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CHOPIN, F.: Piano Concertos Nos. 1 and 2 (Rubinstein) (1946, 1953)

Composer(s):Chopin, Fryderyk
Period(s) Romantic
Genre Classical Music
Category Concertos
Catalogue 8.111296
Label Naxos Historical
Quality   320kbps
 This album is not available in your country due to licensing restrictions or copyright laws that provide or may provide for terms of protection for sound recordings that differ from the rest of the world.

This release is the first in a series devoted to Arthur Rubinstein’s ‘middle period’ Chopin cycle, recorded from the mid-1940s through the mid-1950s. Long admired by Rubinstein aficionados, these interpretations (the pianist’s second of both works) have been said to combine the fire and youthful exuberance of his 1930s recordings with the greater maturity and structural coherence that characterize his final stereo tapings. The 1946 Carnegie Hall recording of Concerto No. 2 boasts excellent sound quality due to the use of lacquer discs later transferred to tape for LP release.


Chopin Piano Concertos 1 & 2
Review By CM103591,November 2010

I feel ambivalent about having been asked to write a review of these two piano concertos played by Artur Rubinstein, not least because it would be presumptuous for me to comment upon performances by that towering genius of the piano, but also because I generally value music critics as much as I value the pontifications of wine reviewers, ever mindful of the adage that nobody has ever put up a monument to a critic. I listen to the music or drink the wine and then make up my mind. Having listened to these two concertos recently on the Australian Broadcasting Corporation's Classic FM programme it didn't take me long to make up my mind that I wanted to listen to them again, and again, and again... and having downloaded them from ClassicsOnline that is just what I have been doing, to my more....

Review By , Fono Forum,March 2010

8.111296_Fono Forum_032010_gr.pdf

Review By David Denton, Naxos,October 2008

In the mid-1940’s Arthur Rubinstein began recording for the second time a cycle of Chopin’s piano music that he hoped would marry the youthful exuberance of his 1930’s recordings with the benefit of musical maturity. In the interim period his performances of the two concertos had become more personalised, though heard in the concert hall his affectations would have been seen as added beauty to the slow passages. Over the years he had equally cultivated the mercurial fingers that he loved to display in passages of filigree and scales, and he was tempted to distort rhythms so as to accommodate these rushed and perfunctory passages. He had equally moved to a predilection for completing passages by slowing the last few notes, while in the finale of the First and


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