Rubinstein plays Chopin Favourites | Alto ALC1419

Rubinstein plays Chopin Favourites

£8.08

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Label: Alto

Cat No: ALC1419

Format: CD

Number of Discs: 1

Genre: Instrumental

Release Date: 7th February 2020

Contents

Works

Chopin, Frederic

Ballades (4)
» no.1 in G minor, op.23
Barcarolle in F sharp major, op.60
Berceuse in D flat major, op.57
Fantaisie-Impromptu in C sharp minor, op.66
Mazurkas (51)
» no.5 in B flat major, op.7 no.1
Nocturnes (21)
» no.2 in E flat major, op.9 no.2
» no.5 in F sharp major, op.15 no.2
» no.8 in D flat major, op.27 no.2
» no.11 in G minor, op.37 no.1
Polonaise no.3 in A major, op.40 no.1 'Military'
Polonaise no.6 in A flat major, op.53 'Heroic'
Waltzes (19)
» no.1 in E flat major, op.18 'Grande valse brillante'
» no.6 in D flat, op.64 no.1 'Minute'
» no.7 in C sharp minor, op.64 no.2

Artists

Arthur Rubinstein (piano)

Works

Chopin, Frederic

Ballades (4)
» no.1 in G minor, op.23
Barcarolle in F sharp major, op.60
Berceuse in D flat major, op.57
Fantaisie-Impromptu in C sharp minor, op.66
Mazurkas (51)
» no.5 in B flat major, op.7 no.1
Nocturnes (21)
» no.2 in E flat major, op.9 no.2
» no.5 in F sharp major, op.15 no.2
» no.8 in D flat major, op.27 no.2
» no.11 in G minor, op.37 no.1
Polonaise no.3 in A major, op.40 no.1 'Military'
Polonaise no.6 in A flat major, op.53 'Heroic'
Waltzes (19)
» no.1 in E flat major, op.18 'Grande valse brillante'
» no.6 in D flat, op.64 no.1 'Minute'
» no.7 in C sharp minor, op.64 no.2

Artists

Arthur Rubinstein (piano)

About

“The wealth of nuance, colour and dynamic contrast, led me to reconsider former opinions. Rubinstein’s 1949 Chopin Nocturnes, for instance, have a nervous energy that taps into the music’s tragic undertones more cogently than [his others]. [likewise] the 1953 Waltzes literally dance off the page with irresistible brio … By the beginning of the 1960s Rubinstein was well established as the elder statesman of Chopin playing. He had an unrivalled authority and total engagement and his stance seemed just right … his beautifully vocal phrasing gave the impression of letting melody rise and fall under its own power.” – Gramophone

Recorded 1949-55

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