Chopin: 7 Polonaises

On this CD:

1. Polonaise for piano in C sharp minor, Op. 26/1, CT 150
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

2. Polonaise for piano in E flat minor, Op. 26/2, CT 151
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

3. Polonaise for piano in A major, Op. 40/1, CT 152
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

4. Polonaise for piano in C minor, Op. 40/2, CT 153
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

5. Polonaise for piano in F sharp minor, Op. 44, CT 154
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

6. Polonaise for piano in A flat major, Op. 53, CT 155
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

7. Polonaise-fantasy for piano in A flat major, Op. 61, CT 156
Composed by Fryderyk Chopin
Performed by Artur Rubinstein

Editorial Reviews
Amazon.com
Chopin's nationalistic side brought out the best in Artur Rubinstein. The pianist's stereo remakes yield nothing in pomp and swagger to his two earlier Polonaise cycles from the thirties and fifties, and benefit from upgraded engineering and more rhythmic exactitude. While Rubinstein's cheery traversal of the Polonaise Fantasie glosses over the work's brooding, introspective qualities, the pianist is thoroughly in his element elsewhere, especially in his signature A Flat and F Sharp Minor Polonaises. You won't go wrong with this disc. --Jed Distler

Tracks:

24 Preludes, Op.28: I - C Major
24 Preludes, Op.28: II - A Minor
24 Preludes, Op.28: III - G Major
24 Preludes, Op.28: IV - E Minor
24 Preludes, Op.28: V - D Major
24 Preludes, Op.28: VI - B Minor
24 Preludes, Op.28: VII - A Major
24 Preludes, Op.28: VIII - F Sharp Minor
24 Preludes, Op.28: IX - E Major
24 Preludes, Op.28: X - C Sharp Minor
24 Preludes, Op.28: XI - B Major
24 Preludes, Op.28: XII - G Sharp Minor
24 Preludes, Op.28: XIII - F Sharp Major
24 Preludes, Op.28: XIV - E Flat Minor
24 Preludes, Op.28: XV - D Flat Major 'Raindrop'
24 Preludes, Op.28: XVI - B Flat Minor
24 Preludes, Op.28: XVII - A Flat Major
24 Preludes, Op.28: XVIII - F Minor
24 Preludes, Op.28: XIX - E Flat Major
24 Preludes, Op.28: XX - C Minor
24 Preludes, Op.28: XXI - B Flat Major
24 Preludes, Op.28: XXII - G Minor
24 Preludes, Op.28: XXIII - F Major
24 Preludes, Op.28: XXIV - D Minor
Prelude In C Sharp Minor, Op.45
Prelude In A Flat Major
Impromptu In A Flat Major, Op.29
Impromptu In F Sharp Major, Op.36
Impromptu In G Flat Major, Op.51
Fantaisie-Impromptu In C Sharp Minor, Op.66

Tracks:

Ballade No.1 In G Minor, Op.23
Ballade No.2 In F Major, Op.38
Ballade No.3 In A Flat Major, Op.47
Ballade No.4 In F Minor, Op.52
Scherzo No.1 In B Minor, Op.20
Scherzo No.2 In B Flat Minor, Op.31
Scherzo No.3 In C Sharp Minor, Op.39
Scherzo No.4 In E Minor, Op.54

Tracks:

3 Nocturnes, Op.9: I - B Flat Minor
3 Nocturnes, Op.9: II - E Flat Major
3 Nocturnes, Op.9: III - B Major
3 Nocturnes, Op.15: I - F Major
3 Nocturnes, Op.15: II - F Sharp Major
3 Nocturnes, Op.15: III - G Minor
2 Nocturnes, Op.27: I - C Sharp Minor
2 Nocturnes, Op.27: II - D Flat Major
2 Nocturnes, Op.32: I - B Major
2 Nocturnes, Op.32: II - A Flat Major
2 Nocturnes, Op.37: I - G Minor
2 Nocturnes, Op.37: II - G Major

Tracks:

2 Nocturnes, Op.48: I - C Minor
2 Nocturnes, Op.48: II - F Sharp Minor
2 Nocturnes, Op.55: I - F Minor
2 Nocturnes, Op.55: II - E Flat Major
2 Nocturnes, Op.62: I - B Major
2 Nocturnes, Op.62: II - E Major
Nocturne In E Minor, Op.72 No.1
Nocutrne In C Sharp Minor
Nocturne In C Minor

Tracks:

12 Etudes, Op.10: I - C Major
12 Etudes, Op.10: II - A Minor
12 Etudes, Op.10: III - E Major
12 Etudes, Op.10: IV - C Sharp Minor
12 Etudes, Op.10: V - G Flat Major 'Black Key'
12 Etudes, Op.10: VI - E Flat Minor
12 Etudes, Op.10: VII - C Major
12 Etudes, Op.10: VIII - F Major
12 Etudes, Op.10: IX - F Minor
12 Etudes, Op.10: X - A Flat Major
12 Etudes, Op.10: XI - E Flat Major
12 Etudes, Op.10: XII - C Minor 'Revolutionary'
12 Etudes, Op.25: I - A Flat Major
12 Etudes, Op.25: II - F Minor
12 Etudes, Op.25: III - F Major
12 Etudes, Op.25: IV - A Minor
12 Etudes, Op.25: V - E Minor
12 Etudes, Op.25: VI - G Sharp Minor
12 Etudes, Op.25: VII - C Sharp Minor
12 Etudes, Op.25: VIII - D Flat Major
12 Etudes, Op.25: IX - G Flat Major
12 Etudes, Op.25: X - B Minor
12 Etudes, Op.25: XI - A Minor 'Winter Wind'
12 Etudes, Op.25: XII - C Minor

Tracks:

2 Polonaises, Op.26: I - C Sharp Minor
2 Polonaises, Op.26: II - E Flat Minor
2 Polonaises, Op.40: I - A Major
2 Polonaises, Op.40: II - C Minor
Polonaise In F Sharp Minor, Op.44
Polonaise In A Flat Major, Op.53
Polonaise-fantaisie In A Flat Major, Op.61

Tracks:

3 Polonaises, Op.71: I - D Minor
3 Polonaises, Op.71: II - B Flat Major
3 Polonaises, Op.71: III - F Minor
Polonaise In B Flat Minor
Polonaise In G Flat Major
Polonaise In G Minor
Polonaise In B Flat Major
Polonaise In A Flat Major
Polonaise In G Sharp Minor

Tracks:

Waltz In E Flat Major, Op.18
3 Waltzes, Op.34: I - A Flat Major
3 Waltzes, Op.34: II - A Minor
3 Waltzes, Op.34: III - F Major
Waltz In A Flat Major, Op.42
3 Waltzes, Op.64: I - D Flat Major
3 Waltzes, Op.64: II - C Sharp Minor
3 Waltzes, Op.64: III - A Flat Major
2 Waltzes, Op.69: I - A Flat Major
2 Waltzes, Op.69: II - B Minor
3 Waltzes, Op.70: I - G Flat Major
3 Waltzes, Op.70: II - F Minor
3 Waltzes, Op.70: III - D Flat Major
Waltz In E Minor (1830)
Waltz In E Major (1829)
Waltz In A Minor (?1843)
Waltz In A Flat Major (1827)
Waltz In E Flat Major ('Sostenuto', 1840)
Waltz In E Flat Major (1829 - 1830)

Tracks:

4 Mazurkas, Op.6: I - F Sharp Minor
4 Mazurkas, Op.6: II - C Sharp Minor
4 Mazurkas, Op.6: III - E Major
4 Mazurkas, Op.6: IV - E Flat Minor
5 Mazurkas, Op.7: I - B Flat Major
5 Mazurkas, Op.7: II - A Minor
5 Mazurkas, Op.7: III - F Minor
5 Mazurkas, Op.7: IV - A Flat Major
5 Mazurkas, Op.7: V - C Major
4 Mazurkas, Op.17: I - B Flat Major
4 Mazurkas, Op.17: II - E Minor
4 Mazurkas, Op.17: III - A Flat Major
4 Mazurkas, Op.17: IV - A Minor
4 Mazurkas, Op.24: I - G Minor
4 Mazurkas, Op.24: II - C Major
4 Mazurkas, Op.24: III - A Flat Major
4 Mazurkas, Op.24: IV - B Flat Minor
4 Mazurkas, Op.30: I - C Minor
4 Mazurkas, Op.30: II - B Minor
4 Mazurkas, Op.30: III - D Flat Major
4 Mazurkas, Op.30: IV - C Sharp Minor
4 Mazurkas, Op.33: I - G Sharp Minor
4 Mazurkas, Op.33: II - D Major
4 Mazurkas, Op.33: III - C Major
4 Mazurkas, Op.33: IV - B Minor
4 Mazurkas, Op.41: I - C Sharp Minor
4 Mazurkas, Op.41: II - E Minor
4 Mazurkas, Op.41: III - B Major
4 Mazurkas, Op.41: IV - A Flat Major

Tracks:

