peacheater's Full Review: Rubinstein Collection Vol 44 - Chopin: Piano Conce...
The two piano concertos of Frederic Chopin have rightly been regarded as pinnacles of the classical concerto repertoire. Composed between 1829 and 1830, both of these pieces were utilized as concert vehicles by Chopin. Since his time, they have never left the repertoire and hundreds of pianists have performed to greater or lesser acclaim. When it comes to the present recordings by Arthur Rubinstein (1887-1982), one of the greatest Chopin interpreters of our time, I do have mixed feelings.
As with any Rubinstein recording, one of the things that becomes apparent from the outset is the pianist’s golden tone. From his entrance in the First Concerto to the brilliant mazurka at the conclusion of the Second, we are treated to a cornucopia of beautifully played notes and titanic octaves. At the same time, one can hear the singing tone for which Rubinstein and his contemporaries such as Friedman and Moiseiwitsch were so famous. Sample his performance of the second movement of the First Concerto and you will immediately know what I am talking about. The entrance is heavenly and one immediately feels that one is in the presence of one of the masters of the keyboard.
Compared to the recording of the First Concerto made by Rosina Lhevinne, Van Cliburn’s teacher, I find Rubinstein’s recording to be a beautiful and heartfelt performance, but lacking the inner fire that should characterize performances of Chopin’s music. Add to this a rather pedestrian accompaniment to the First Concerto from the New Symphony Orchestra of London under Stanislaw Skrowaczewski and the recording of the First seems beautiful, but bland when compared to Rubinstein’s earlier recordings with Barbirolli or the Lhevinne recording cited above.
When listening to the Second Concerto and comparing it to other recordings such as one made by Andre Watts some twenty to thirty years ago, comparisons clearly cannot be made. While Watts is in possession of a tremendous technique, Rubinstein plays this piece of music to the manor born. There is a beautiful and unerring sense of line underneath the stormy accompaniment and magnificent sense of occasion. The accompaniment by the Symphony of the Air and Alfred Wallenstein is good, but not anything to write home about. There are better recordings that Rubinstein made with Wallenstein such as Cesar Franck’s Symphonic Variations or the Saint-Saens Second Concerto, but this performance is still worth listening to.
The final three pieces on the CD are three etudes that were published posthumously after Chopin’s death. While Rubinstein never recorded the two great sets of etudes by Chopin, these three pieces were recorded several times. To me, however, they do not strike me as having the same inspiration that characterizes Opp. 10 and 25. However, they do receive an excellent performance from Rubinstein.
As far as the sound, it is very good ADD mono since the recordings were made between 1958 and 1962. The sound is warm and good on almost every kind of CD player that I can think of. One of the drawbacks to the recordings of the First Concerto is that the opening tutti of the orchestra was recorded at a very loud volume. RCA has attempted to correct this mistake whenever the recording has been reissued in the past, but it is still something that you need to be aware of when listening to it.
Overall, I recommend this CD for those that are seeking a Rubinstein performance of Chopin’s Second Concerto that has been ranked by other critics as one of his best. Until RCA decides to reissue the recordings that Rubinstein made with Sir John Barbirolli of these same works, however, these are enough to be getting on with.
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