Rubinstein Collection Vol. 58

Rubinstein Collection Vol 58 Picture

Rubinstein Collection Vol 58 Photo

Rubinstein Collection Vol 58 Picture

Rubinstein Collection Vol 58 Pic

Rubinstein Collection Vol 58 Image

Rubinstein Collection Vol 58 Picture

Most helpful customer reviews

28 of 28 people found the following review helpful.
First Rate Beethoven from Rubinstein
By Hank Drake
The recordings on this CD are from Rubinstein’s second complete set of the Beethoven Piano Concertos (there is also a seperate Fourth Concerto, with Beecham, recorded in 1947).

These recordings, made in 1963-64, demonstrate Rubinstein was just as “on top” of this music technically as he was in the earlier set with Krips (1956) and much more “into” them musically. In addition, the playing is notably more alert and straightforward than in his later set with Barenboim (1975). To be sure, purists will quibble with Rubinstein’s use of rubato, approach to ornamentation, (not to mention his use of Busoni’s editions of Beethoven’s cadenzas in the Fourth Concerto) but these performances are a joy from the first bar to the last. Leisdorf, with the Boston Symphony Orchestra, are to be credited with a fine accompaniment, far more detailed than in the earlier set with Krips.

All three sets of Beethoven Concertos from Rubinstein are worth having, but for those only able to obtain one–this is the one to have. The sound, which was pretty good to begin with, has been superbly remastered.

23 of 23 people found the following review helpful.
Beethoven’s heart and soul
By Kevin McManus
Arthur Rubinstein never wanted to go down in history as a major Beethoven performer; he had been a legend for his Chopin, Brahms and Schumann recordings, and, as for Beethoven, he probably didn’t feel like looking for a “new way”. Anyway, it’s pretty interesting to hear a statement Rubinstein made in the beautiful 1970 movie “Rubinstein: l’amour de la vie”: “I could accept the disappearance of a whole island from the face of the earth, but I couldn’t live without Beethoven”. It’s Rubinstein’s way to love music: a matter of heart and soul, not the result of so-called “philological studies”. So that’s Ruby’s Beethoven: maybe classical in its approach and style, but with a firing excitement running through the whole performance. Compare this recording of the “Emperor” third movement with the “standard” Backhaus’ rendition: if Backhaus seems to seat on every note, not to sound too childish or “naive”, Rubinstein just jumps into music and lets it run through the most thrilling finale ever heard. Or listen to the beginning of the Fourth Concerto: tone quality and beautiful use of rubato allow Ruby to SING the introduction without choosing a too easy “Frank-Mills-like” approach.

Rubinstein recorded Concerto n. 4 four times, and I think this is the one to own, if you really can’t have them all; his early recording with Beecham is also beautiful, but suffers from the effects of the odd Saint-Saens cadenzas; both n. 4 and n. 5 also appear in their splendor in the two other Ruby’s all-Beethoven sets, with Krips (vol. 36) and Barenboim (voll. 78 and 79); in my opinion, anyway, this performances with underrated conductor Eric Leinsdorf and the splendid BSO are by far the best: Rubinstein is at the peak of his artistry, and the orchestra provides for a passionate and powerful playing.

21 of 23 people found the following review helpful.
Fine Quality Renditions
By A
Beethoven is not as easy as he sounds. Sure, his concertos are not as difficult as Brahms’s or Rachmaninoff’s, but they do require a great deal of thought and interpretation, especially his fourth (which happens to be his finest in terms of form).

The fourth concerto is a great masterpiece-Rubinstein’s favorite of Beethoven’s actually. It has very poetic content and is perfect in it’s design. (On a personal note, I’m currently working on this piece. I must say that it is very difficult to interpret in some places.) I think Rubinstein does a swell job.

The fifth concerto (the “Emperor”) is played with much élan. This piece demands for a wide horizon of style and good technique. It too, can be difficult to interpret.

I think this disc is a fine model for students to follow, or for personal enjoyment. I hope you will disregard Mr. Nelson José de Camargo’s review below. The sound is great, the performances are wonderful, and I am not ashamed that I own this recording in the least. I’m down right proud of it.

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