3 Mazurkas, Op.50: I - G Major
3 Mazurkas, Op.50: II - A Flat Major
3 Mazurkas, Op.50: III - C Sharp Minor
3 Mazurkas, Op.56: I - B Major
3 Mazurkas, Op.56: II - C Major
3 Mazurkas, Op.56: III - C Minor
3 Mazurkas, Op.59: I - A Minor
3 Mazurkas, Op.59: II - A Flat Major
3 Mazurkas, Op.59: III - F Sharp Minor
3 Mazurkas, Op.63: I - B Major
3 Mazurkas, Op.63: II - F Minor
3 Mazurkas, Op.63: III - C Sharp Minor
4 Mazurkas, Op.67: I - G Major
4 Mazurkas, Op.67: II - G Minor
4 Mazurkas, Op.67: III - C Major
4 Mazurkas, Op.67: IV - A Minor
4 Mazurkas, Op.68: I - C Major
4 Mazurkas, Op.68: II - A Minor
4 Mazurkas, Op.68: III - F Major
4 Mazurkas, Op.68: IV - F Minor
Mazurka In A Minor ('a Emile Gaillard', 1840)
Mazurka In A Minor ('Notre temps', 1840)
Mazurka In B Flat Major (1826)
Mazurka In G Major (1826)
Mazurka In A Flat Major (1834)
Mazurka In C Major (1833)
Mazurka In B Flat Major (For Alexandra Wolowska, 1832)
Mazurka In D Major (1832)
Mazurka In D Major (?1820)
Mazurka In F Minor, Op.68 No. 4 - Vladimir Ashkenazy

Tracks:

Piano Sonata No.2 In B Flat Minor, Op.35: I - Grave - Doppio movimento
Piano Sonata No.2 In B Flat Minor, Op.35: II - Scherzo
Piano Sonata No.2 In B Flat Minor, Op.35: III - Marche funebre
Piano Sonata No.2 In B Flat Minor, Op.35: IV - Finale: Presto
Piano Sonata No.3 In B Minor, Op.58: I - Allegro maestoso
Piano Sonata No.3 In B Minor, Op.58: II - Scherzo: Molto vivace
Piano Sonata No.3 In B Minor, Op.58: III - Largo
Piano Sonata No.3 In B Minor, Op.58: IV - Finale: Presto, non tanto
Fantaisie In F Minor, Op. 49

Tracks:

Piano Sonata No.1 In C Minor, Op.4: I - Allegro maestoso
Piano Sonata No.1 In C Minor, Op.4: II - Minuetto - Trio
Piano Sonata No.1 In C Minor, Op.4: III - Larghetto
Piano Sonata No.1 In C Minor, Op.4: IV - Finale: Presto
Variations sur un air national allemand - E Major (1826)
Rondo In C Minor, Op.1
3 Ecossaises, Op.72 No.3: I - D Major; II - G Major; III - D Flat Major
Rondo 'a la Mazur' In F Major, Op.5
Marche funebre In C Minor, Op.72 No.2
Contredanse In G Flat Major (?1827) - Vladimir Ashkenazy
Rondo In C Major, Op.73 - Vladimir Ashkenazy
Variations In D Major For Piano Duet (1826) - Vladimir Ashkenazy

Tracks:

Variations In A Major ('Souvenir de Paganini', 1829)
Variations brillantes In B Flat Major, Op.12
Rondo In E Flat Major, Op.16
Bolero In A Minor, Op.19
Cantabile In B Flat Major
Variation In E Major
Largo In E Flat Major
Allegro de concert In A Major, Op.46
3 Nouvelles Etudes (1837): I - F Minor
3 Nouvelles Etudes (1837): II - A Flat Major
3 Nouvelles Etudes (1837): III - D Flat Major
Tarentelle In A Flat Major, Op.43
Fugue In A Minor (1841 - 42)
Albumblatt in E Major (1843)
Op.74 No.2: Wiosna - Spring
2 Bourrees (1846): I - G Minor; II - A Major
Galop Marquis
Berceuse In D Flat Major, Op.57
Barcarolle In F Sharp Major, Op.60

Customer Reviews:

My experience of this CD.......2007-04-04

My hats off to this CD collection! It was worth it!!! Chopin is a true genius for the piano, on this collection.

Beautiful!.......2006-08-18

This is a beautifully played collection of Chopin's work. It was a birthday gift,
and I listen to bits of it every day. I have yet to find a favorite
CD, as each is so lovely. It is well worth the price.

Well worth the money. Wonderful! Wonderful!.......2006-06-10

I am not a classical music expert but I am an expert when it comes to a great product. I have listened to the works of rubenstein and Horowitz, but nothing is comparable to this great collection of polands favorite son. The nocturnes are dreamy and romantic. The other pieces though not as mesmerizing have plenty of depth and feeling. This is a collection that you will listen to over and over again. Although this music is great anytime, it's especially meaningful during a light rainfall. Go ahead and make this investment. It's only $100.00. For the next 100 days save a dollar and you will have it paid for. I promise you won't be sorry. Excellent! Excellent!

Best investment to make.......2006-05-21

In my opinion, this is the apex of classical music. You will not find a better CD for Chopin or any piano recordings. There may be plenty of comparable CDs, but nothing can claim to surpass this.

Although some pieces are not as good as those by other artists, Ashkenazy's interpretations of Chopin are the best I've ever heard. Add in his amazing technical performance and you've got some sublime music.

Listening to these pieces have immensely helped my own Chopin reportoire. I don't play to mimic Ashkenazy, but I use his insights and apply my own style over that and end up with something exponentially better than what I could produce on my own.

The price is something you have to seriously consider. A hundred bucks. Yeah, that's a lot of money, but that's 48 cents per song. And you'll listen to these songs dozens of times, at least, I guarantee. Plus it's a great deal... if you were to get all the Ashkenazy-Chopin CDs available on Amazon, overlapping pieces as little as possible, you'd pay $30 more and still not have everything.

This is an investment for life and will definitely remain one of my favorite CD sets for decades. Decades. A hundred bucks for decades of amazing music. This stuff is larger than today, larger than life.. music this good is something you can't afford to pass up because of temporary financial difficulties.

A great pianist interpreting the most inspired composer ever !.......2005-09-15

Lets imagine that Chopin himself has recorded his own compositions in a perfectly clear CD. I am sure that some classical music reviewers would say "This is not the way Chopin is meant to be played". These classical music "pundits" are very intolerant.

Interpretation and emotion feeling is also a matter of taste, so that the only one who can give a final answer is Franois (Frederic).

Ashkenazy is gifted with a phenomenal technique, a great pianist. So that this collection is for sure 5 stars. Enjoy it.

Ah, if you like to see piano technique in action, listen to Georgy Cziffra's interpretation of Etude op. 10 no. 4. (Search the album in my reviews.)

Arthur Rubinstein plays Chopin [Box Set]

Average customer rating:

THE GREATEST OF CHOPIN PIANISTS
The greatest interpretation
Not such a great album
Love it.
RECORDING QUALITY IS A FACTOR

Arthur Rubinstein plays Chopin [Box Set]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Great Recordings Of The Century - Dinu Lipatti
Schubert: The Piano Sonatas
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B000002S59
Release Date: 1994-03-15

Tracks:

Piano Concerto No. 1 In E minor, Op. 11: Allegro maestoso risoluto
Piano Concerto No. 1 In E minor, Op. 11: Romanze (Larghetto) -
Piano Concerto No. 1 In E minor, Op. 11: Rondo vivace
Piano Concerto No. 2 In F minor, Op. 21: Maestoso
Piano Concerto No. 2 In F minor, Op. 21: Larghetto
Piano Concerto No. 2 In F minor, Op. 21: Allegro vivace
Waltz In C Sharp Minor, Op. 64, No. 2
Nocturne No. 1 In B Flat Minor, Op. 9 No. 1
Nocturne No. 2 In E Flat Major, Op. 9 No. 2
Nocturne No. 3 In B Major, Op. 9 No. 3

Tracks:

Nocturne No. 4 In F Major, Op. 15 No. 1
Nocturne No. 5 In F Sharp Major, Op. 15 No. 2
Nocturne No. 6 In G Minor, Op. 15 No. 3
Nocturne No. 7 In C Sharp Minor, Op. 27 No. 1
Nocturne No. 8 In D Flat Major, Op. 27 No. 2
Nocturne No. 9 In B Major, Op. 32 No. 1
Nocturne No. 10 In A Flat Major, Op. 32 No. 2
Nocturne No. 11 In G Minor, Op. 37 No. 1
Nocturne No. 12 In G Major, Op. 37 No. 2
Nocturne No. 13 In C Minor, Op. 48 No. 1
Nocturne No. 14 In F Sharp Minor, Op. 48 No. 2
Nocturne No. 15 In F Minor, Op. 55 No. 1
Nocturne No. 16 In E Flat Major, Op. 55 No. 2
Nocturne No. 17 In B Major, Op. 62 No. 1
Nocturne No. 18 In E Major, Op. 62 No. 2
Nocturne No. 19 In E Minor, Op. 71 No. 1 (posth.)

