pickup orchestra.The sound, which was rather grainy in the LP and earlier CD versions, is much improved here. The strings, in particular, have a silky sheen which is most welcome."
Sensational performances, vastly improved sound
pspa | Boston, MA USA | 03/22/2001
(5 out of 5 stars)
"Although you may think of Rubinstein primarily as a Chopin interpreter, where he is unsurpassed, his Mozart can stand up to anyone in terms of tonal beauty and imagination, if not technical perfection. These are all classic performances of four of the very greatest piano concerti ever written, and Rubinstein puts his individual stamp on each of them, well worth listening to even if you already have a favorite recording (such as, in my case, Perahia). The great thing about this new release is that the sound quality is DRAMATICALLY improved and you would scarcely know that these are recordings from the late 50s and early 60s."
I don't know everything, but, I know what I like !
robert oneil | Indiana | 10/14/2001
(5 out of 5 stars)
"I listen to a lot of music.
I have dabbled in performance, but, I am not a professional.
With that disclaimer, I feel I must do everything in my power to
promote this exceptional collection of exceptional performances.
I have each and every one of these concertos performed by various pianists.
I won't name names or compare one to another.
I had one that I even particularly liked.
For some reason I am continually returning to these hypnotic
and enthralling performances.
I can't put it into any sort of learned or academic terms.
I am just simply captivated by the graceful force of Rubinstein's playing and the direction and sonority of the orchestras in these recordings.
What else can I say ?
Well, I have quite a few more of these discs from the Rubinstein
collection.
I heartily recommend them to any music enthusiast !
Check out his Villa-Lobos.
Yummylicious!"
Rubinstein -MOZART
Danielhh | 10/04/2005
(5 out of 5 stars)
"In 2 CD we have 5 MOZART' concertos played perfectly by
Arthur RUBINSTEIN.
Concerto n.24 with the great Josef KRIPS(1958)
Concertos n.17,20,21,23 with Alfred WALLENSTEIN(1961)
I had already these concertos by Rubinstein on 3 ninyls but on
Track Listings (7) - Disc #1