Tracks:

Waltz In A-Flat Major, Op. 34, No. 1
Mazurka In F-Sharp Minor, Op. 6, No.1
Mazurka In C-Sharp Minor, Op. 6, No.2
Mazurka In E-Major, Op. 6, No.3
Mazurka In E-Flat Major, Op.6, No.4
Mazurka In B-Flat Major, Op. 7, No. 1
Mazurka In A-Minor, Op. 7, No.2
Mazurka In F-Minor, Op. 7, No. 3
Mazurka In A-Flat Major, Op. 7, No.4
Mazurka In C-Major, Op. 7, No. 5
Mazurka In B-Flat Major, Op. 17, No.1
Mazurka In E-Minor, Op. 17, No. 2
Mazurka In A-Flat Major, Op. 17, No. 3
Mazurka In A-Minor, Op. 17, No. 4
Mazurka In G-Minor, Op. 24, No. 1
Mazurka In C-Major, Op. 24, No. 2
Mazurka In A-Flat Major, Op. 24, No. 3
Mazurka In B-Flat Minor, Op. 24, No. 4
Mazurka In C-Minor, Op. 30, No. 1
Mazurka In B-Minor, Op. 30, No. 2
Mazurka In D-Flat Major, Op. 30, No. 3
Mazurka In C-Sharp Minor, Op. 30, No. 4
Mazurka In G-Sharp Minor, Op. 33, No. 1
Mazurka In D-Major, Op. 33, No. 2
Mazurka In C-Minor, Op. 33, No. 3
Mazurka In B-Minor, Op. 33, No. 4
Mazurka In C-Sharp Minor, Op. 41, No. 1
Mazurka In E-Minor, Op. 41, No. 2
Mazurka In B-Major, Op. 41, No. 3
Mazurka In A-Flat Major, Op. 42, No. 4
Mazurka In G-Major, Op. 50, No. 1
Mazurka In A-Flat Major, Op. 50, No. 2
Mazurka In C-Sharp Minor, Op. 50, No. 3

Tracks:

Mazurka In B-Major, Op. 56, No. 1
Mazurka In C-Major, Op. 56, No. 2
Mazurka In C-Minor, Op. 56, No. 3
Mazurka In A-Minor, Op. 59, No. 1
Mazurka In A-Flat Major, Op. 56, No. 2
Mazurka In F-Sharp Minor, Op. 56, No. 3
Mazurka In B-Major, Op. 63, No. 1
Mazurka In F-Minor, Op. 63, No. 2
Mazurka In C-Sharp minor, Op. 63, No. 3
Mazurka In G-Major, Op. 67, No. 1
Mazurka In G-Minor, Op. 67, No. 2
Mazurka In C-Major, Op. 67, No. 3
Mazurka In A-Minor, Op. 67, No. 4
Mazurka In C-Major, Op. 68, No. 1
Mazurka In A-Minor, Op. 68, No. 2
Mazurka In F-Major, Op. 68, No. 3
Mazurka In F-Monor, Op. 68, No. 4
Mazurka In A-Minor, Op. Posth. (A son ami Emile Gaillard)
Mazurka In A-Minor, Op. posth. (Notre temps)
Scherzi In B-Minor, Op. 20
Scherzi In B-Flat Minor, Op. 31
Scherzi In C-Sharp Minor, Op. 39
Scherzi In E-Major, Op. 54

Tracks:

Barcaolle In F-Sharp Major, Op. 60
Berseuse In D-Flar Major
Polonaise In C-Sharp Major, Op. 26, No. 1
Polonaise In E-Flat Major, Op. 26, No.2
Polonaise In A-Major, Op. 40, No. 1
Polonaise In C-Minor, Op. 40, No. 2
Polonaise In F-Sharp Major, Op. 44
Polonaise In A-Flat Major, Op. 53 (Heroic)
Polonaise In A-Flat Major, Op. 61 (Polonaise-Fantaisie)
Andante splanato & polonaise brillante In E-Flat Major, Op. 22

Customer Reviews:

THE GREATEST OF CHOPIN PIANISTS.......2007-03-01

These are the earlier discs of Rubinstein's Chopin, recorded by HMV in London during the 1930's. It is less complete than his later recordings for RCA - no Sonatas, no Ballades, no Etudes. The sound is naturally of its time - but in many ways more natural than the sharply-lit, slightly edgy piano sound RCA favoured in the 50's and 60's. Nevertheless, these are the Chopin performances I return to most.

Rubinstein's natural affinity with Chopin is legendary. He seemed always able to capture precisely the right degree of rubato at exactly the right moment in these pieces. And he had a unique ability in his countryman's music to balance the lyrical with the impassioned, what seems completely spontaneous with what is clearly deeply considered. The Nocturnes here are, I think, the best you'll hear anywhere on disc. In the greatest of them - the Opp.37 & 48 sets, for example - Rubinstein gets the contrast between the dreamy nocturnal outer sections with the darker, more impassioned central sections just right. These are not salon miniatures in his hands but big works, if not in length then in content. And no-one can match Rubinstein in the elusive diversity of this complete set of Mazurkas. The two Concerti both have Barbirolli as the sympathetic conductor, following Rubinstein's lead in the ebb and flow of phrases and whole sections of these gorgeous and often maligned works. Interestingly the recording of Concerto No.2 (actually the first composed) dates from before the pianist's famous withdrawal from public performance to reconstruct his technique and his approach, that of Concerto No.1 from after. Perhaps one can detect a touch more maturity and refinement in his approach to the latter, but they are both ravishing performances.

Many of the performances on these 5 discs are the greatest Chopin you're likely to hear. And the ear soon adjusts to the somewhat old-fashioned recorded piano sound. This is a highly desirable set for any lover of Chopin and/or great piano playing.

The greatest interpretation.......2007-02-17

The interpretation is stunning. Mono - but no matter for solo piano - and a wee bit hissy but still quite superb.

Not such a great album.......2007-01-12

This album was recorded from records as you can hear the scratches and skips. Don't recommend it!

Love it........2006-06-22

This is my favorite album. I think that not even Rubinstein's later recordings attain this quality of musical involvment.

There is a fair amount of background noise, but the music helps to forget it rather quickly overall.

RECORDING QUALITY IS A FACTOR.......2005-02-10

Otherwise, I would have given 5 stars. The fact that these have a hiss (and you can practically hear him close the piano on several numbers) should be mentioned. I guess we are spoiled to audio quality, but this is an expensive collection and this fact was glaringly omitted. That said, I have enjoyed the recordings, in spite of the very audible hiss.

Average customer rating:

Impecable!
Superb Playing
Really extraordinary performance of the Preludes and Etudes!
About the Etudes
This Music Doesn't Need A Title

Chopin: Etudes/Preludes/Polonaises

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Chopin: Nocturnes
Beethoven: Die Späten Klaviersonaten
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Chopin: The Complete Nocturnes And Impromptus
Martha Argerich Plays Chopin: The Legendary 1965 Recording

ASIN: B000001GE5
Release Date: 1991-02-08

Tracks:

12 Etudes Op. 10: No. 1 C-dur: Allegro
12 Etudes Op. 10: No. 2 a-moll: Allegro
12 Etudes Op. 10: No. 3 E-dur: Lento, ma non troppo
12 Etudes Op. 10: No. 4 cis-moll: Presto
12 Etudes Op. 10: No. 5 Ges-dur: Vivace
12 Etudes Op. 10: No. 6 es-moll: Andante
12 Etudes Op. 10: No. 7 C-dur: Vivace
12 Etudes Op. 10: No. 8 F-dur: Allegro
12 Etudes Op. 10: No. 9 f-moll: Allegro, molto agitato
Etudes Op. 10: No. 10 As-dur: Vivace assai
Etudes Op. 10: No. 11 Es-dur: Allegretto
Etudes Op. 10: No. 12 c-moll: Allegro con fuoco
12 Etudes Op. 25: No. 1 As-dur: Allegro sostenuto
12 Etudes Op. 25: No. 2 f-moll: Presto
12 Etudes Op. 25: No. 3 F-dur: Allegro
12 Etudes Op. 25: No. 4 a-moll: Agitato
12 Etudes Op. 25: No. 5 e-moll: Vivace
12 Etudes Op. 25: No. 6 gis-moll: Allegro
12 Etudes Op. 25: No. 7 cis-moll: Lento
12 Etudes Op. 25: No. 8 Des-dur: Vivace
12 Etudes Op. 25: No. 9 Ges-dur: Allegro assai
12 Etudes Op. 25: No. 10 h-moll: Allegro con fuoco
12 Etudes Op. 25: No. 11 a-moll: Lento - Allegro con brio
12 Etudes Op. 25: No. 12 c-moll: Molto allegro, con fuoco

Tracks:

24 Preludes Op. 28: No. 1 C-Dur: Agitato
24 Preludes Op. 28: No. 2 a-moll: Lento
24 Preludes Op. 28: No. 3 G-Dur: Vivace
24 Preludes Op. 28: No. 4 e-moll: Largo
24 Preludes Op. 28: No. 5 D-Dur: Allegro molto
24 Preludes Op. 28: No. 6 h-moll: Lento assai
24 Preludes Op. 28: No. 7 A-Dur: Andantino
24 Preludes Op. 28: No. 8 fis-moll: Molto agitato
24 Preludes Op. 28: No. 9 E-Dur: Largo
24 Preludes Op. 28: No. 10 cis-moll: Allegro molto
24 Preludes Op. 28: No. 11 H-Dur: Vivace
24 Preludes Op. 28: No. 12 gis-moll: Presto
24 Preludes Op. 28: No. 13 Fis-Dur: Lento
24 Preludes Op. 28: No. 14 es-moll: Allegro
24 Preludes Op. 28: No. 15 Des-Dur: Sostenuto
24 Preludes Op. 28: No. 16 b-moll: Presto con fuoco
24 Preludes Op. 28: No. 17 As-Dur: Allegretto
24 Preludes Op. 28: No. 18 f-moll: Allegro molto
24 Preludes Op. 28: No. 19 Es-Dur: Vivace
24 Preludes Op. 28: No. 20 c-moll: Largo
24 Preludes Op. 28: No. 21 B-Dur: Cantabile
24 Preludes Op. 28: No. 22 g-moll: Molto agitato
24 Preludes Op. 28: Nr. 23 F-Dur: Moderato
24 Preludes Op. 28: No. 24 d-moll: Allegro apassionato

Tracks:

Polonaise Op. 26: No. 1: Allegro appassionato
Polonaise Op. 26: No. 2: Maestoso
Polonaise Op. 40: No. 1: Allegro con brio
Polonaise Op. 40: No. 2: Allegro maestoso
Polonaise Op. 44
Polonaise Op. 53
Polonaise-Fantasie Op. 61

Amazon.com essential recording

Chopin may have distrusted romanticism, yet no other romantic composer has worn as well. His music both stings and sings with harmonic adventurousness, together with an uncanny instinct for the geography of the keyboard. The Op. 28 Préludes exemplify Chopin's genius for telegraphing big ideas into snug spaces, while his Études provide an index to his pianistic idiom. Pollini fares best in the Préludes, where his aristocratic pacing and cool control allow the music's mood swings to speak for themselves. The Études glitter with icy accuracy, but the Polonaises lack Rubinstein's rhythmic snap and generosity of spirit. Still, Pollini's unruffled pianism remains the envy of every conservatory student and competition aspirant. DG's analog sonics are fully competitive. --Jed Distler

Customer Reviews:

Impecable!.......2005-11-09

Pollini's interpretation and execution of the 24 etudes is superb, as are his polanaises. His preludes however, no.19 especially, I feel, have a touch of delicacy which it could do without. Where marked 'vivace' it is played closer to 'presto'. Apart from this however it is a first class performance, and fully worthy of the 5 stars I have given it.

Matt

Superb Playing.......2005-08-24

While sometimes a little faster than generally performed (as my teacher put it "because he can!") Pollini exeplifies near flawless technique with wonderful interpretation of Chopin. The only complaint I personally have, is that the playing seems a bit technical, and not as much emotion is put into the actual peices. Though Etudes are not generally known for their musicality, Pollini, I feel, could still be afford a little more push/pull in some of the selections.

Pollini does bring a new freshness to the set of preludes. Overplayed and sometimes butchered by the amateur pianist, Pollini peroforms these preludes masterfully and brings them to a level that I've rarely heard.

Other than my minor complaint, I feel that for any student or teacher willing to complete, add or update their library this is a great choice. Pollini delivers a crystal clear performance, worthy of any listener. Easily one of my favorite recordings in my collection!

Really extraordinary performance of the Preludes and Etudes!.......2005-02-25

It takes a very great artist to be able to play pieces which have been overperformed and overtaught, and bring something fresh to the table. Pollini does just that, especially in his performances of the Preludes and Etudes.

I would love to take a poll of the pianists and piano teachers here to see how many times they have taught the Chopin Preludes. From my own experience, I've taught these pieces so many times that I find myself dreading teaching #4 (e minor), #6 (b minor), #7 (A Major) or #20 (c minor) -- and I think we forget that these pieces are actual music and NOT "teaching pieces".

Pollini succeeds in taking these over-played pieces and transforming them back into "music". It's really nothing short of amazing. As I listened, I began noticing secondary melodies I'd never heard, particularly in #5 (D Major), #13 (F-Sharp Major), and #14 (e-flat minor). The F-Sharp Major Prelude is particularly gorgeous -- almost heart-rendingly so in the middle section. The g-sharp minor Prelude has exactly the right sense of fire and drive to bring this piece across; the A-Flat Major, E-Flat Major and F Major Preludes are nothing short of ravishing.

I bought this CD collection on suggestion of a friend of mine (also a pianist) who has experienced the same kind of burn-out I have with Chopin pieces which are over-taught and over-played, and/or over-interpreted to the point where the pieces become parodies of themselves. (I never heard so much bad, truly affected Chopin playing as I did at the school where I initially trained as a pianist!).

Pollini's Chopin is a real breath of fresh air -- restrained, elegantly timed rubatos; enough pedal to effect tonal coloring without the overpedalling so common in so many Chopin performances; a sense of drama in the playing combined with an edge of restraint so the pieces are never "over-played"; and he has an uncanny ability to convey a strong sense of structure to these pieces.

I can say quite honestly that the performances of the Preludes and Etudes on this CD have the force of a revelation. The proof of this is that after hearing the CD (many times), I have decided to learn all 24 Preludes (plus the C-Sharp Minor Prelude, op. 45) and play them all in a recital.

The Polonaises aren't quite as spellbinding as the Preludes and as riveting as the Etudes; but the Preludes and Etudes make this a compelling collection. I strongly and enthusiastically recommend this CD compilation!

About the Etudes.......2001-02-14

This album may be the best Chopin package on the market, especially given the bargain price. That said, an out-of-print CD featuring a young Vladimir Ashkenazy, recorded in Moscow in 1959/60, would be an even better choice (with respect to the Etudes) should it ever again become available. In that legendary recording, Ashkenazy's technique - especially in Op. 25, No. 6 - sends chills down the spine, and he infuses more life into the music than does Pollini. The Ashkenazy of that vintage should not be confused with his older ghost, currently available on the London/Decca label.

What Pollini offers here are whistle-clean performances of (some of) Chopin's major solo works. Pollini's approach, if somewhat clinical, is refreshing for its lack of affectation or excess. He does not belabor the music as many other Chopin performers are inclined to do, and he plays with solid technique throughout.

This Music Doesn't Need A Title.......2001-02-09

I really like this CD because (1) I am a big Chopin fan, and (2) I know these pieces well. Chopin's good point is his romanticism. The tracks on this CD are full of his deep, pasionate feeling for his native Poland, even though he was half French and lived outside Poland in such places as Majorca. He was the archetype of the romantic exile, and did his best to live up to this image by writing appropriately evocative music.

Average customer rating:

Ashkenazy is a joy to hear
Not a Good Choice for Polonaises
Utterly powerful

Chopin Polonaises

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000042EG
Release Date: 1997-06-10

Tracks:

3 Polonaises, op. 71: I - D Minor
3 Polonaises, op. 71: II - B Flat Major
3 Polonaises, op. 71: III - F Minor
6 Polonaises, op. posth.: I - B Flat Minor
6 Polonaises, op. posth.: II - G Flat Major
6 Polonaises, op. posth.: III - G MInor
6 Polonaises, op. posth.: IV - B Flat Major
6 Polonaises, op. posth.: V - A Flat Major
6 Polonaises, op. posth.: VI - G Sharp Minor
2 Polonaises, op. 26: I - C Sharp Minor
2 Polonaises, 0p. 26: II - E Flat Minor
2 Polonaises, op. 40: I - A Major
2 Polonaises, op. 40: II - C Minor

Tracks:

Polonaise in F sharp minor op. 44
Polonaise in A flat major, op. 53
Polonaise-fantaisie in A flat major, op. 61
Allegro de concert, op. 46
Trois nouvelles etudes: I - F Minor
Trois nouvelles etudes: II - A Flat Major
Trois nouvelles etudes: III - D Flat Major
Tarentelle in A flat major, op. 43
Fugue in A minor
Albumblatt in E major
Wiosna
2 Bourrees: I - G Minor & II - A Major
Galop marquis
Berceuse in D flat major, op. 57
Barcarolle in F sharp major, op. 60

Customer Reviews:

Ashkenazy is a joy to hear.......2002-05-28

Like every other Chopin CD that he's done, Ashkenazy is again marvelous. There is none better. It's that simple.

Not a Good Choice for Polonaises.......2001-03-25

The only value I see in this cd is that it contains some posthumous polonaises which were written by Chopin in his teens, along with other miscellaneous pieces which are hard to find. But these minor pieces are really of interest for the collector. For the mature polonaises, I will not return to listen to these recordings. Ashkenazy plays the enthusiastic fortes with insensitivity and lack of emotion. For example if you compare his rendition of the "Military" polonaise with the recording by Rubinstein on RCA, you will stop listening. Also, for some strange reason he omits the Andante spianato and Grande polonaise, Op. 22. Ashkenazy includes the famous Berceuse and Barcarolle, which gives the illusion of being a great bargain. But outside of the miscellaneous pieces, the mature Polonaises and famous pieces could fit on one disk. So this is really not a bargain. I recommend any recording by Rubinstein over the present cd, particularly the one on RCA or the 1930s EMI recording. I don't particularly care much for Pollini's recording of the Polonaises, but it is better than Ashkenazy. For the Barcarolle I recommend Dinu Lipatti, and for the Berceuse, Solomon. Ashkenazy in general has a mixed bag of recordings. Some of them, e.g. the Rachmaninov Preludes and the Chopin Ballades and Scherzi, are outstanding and near definitive. But if someone were to ask me for an example of a poor Ashkenazy recording, the present cd is the first example I would give.

Utterly powerful.......2001-02-01

Out of all the Chopin interpreters, I think Vladimir Ashkenazy tops them all. I first heard Ashkenazy's Chopin in college when I listened to his recordings of the Nocturnes, and from then on, I've been addicted. Ashkenazy takes each of Chopin's mediums--Nocturnes, Ballades, Polonaises--and gives them each a sense of individuality, a life all of their own. And his interpretations of the Polonaises are utterly unbelievable, as there is such force and such fierce passion behind the music, such a fiery enormity that doesn't waver even for a moment. Under Ashkenazy's skilled hands, the Polonaises virtually come alive. No one could have done them better.

Average customer rating:

To play the piano according the analytical coldness of a chess player?
Brittle, tense readings, best taken one at a time
exceptional intensity
Not as great as its cracked up to be
WOW!!!

Chopin: Polonaises / Maurizio Pollini

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

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ASIN: B000006NXQ
Release Date: 1998-05-12

Tracks:

In C Sharp Minor Allegro Appassionato: Polonaise Cis-Moll Opus 26 No.1
In E Flat Minor Maetoso: Polonaise Es-Moll Opus 26 No.2
In A Major Allegro Con Brio: Polonaise A-Dur Opus 40 No. 1
In C Minor Allegro Maetoso: Polonaise C-Moll Opus 40 No. 2
In F Sharp Minor Tempo I: Polonaise Fis-Moll Opus 44
In A Flat Major Maetoso: Polonaise As-dur Opus 53
Allegro Maetoso: Polonaise - Fantaisie As-Dur Opus 61

Customer Reviews:

To play the piano according the analytical coldness of a chess player?.......2006-07-11

There are certain elements of contemporaneity that have allowed me to understand the exaggerated importance conferred to the pianist technique in this last generation of gifted pianists, as a doubtful device to enrich the vision. The technique allows to express you as artists without a minimum of commitment or personal conviction around the work you are playing. This easies the coveted search of overall objectivity and absolute control about the work. So, you may get excellent and superb results playing a contemporary repertoire n which the lack of musicality seems to be a value by itself. Moreover, you achieve the goal, but you lack presence, passion, inner fire, personal expression and subjectivity.

The problem with this assumed conception is extremely dangerous, because your playing may result quite homogeneous, losing style, personal pronouncement and even tune and temperament; and so many pianists eventually will sound democratically similar. I personally sustain the conviction every artist is potentially aristocrat; if you don't illuminate the score, you never will commit any mistake, if you turn quite rational, you have nothing to loose, but beware, because you are involuntarily becoming a playing machine.

This has a valid approach for many artists, conductors; and perhaps you may win the game at the moment to play contemporary composers, but to play Chopin under this sinister perspective is like to asphyxiate the Dionysian element present in the score. The problem in music is that both elements must be present, due they work out as Siamese brothers, you kill one of them, you are killing the other too.

This is probably, the coldest performance I have ever heard about Chopin's Polonaises. I paid special attention during four auditions in LP format and it was enough to understand the Chopin of Pollini has nothing to do with the Chopin I demand. But if you want to take the risk, it's up to you.

Brittle, tense readings, best taken one at a time.......2006-01-11

Pollini views the seven mature Polonaises of Chopin as militant works expressive of Polish fire and pride. I applaud that, but to hear all of them in a row, each played with brittle, aloof fierceness, is taxing.

Things are not helped by DG's unpleasantly clangy piano sound. We are inside the lid, and there are moments when the head-bashing becomes intolerable for any long stretch. I would also say that in the two famous major-key Polonaises, the "Heroic" and "Military," Pollini oculd have relented and given us a sense of exuberance without so much percussive insistence. I'm am a huge fan, but this 1976 release is my least favorite Pollini recital.

exceptional intensity.......2006-01-06

I could not disagree with the opinion of 'a music fan' (see below) more. Unlike, say, the mazurkas, which must be played a clear sense of their unlying dance rhythms, or even the composer's own earlier works in this genre, Chopin's 7 mature Polonaises are epic pianistic tone-poems expressing his Polish nationalism. The 4 minor key polonaises in particular have a demonic ferocity which Pollini makes the most of. His playing of the second Polonaise in Eb minor, with his very rhythmically free opening, is one of the most compelling things I have ever heard. The fourth in c-minor is equally darkly intense.
The two famous major key polonaises are given mighty readings too. Highly recommended.

Not as great as its cracked up to be.......2001-12-08

This recording of Chopin's polonaise's is very dissapointing to me. Just as many of Pollini's other Chopin recordings. Let's start by realizing what a polonaise is. It's a Polish dance. If this were my first listening to these pieces, I would think that they were anything but, the way Pollini plays them. He takes way to much liberties with the tempos, and overanalyzes them. Whether it be light or heavey, a performer cannot take too much liberty with a dance movement or else it completely looses its cohesive qualities, most importantly, a somewhat steady pulse. These aren't (in my opinion) supposed to be intense, emotional rollecoasters. Rather they are supposed to be colorful, blissful, but by no means light dance movements. The popular 6th polonaise clocks in at over 7 minutes, which is about a whole minute longer than most recordings. This is Chopin we're talking about here, not Rachmaninov. In my opinion, one should stay away from Pollini's Chopin performances. He pretty much strays from what Chopin had intended the works to be and ends up ruining the beautiful qualities held in this work.

WOW!!!.......2001-11-21

I can not imagine more accurate interpretations of these prodigious works...except (maybe) from Chopin himself. Pollini far transcends those pianists who believe that Chopin's music is romantic - Chopin never exaggerated anything (as in the normal Romantic Era tradition). Chopin's music was direct and forceful, as is Pollini. Chopin's music was nostalgic and deep, as is Pollini. Very few pianists understand Chopin as deeply as Pollini does...I highly reccommend this CD.

Average customer rating:

At least 16 / 19 well spent hours
Enlightening but slighly blemished
Chopin - Luisada, Jean-Marc
Chopin - Luisada, Jean-Marc
Learn, learn, learn!

Chopin: Complete Edition
Krystian Zimerman , Claudio Arrau , Stefan Askenase , Anatol Ugorski , Maurizio Pollini , Jean-Marc Luisada , and Zilberstein, Lilya
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00001X58Z
Release Date: 1999-10-12

Amazon.com

On the 150th anniversary of his death, Deutsche Grammophon released this impressive box set featuring the complete works of Frédéric Chopin. Spread out over 17 CDs, it contains some truly big-name artists--Argerich, Pollini, Barenboim, and Ashkenazy--and a few you've probably never heard of. The majority of the set's nine volumes contain some music newly produced for this undertaking, and a few items (Chopin's songs, for instance) were recorded specifically for this collection. A well-illustrated book is included--it contains an essay, dateline, and illustrations--and each volume in the set gets its own liner notes. The music? It varies from great to less than great, but most of it is worth hearing. Those accustomed to Rubinstein's readings of the Mazurkas will find those played by Jean-Marc Luisada less fluid and lacking Rubinstein's power. Chopin's songs, seldom heard and filled with elements of Polish folk dances and the less-than-stellar lyrics of the composer's friend Stefan Witwicki, get a college try here by soprano Elzbieta Szmytka. They sound as good as you'll hear anywhere (if you can find them). It probably goes without saying that Martha Argerich's rousing 26 Préludes are some of the set's more exciting moments. But, really, the entire collection is solid. It should be noted that budget label Naxos has released its own Chopin edition at less than half the price of this set. With Idil Biret as the only performer on that set, you miss out on some of the diverse performances and personalities found here. Also, to please those of us who already own favorite performances of these works, each two-CD volume in the Complete Chopin Edition can be purchased individually. Bravo. --Jason Verlinde

Customer Reviews:

At least 16 / 19 well spent hours.......2004-10-11

In my opinion there is no more effective way to ruin a great musical performance than to record it in front of an audience who cannot control their coughs. The first disc starts out with a 1979 live recording of Chopin's first piano/orchestra concerto featuring pianist Krystian Zimerman and the Royal Concertgebouw Orchestra of Amsterdam. The performance is good, but doesn't allow the listener full concentration,--and therefore not full enjoyment--as a distracting and annoying audience can be heard coughing, sneezing, and clearing their throats even above the orchestra's playing in mezzo forte - it gets worse, of course, at dynamically quieter musical parts. Other distractions, like chairs creaking, cracking and squeaking, pages being turned probably inches away from a microphone (perhaps to give the page-turner a chance to say "Did you hear that? That was me,") and people stomping/dropping things (?) add to the incapability of the listener's full enjoyment. I've heard much worse, however, but considering that the recording technique is no older than 25 years, this is on the verge of being unacceptable. Sure - there can be a certain charm in hearing such "humanity" on a recording, especially when it's older, but I don't think many would disagree that this is a bit too much. Hearing the opening of piano/orchestra concerto no.2, and knowing that the 18+ hours of music to come aren't going to be interrupted by coughs, is a big relief. My favorite Chopin interpreter is--and might always be--Rubinstein; his playing is straight forward, he cuts to the chase quickly, yet somehow manages to leave room for sensitivity and emotion. His performances, of course--since he never recorded a note for Deutsche Grammophon,--are not included in this "complete edition," so aside from suggestions that certain waltzes are missing, that is something that makes this boxed set incomplete for me. Pollini's general interpretation of Chopin is in my opinion, as in many others', quite weak in comparison to Argerich's, Zimerman's, or the passionate playing of Daniel Barenboim. Here Pollini performs Etudes, Scherzos, Sonatas and Polonaises. At times, during the Etudes of op. 10, I feel like I'm getting more Maurizio than I am getting Fryderyk, even though the performance (especially on no.3) may invite feelings of thriving despite the performer's occasional roaring in the left channel. The Scherzos feature some troublesome factors; first and foremost the sound (of this 1990 recording) isn't at all as good as one would expect. It's far worse than several older recordings of this set - at only six seconds into the first Scherzo (op.20) one can't avoid acknowledging obvious distortion - the recording has clearly been done with too much input level. Clips noises continue throughout the grainy and dull sound picture of these pieces. Second of all, the noises Pollini makes while playing can be quite off putting. At times he sounds like a boy with a voice just breaking experiencing climax of coition, and as we all know, Chopin had a prudish aversion to overt sexuality. One reason why Pollini's performance of the Scherzos being called "troublesome" might be harsh, is that musically he handles them ok, and I'd think that's what's essential, but Deutsche Grammophon has made the odd decision of including Pollini's recording of Sonata no. 2, op.35 (a.k.a. "Funeral March") from 1984 in this set, instead of Argerich's recording from 1975. First of all, Argerich's version has clearer sound (at least on the newly refurbished "The Originals" edition...but then again, that was released in 2002,) but second of all, and more importantly, her playing is far more straight forward during the first part of the Sonata (Grave,) whereas Pollini shows too much mercy both for strong dynamics and tempo throughout. Furthermore he's on the verge of playing parts of the March suggesting "lento," as if it read "rubato" (it's a MARCH!) His performance of Piano Sonata no.3 is also a bit lifeless, but the hour long disc of Polonaises recorded 1975 he handles surprisingly well (the occasional phlegmatic karaoke-roars may need a little time getting used to, though.) Several of these interpreters make some less musical noises while playing - Zimerman, for instance, breathes heavily through the nose after each and every completed phrase throughout all off his performances (although it can't be heard with orchestra.) When listening to his solo performances in head phones, the constant snuffling can distract and annoy quite a bit, but I know that I do the exact same thing when I play, myself, so perhaps I shouldn't complain until I've managed to rid the inconvenient problem myself. Besides Pollini's Polonaise interpretations, there's another (76 minute long) disc of Polonaises featuring mainly Ugorski, but also Argerich. Something that seems odd to me is that the sound quality of Argerich's 1974 recording once again is superior to a newer recording - in this case to the 1999 recording of Ugorski, which doesn't feature much middle in the sound picture, but uneven soughing and clip noises! Both their performances (but especially Argerich's,) are about as enjoyable as Chopin interpretations can be, I'd think, as is the technically and musically perfect, touching and mesmerizing Nocturne interpretations of Daniel Barenboim, recorded in 1981 - his playing here equals close to two hours of pure magic. While being a Rubinstein fan, I'm going to have to say that Barenboim's way of playing the Nocturnes is just how I think they should be played; they call for this somewhat gentle touch mixed in with their brutal sincerity, but I suggest for those who (especially) enjoy the Etudes, Sonatas and Scherzos to listen to Rubinstein's recordings of the works (available on RCA's Rubinstein Collection, vol. 26, vol. 45 and vol. 46.) Pollini is, of course, a fine performer, but I'd suggest listening to his interpretations of Prokofiev's and Stravinsky's work instead.
Rubinstein recorded the preludes (op.28) in their entirety only once, in 1946, which means that they aren't available in RCA's collection with preferable sound quality, but on this set Martha Argerich delivers a great performance of the 26 preludes (no.1-24, op.28, plus 25, op.45, and 26, op. 35,) recorded in 1975. One prelude that in my opinion should always be played as slow and gentle as possible is no.15 (a.k.a. "The Raindrop Prelude.") What I'd like to describe as a prefect version of the piece is performed by--despite my having done a lot of research--a, to me unknown performer, but runs at 6:08 minutes. Argerich rushes the whole piece a bit (the drops fall too closely -) the fact that her version runs at 4:51 should say a lot. Of the approximately 20 different performances I've heard of this particular prelude (obviously one of my favorites,) Argerich's is the shortest, and lays somewhere in the swamp among other "medium integral" versions. She delivers exciting performances of the other preludes, though - the first time I heard them, I hit repeat on my CD player, and listened to nothing else for three days.
The Mazurkas, here performed by Jean-Marc Luisada and Lilya Zilberstein, are performed--while beautifully--quite carefully and loosely. For those who'd like a more restrained performance of the pieces, RCA's Rubinstein Collection, vol. 50, is recommended.
Besides all the music for only piano(s,) Chopin also composed 80 minutes worth of chamber music, which here is performed by Beaux Arts Trio, et al. He also wrote 45+ minutes worth of songs, which here is performed by soprano Elzbieta Szmytka and pianist Malcolm Martineau on a 1999 performance. I don't feel qualified to comment on solo singing in Polish, but while I don't care for the occasional close-to-full effect vibrato, I like Martineau's piano playing and the almost folksy melodies and arrangements. This music distinguishes itself by far from the rest of the music in the set. Translations to several languages of the lyrics to the 19 songs are included.
The stereophony on all recordings is great, the overall sound quality on all discs (when considering the years of the recordings) I'd give a 4/5, but still rate the whole package 9/10 - I'd think that some (both older and newer) recordings could have been transferred better, while some sound superior to what you'd dare dream of. This is definitely the best complete edition of Chopin's music available, and perhaps the best collection of works available on disc by any classical composer. A lot of work has been put into the set's design, the sound, and certainly the amount and accuracy of interesting info given in the enclosed illustrated 140 page hard-cover book (of which a fifth is written in English) and in the 40-60 page booklets (also illustrated) included in each volume; practically everything you'll ever need to know about the composer (and these recordings) is included here along with all the music he wrote. Well worthy of your time and money.

Enlightening but slighly blemished.......2004-07-05

I commend DG on producing this comprehensive and thoughtfully packaged/annotated collection of Chopin's output. In it one can appreciate the wondrous manner in which Chopin at once appeased the conservative appetites of the Paris salon set while revolutionizing the genre of piano music in both traditional and more intimate forms.

The greatest virtue of this collection is the opportunity to hear more obscure elements of Chopin's collected ouevre. He wrote some lovely chamber music and wrote highly effective variations with and without orchestra. Among his 17 songs are a few gems.

As for the strength of the performances, some of them are rightly considered definitive. I love Zimerman in the piano concerti, Argerich owns the Op. 28 preludes, and I find in Pollini's scherzos the unbridled energy and interpretive depth required by these challenging pieces. Even if Daniel Barenboim's nocturnes do not set any records, they are well-done and completely satisfying.

I was less enthusiastic about Pollini's readings of the latter 2 piano sonatas, which I find prosaic on the whole. I was equally underwhelmed by Bunin's impromptus, which again betray interpretive rather than technical deficiencies. My greatest disappointment is Jean-Marc Luisada's controversial readings of the mazurkas. An unwieldy rubato rules the day here, and distorts the harmonic language to the point that it sounds like Debussy or Ravel's frequent (and unshakeably French-sounding) evocations of Spain. I much prefer any of the Rubinstein mazurka sets, which are colorful but rhythmically mindful of their namesakes.

Properly supplemented in the more familiar repertory (mazurkas, impromptus, sonatas, in particular), I believe this set is indispensable to anyone who appreciates or seeks a broader understanding of Chopin the composer. I recommend it highly.

Chopin - Luisada, Jean-Marc.......2002-04-14

I am a professional Pianist and Piano-pedagoge trained at the University of Graz and Vienna (Austria).
It seems as often reviewers/critics/listeners have the same opinions: I wonder if it isn't in some cases the old story of the Emperors new clothes - nobody dares to have a different opinion, as they do not want to appear stupid.
Some of the reviewers here, didn't like Luisadas performances of the Mazurkas. I hold the heretical opinion that Jean-Marc Luisadas performances are much better than Rubinsteins (I possess the three different complete Mazurka recordings of Rubinstein). There are few pianists that like Luisada know how to treat the piano as a truly polyphonic instrument, with absolute control of every line, and at the same time being able to emphasise every harmonic detail - giving every chord its differing and appropriate degree of tension. Furthermore he understands how to display the different moods and characters of the music. All these factors make Luisadas performances extremely colourful. Every Mazurka with Luisada is a unique experience.

Ps. Other recordings do occasionally wet the critical appetite: For instance the everywhere highly acclaimed Chopin recordings with Pollini are often musically awful, the Etudes opus 10 nr. 1 and opus 25 nr. 1 are examples. For the complete Etudes, buy Boris Berezovsky's recording for Teldec, it surpasses Pollini by far. Ds.

Chopin - Luisada, Jean-Marc.......2002-04-14

Learn, learn, learn!.......2000-10-16

This box set is a must for any lover of piano music.

DG deserves praise for coming with an excellent set of records as well as presentation of the booklets. It is breathtaking to have the opportunity to really know Chopin so well.

Performers are first rate and speak for themselves, and for the price of 8 CD's you get the whole collection. Yes, you can get in some cases better performances, but overall you can find a better compilation. Naxos has its own, and I am going to exchange it with a friend, problem will be to get mine back!

Tracks:

Polonaise No.1 in c#, Op.26
Polonaise No.2 in e flat, Op.26 No.2
Polonaise No.3 in A, Op.40 No.1 (Military)
Polonaise No.4 in c, Op.40 No.2
Polonaise No.5 in f#, Op.44
Polonaise No.6 in A flat, Op.53
Polonaise-Fant in A flat, Op.61
Andante Spianato & Grande Polonaise in E flat, Op.22
Bonus Track

Customer Reviews:

an exceptional and brilliant MISS!.......2005-04-22

1 star is too much for the price even.bad OLD recording.bad interpretation of the music.definately not definitive.this is in my opinion simpleton's music.go for chopin on naxos.

Brilliant Performance by the Master of Chopin.......2005-04-03

I have heard Chopin's Polonaises performed live by Van Cliburn and recorded by no less than Horowitz, Perahia and Ashkenazy. Nothing I have heard -- no performance I can imagine -- surmounts these readings by Arthur Rubinstein. No, not even his 1964 stereo recording (Volume 48). Do not be discouraged by this mono recording. The sound is clear, brilliant and alive -- and the performance is unsurpassed in technique and passion. From the powerful Op. 40 No.1 in A (Military) and Op. 53 in A-flat (Heroic) to the delicate, moving Polonaise-Fantaisie, Rubinstein demonstrates not only his range and interpretive gifts, but also those of Chopin. The liner notes include an observation made by the poet Heinrich Heine about Chopin in 1838: "Poland has given him a chivalrous mind and its historical sufferings; France lightness, elegance and charm; whereas Germany, romantic depth... [Chopin] is not only a virtuoso but also a poet, capable of laying open the poetry of his soul. He is a poet of sounds and there is nothing to compare with the joy he gives us..." As much could be said had this been Heine's premonition of Arthur Rubinstein. My highest recommendation.

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?

Perfect, flawless...unforgettable.......2004-03-30

Simply the best and unforgettable performance of Chopin polonaises I have ever heard...

A Rubinstien Specialty.......2003-08-03

Absolutely no one plays a Chopin Polonaise like Arthur Rubinstein. He was at the peak of his career (which was the 1950's and 1960's) when this recording was made.

All of the polonaises are played with fine grace, style, imagination, and intelligence. I especially enjoyed the F sharp minor, Op. 44 and the A flat major, Op. 53. How exciting they are! It's amazing to me, a student, how he can toss those octaves off so fluently.

Customer Reviews:

A Gem!.......2007-03-18

I've owned this disc from its original 1993 issue since shortly after it came out; now it is available on Hyperion's budget label, Helios. I had never heard of the Hungarian pianist Livia Rév, but she quickly became a favorite and I've since bought everything of hers I could find. I did not originally think I would be playing this collection of miniatures very often. Indeed, I think I got the CD primarily because I wanted to hear the unfamiliar Bartók and Jolivet pieces. I soon found that I reached for this disc often and here it is some fourteen years later and I still do. (In fact, the reason I came here to Amazon today to write this brief review is that I had once again listened to the disc last night and was charmed all over again.)

None of the music here is particularly virtuosic. But it is all beautiful. The tone of Rév's piano is particularly rich and marvelously recorded. And she is an exceedingly sensitive and musicianly player. There are subtleties of inflection, dynamics and rubato that make every piece, no matter how familiar, interesting and engaging.

But I must break off writing here because I want to go back and listen again to the last five pieces here, by composers I imagine most of us have never heard: the Pole, Milosz Magin, and the Slovenian, Janez Maticic.

Scott Morrison

Sergei Rachmaninoff: The Complete Recordings

Average customer rating:

Save some $ money! Get the newer January 2006 reissue set instead.
6, or Even 7 Stars!
A must have for Piano and classical music lovers
Ah, Rachmaninoff, brilliant star of music, how we adore you
Review from a spoiled modern listener

Sergei Rachmaninoff: The Complete Recordings

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Beethoven: 29 Piano Sonatas / Gilels
Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29)
Liszt: Piano Works
Shostakovich: The String Quartets
Rachmaninoff Plays Rachmaninoff

ASIN: B000003FB7
Release Date: 1992-09-15

Tracks:

Concerto No. 2, Op. 18 In C Minor: Moderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Concerto No. 3, Op. 30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op. 30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op. 30 In D Minor: Finale: Alla breve

Tracks:

Concerto No. 1, Op, 1 In F Sharp Minor: Vivace
Concerto No. 1, Op, 1 In F Sharp Minor: Andante
Concerto No. 1, Op, 1 In F Sharp Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Largo
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Variation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op. 43: Variation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVII: (Allegretto)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIV: A tempo un poco meno mosso

Tracks:

Isle Of The Dead, Op. 29
Vocalise, Op. 34, No. 14
Symphony No.3, Op. 44 In A Minor: Lento; Allegro moderato
Symphony No.3, Op. 44 In A Minor: Adagio ma non troppo
Symphony No.3, Op. 44 In A Minor: Allegro

Tracks:

Sonata, Op. 30, No. 3 In G: Allegro assai
Sonata, Op. 30, No. 3 In G: Tempo di minuetto, ma molto moderato e grazioso
Sonata, Op. 30, No. 3 In G: Allegro vivace
Sonata D. 574 In A: Allegro moderato
Sonata D. 574 In A: Scherzo: Presto; Trio
Sonata D. 574 In A: Andantino
Sonata D. 574 In A: Allegro vivace
Sonata, Op. 45 In C Minor: Allegro molto ed appassionato
Sonata, Op. 45 In C Minor: Allegretto espressivo alla Romanza
Sonata, Op. 45 In C Minor: Allegro animato

Tracks:

Partita No. 4, BWV 828: Sarabande
Harpsichord Suite No. 5: Air And Variations - 'Harmonious Blacksmith'
Sonata, K. 331: III: Turkish March
32 Variations, WoO 80 In C Minor: Thema: Allegretto
32 Variations, WoO 80 In C Minor: Variation I
32 Variations, WoO 80 In C Minor: Variation II
32 Variations, WoO 80 In C Minor: Variation III
32 Variations, WoO 80 In C Minor: Variation IV
32 Variations, WoO 80 In C Minor: Variation V
32 Variations, WoO 80 In C Minor: Variation VI
32 Variations, WoO 80 In C Minor: Variation VII
32 Variations, WoO 80 In C Minor: Variation VIII
32 Variations, WoO 80 In C Minor: Variation IX
32 Variations, WoO 80 In C Minor: Variation X
32 Variations, WoO 80 In C Minor: Variation XI
32 Variations, WoO 80 In C Minor: Variation XII
32 Variations, WoO 80 In C Minor: Variation XIII
32 Variations, WoO 80 In C Minor: Variation XIV
32 Variations, WoO 80 In C Minor: Variation XIX
32 Variations, WoO 80 In C Minor: Variation XXII
32 Variations, WoO 80 In C Minor: Variation XXIII
32 Variations, WoO 80 In C Minor: Variation XXIV
32 Variations, WoO 80 In C Minor: Variation XXV
32 Variations, WoO 80 In C Minor: Variation XXVI
32 Variations, WoO 80 In C Minor: Variation XXVII
32 Variations, WoO 80 In C Minor: Variation XXVIII
32 Variations, WoO 80 In C Minor: Variation XXXI
32 Variations, WoO 80 In C Minor: Variation XXXII
Return Home
Polish Songs: The Maiden's Wish
Die schone Mullerin: Das Wandern
Schwanengesang: Serenade
Polonaise No. 2 In E
Songs Without Words, Op. 67: Spinning Song
Impromptu, Op. 90, No. 4 In A Flat
Concert Etude No. 2: Gnomenreigen
Orfeo ed Euridice: Melodie
Etude, Op. 104b, No. 2 In F
Etude, Op. 104b, No. 3 In A Minor
Spanisches Liederspeil: The Smuggler
Minuet, Op. 14, No. 1 In G
Liebesfreud

Tracks:

Sonata No. 2, Op. 35 'Funeral March': Grave; Doppio movimento
Sonata No. 2, Op. 35 'Funeral March': Scherzo
Sonata No. 2, Op. 35 'Funeral March': Marche funebre
Sonata No. 2, Op. 35 'Funeral March': Presto
Carnaval, Op. 9: Preambule
Carnaval, Op. 9: Pierrot
Carnaval, Op. 9: Arlequin
Carnaval, Op. 9: Valse noble
Carnaval, Op. 9: Eusebius
Carnaval, Op. 9: Florestan
Carnaval, Op. 9: Coquette
Carnaval, Op. 9: Replique
Carnaval, Op. 9: Sphinxes
Carnaval, Op. 9: Papillons
Carnaval, Op. 9: A. S. C. H. - S. C. H. A. (Letteres dansantes)
Carnaval, Op. 9: Chiarina
Carnaval, Op. 9: Chopin
Carnaval, Op. 9: Estrella
Carnaval, Op. 9: Reconnaissance
Carnaval, Op. 9: Pantalon et Colombine
Carnaval, Op. 9: Valse allemande
Carnaval, Op. 9: Pganini (Intermezzo)
Carnaval, Op. 9: Aveu
Carnaval, Op. 9: Promenade
Carnaval, Op. 9: Pause
Carnaval, Op. 9: Marche des 'Davidsbundler' contre les Philistins
Nocturne, Op. 9, No. 2 In E Flat
Waltz, Op. 64, No. 2 In C Sharp
Waltz, Op. 64, No. 3
Ballade No. 3, Op. 47 In A Flat
Mazurka, Op. 68, No. 2
Waltz, Op. Posth. In E Minor

Tracks:

Partita No. 3, BWV 1006: Preludio
Partita No. 3, BWV 1006: Gavotte
Partita No. 3, BWV 1006: Gigue
A Midsummer Night's Dream: Scherzo
Liebersfreud
Die schone Mullerin: The Brooklet
Polka de V.R.
Etude-tableau, Op. 39, No. 6 In A Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Sorochintsy Fair: Hopac
Lullaby, Op. 16, No.1
Tsar Saltan: Flight of the Bumblebee
The Ruins Of Athens: Turkish March
Scherzo In A Flat
The Seasons: November: Troika
Prelude No. 8, Op. 11, No. 8 In F Sharp
One Lives But Once
Powder and Paint
Polka italienne (Piano 4 Hands)

Tracks:

Concerto No. 2, Op. 18 In C Minor: Maderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 23, No. 10 In G Flat
Prelude, Op. 32, No. 3 In E Major
Prelude, Op. 32, No. 7 In F Major
Prelude, Op. 32, No. 6 In F Minor
Etude-tableau, Op. 33, No. 2 in C Major
Etude-tableau, Op. 33, No. 7 In E Flat
Daisies, Op. 38, No. 3
Oriental Sketch
Melodie, Op. 3, No. 3 in E
Serenade, Op. 3, No. 5 In B Flat
Humoresque, Op. 10, No. 5 In G
Lilacs, Op. 21, No. 5
Moment Musical, Op. 16, No. 2 In E Flat

Tracks:

Mazurka, Op. 63, No. 3 In C Sharp Minor
Nocturne, Op. 15, No. 2 In F Sharp
Waltz, Op. 18 'Grande valse brilliante' In E Flat
Waltz, Op. 34, No. 3 'Valse brilliante' In F
Waltz, Op. 64, No. 1 'Minute'
Waltz, Op. 69, No. 2 In B Minor
Waltz, Op. 70, No. 1 In G Flat
Scherzo No. 3, Op. 39 In C Sharp Minor
Waltz, Op. 64, No. 1 'Minute' In D Flat
Le coucou
L'Arlesienne Suite No. 1: Minuet
Carnival Of The Animals: The Swan
Songs Without Words, Op. 67: Spinning Song
Waltz
Lyric Pieces, Op. 12: Elfin Dance
Etude, Op. 28, No. 6 In F Minor
If I Were a Bird
La jongleuse
Dr. Gradus ad Parnassum
Children's Corner: Golliwogg's Cakewalk
The Seasons: November: Troika
Humoresque, Op. 10, No. 2 In G
Waltz, Op. 40, No. 8 In A Flat

Tracks:

Prelude, Op. 23, No. 5 In G Minor
Prelude, Op. 32, No. 12 In G Sharp Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Prelude, Op. 32, No. 5 In G
Serenade, Op. 3, No. 5 In B Flat
Lilacs, Op. 21, No. 5
Polichinelle, Op. 3, No. 4 In F Sharp Minor
Polka de V.R.
Liebesleid
Hungarian Rhapsody No. 2
Pastorale In E Minor
Theme and Variations
Waltz, Op. 42 'Two - Four' In A Flat
Waltz, Op. 64, No. 3 In A Flat
Polka de V.R.
Bacarolle, Op. 10, No. 3 In G Minor
Prelude, Op. 3, No. 2 In C Sharp Minor

Amazon.com

We remember Rachmaninov today mostly for the music he wrote. But as this set quickly reveals, he was one of the greatest pianists of the 20th century, able to play his own music and a great variety of others with tremendous personality and a technique that is still astonishing. There's no point picking highlights from this set, since they are everywhere. But if you've never heard Rachmaninov play Schumann's Carnaval, try starting there for one of the most imaginative recreations of a piece of music ever recorded. The set also includes Rachmaninov's only recordings as a conductor in two of his own major works. --Leslie Gerber

Customer Reviews:

Save some $ money! Get the newer January 2006 reissue set instead........2006-05-17

At the time of this review, whenever you search for a phrase such as "Rachmaninoff Complete", amazon's search engine always lands on this out-of-print recording (ASIN: B000003FB7) . It's also no fun to see that it costs more than a hundred bucks! But if you type "B000A2AD2S" in the search box, you'll see the new reissued set for half the price. It's the exact same 10 CDs. Just the cover art is different.

Unfortunately, this situation is a common pattern with amazon's listing of classical music: when you use your intuition and type in common-sense search phrases for Bach, Mozart, etc, you often get the ultra-expensive out-of-print ships-in-4-weeks items as the default item. It takes a lot of detective work to find the newer reissue recordings. For example, to find the new reissue without knowing the ASIN, I had to enter just "Rachmaninoff" in the search text (deliberately left the word "Complete" out of the search) so it would no longer lock me into this item page that you're looking at and give me a full listing instead. I then sorted the listing by "Original Release Date" and found it on the 2nd page. There's no picture on the new item which doesn't give you any confidence that you found the right one. Don't worry, B000A2AD2S is what you want.

For product research, it's good to have both ASIN product listings because the older out-of-print B000003FB7 has the sound samples (and also all the helpful customer reviews) while the new B000A2AD2S has the better price and availability.

To make things even more confusing, the amazon staff sometimes copies entire customer reviews to the new item which would then make THIS review seem strangely out of place. If that happens and I notice it, I will delete this review for B000003FB7.

(In another strange twist, amazon searches in rock/pop usually points you to the newer cheaper remastered/repackaged/reissued/whatever of a particular recording. I don't know why it works the opposite way in classical music?!?!)

6, or Even 7 Stars!.......2005-06-04

Hofmann hit the nail on the head when he said Rachmaninov had "arms of steel and heart of gold". From this album, we can have a clear picture of Rachmaninov's vison of music, of his musical mind and thoughts and moreover his own playing.

While Kempff's playing would often remind of the protestant church music, Rachmaninov bring to our mind the chanting of the Orthodox church, which is much thicker and darker. On top of that, his playing is orchestral which is so powerful and full colours. Yet, it is nothing like Richter, where often the whole piece is just one phrase.

Here each piece has it's own life and identity each with a focal point. It is water tight compact and yet very much natural and alive, never as hair-raising as Horowitz. But, it is not natural in Arrau's way. It is somewhere in between, closer to Argerich but with more consistency and depth. And like Casals' playing, it keeps our attention from the first note up to its focal point until its very end. But unlike Casals, he touches our hearts. It is very emotional but never to the point of being sentimental-- the performance of his own concertos, for example, can tell you that.

Sure, he did have fingers of steel that helped him to bring out whatever colour or atmostphere as appropriate. And despite that fact that there are some minor alterations on the scores like his Chopin, he is one of the few pianists who could really show you every note on the score counts and, above all, how it counts...

His Chopin may not be as neurotic as Cortot. Nonetheless, he sheds light on the dark and nervous side of Chopin so well: a very throbbing interpretation that is so unique. We also have him accompanying Kreisler on some violin sonatas, something that one could turn to time and again, year after year. What a great chamber musician and accompanist he was...!

The recorded sound of the CDs do vary, and some are more acceptable than the others. But for genuine music lovers, they should be able to get over this very soon: how else would they benefit from one of the greatest legacies of a genuinely great musician!

A must have for Piano and classical music lovers.......2005-04-04

To respond to a review about the sound quality-for those people who have no experience with historical performances i.e cortot-hofmann-etc these discs are for the most part much better recorded. There are the inevitable pops and hisses but if these things disturb you, or you cant get past them, then you shouldnt be listening to this kind of thing anyway. the importance here is in the playing, and the playing is extra ordinary. I you want to buy a disc for the reperatoire then i can think of hundreds of performances that will satisfy, but only people with a true interest to hear and study these pieces will be beyond satisfied. I know that may not sound like a lot of fun, but these discs are fun, great, and for me, almost too good to be true. Again, if sound disturbs you, then you may be listening to the music for the wrong reasons. Take from it the playing, the revelations that Rach provides to his pieces, and how fortunate we are that it sounds as good as it does.

Ah, Rachmaninoff, brilliant star of music, how we adore you.......2003-09-14

The music of Rachmaninoff is beyond words, furthermore, beyond imagination. He was a genius, no doubt, and nobody will ever understand how incredibly lucky we are to be blessed with his compositions. Furthermore, it is truly astonishing to hear Rachmaninoff play his own work. There is nothing so beautiful on this earth and there never will be.

Review from a spoiled modern listener.......2003-07-13

I'll admit that I'm a spoiled modern listener, accustomed to having the bang and hiss edited out of a recording, and it took me a while to warm to these. Rachmaninoff's performances are splendid, but if you can hardly hear them over the cacophony of background noise, what's the use? His performance of his own, often overlooked Concerto No. 4 finally made me sit up and listen, even though I've owned two versions of this piece for a number of years (Ashkenazy & Wild).

Average customer rating:

Great playing--poor recording

Rubinstein: Chopin Polonaises

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00005REUO
Release Date: 2001-10-30

Tracks:

Andante Spianato in G/Grande Polonaise Brillante in E flat, Op.22
Polonaise No.1 in c#, Op.26 No.1
Polonaise No.2 in E flat, Op.26 No.2
Polonaise No.3 in A, Op.40 No.1 'Military'
Polonaise No.4 in c, Op.40 No.2
Polonaise No.5 in f#, Op.44
Polonaise No.6 in A flat, Op.53 'Heroic'
Polonaise No.7 in A flat, Op.61 'Polonaise-Fant'

Customer Reviews:

Great playing--poor recording.......2004-07-23

Most, if not all of Chopin's genius lies in his nuances. Much the same can be said of Rubinstien; his clarity of tone rests in a plane incomparable to that of all other pianists, save perhaps Horowitz. Though the recording neither jumps or is scratchy. A kind of uncomfortable bluriness smothers the brilliance of the music. It seems almost as if Rubinstein is just holding down the right pedal. This is an exaggeration, of course, but you get the idea. When it all comes down to it, no recording is incompitent enough to belie the pure ectasy of listening to music like this, but still, you might consider going with the Pollini CD.

Music Review:

Music Review

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