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    The Rubinstein Collection Volume 42 - Carnegie Hall Highlights

    Posted By: wursthans
     The Rubinstein Collection Volume 42 - Carnegie Hall Highlights

    The Rubinstein Collection Volume 42 - Carnegie Hall Highlights
    Genre: Piano Solo Recital | 1 CD | EAC & FLAC (CUE+LOG) | Complete Covers & PDF | 317 MB
    1961 recording & 1999 release | Publisher: RCA Red Seal 09026 63042-2
    RapidShare


    Works/Tracks

    1. (00:06:02) Claude Debussy - Préludes, Livre I: 10. La cathédrale engloutie
    2. (00:03:50) Claude Debussy - Images, Livre II: 3. Poissons d'or
    3. (00:06:03) Claude Debussy - Image, Livre I: 2. Hommage à Rameau
    4. (00:03:34) Claude Debussy - Préludes, Livre II: 8. Ondine
    5. (00:02:06) Karol Szymanowski - Mazurkas, Opus 50, No. 1: Sostenuto: Molto rubato
    6. (00:02:00) Karol Szymanowski - Mazurkas, Opus 50, No. 2: Allegramente: Poco vivace
    7. (00:02:26) Karol Szymanowski - Mazurkas, Opus 50, No. 3: Moderato
    8. (00:02:09) Karol Szymanowski - Mazurkas, Opus 50, No. 4: Vivace (Junacko)
    9. (00:01:10) Serge Prokofiev - Visions fugitives, Opus 22, No. 01: Lentamente
    10. (00:01:26) Serge Prokofiev - Visions fugitives, Opus 22, No. 02: Andante
    11. (00:00:55) Serge Prokofiev - Visions fugitives, Opus 22, No. 03: Allegretto
    12. (00:01:04) Serge Prokofiev - Visions fugitives, Opus 22, No. 12: Assai moderato
    13. (00:00:26) Serge Prokofiev - Visions fugitives, Opus 22, No. 06: Con eleganza
    14. (00:01:43) Serge Prokofiev - Visions fugitives, Opus 22, No. 07: Pittoresco
    15. (00:00:41) Serge Prokofiev - Visions fugitives, Opus 22, No. 10: Ridicolosamente
    16. (00:01:03) Serge Prokofiev - Visions fugitives, Opus 22, No. 11: Con vivacità
    17. (00:01:02) Serge Prokofiev - Visions fugitives, Opus 22, No. 18: Con una dolce lentezza
    18. (00:00:57) Serge Prokofiev - Visions fugitives, Opus 22, No. 09: Allegretto tranquillo
    19. (00:01:43) Serge Prokofiev - Visions fugitives, Opus 22, No. 12: Dolente
    20. (00:01:15) Serge Prokofiev - Visions fugitives, Opus 22, No. 14: Feroce
    21. (00:02:38) Heitor Villa-Lobos - Prole do Bebê, Book 1, No. 1: Branquinha
    22. (00:01:13) Heitor Villa-Lobos - Prole do Bebê, Book 1, No. 5: Negrinha
    23. (00:02:23) Heitor Villa-Lobos - Prole do Bebê, Book 1, No. 8: Bruxa
    24. (00:01:32) Heitor Villa-Lobos - Prole do Bebê, Book 1, No. 2: Moreninha
    25. (00:01:26) Heitor Villa-Lobos - Prole do Bebê, Book 1, No. 6: A pobresinha
    26. (00:01:35) Heitor Villa-Lobos - Prole do Bebê, Book 1, No. 7: O Polichinelo
    27. (00:07:18) Robert Schumann - Arabeske in C major, Opus 18
    28. (00:05:30) Isaac Albéniz - Navarra (competed by Séverac)


    Performers

    Arthur Rubinstein (piano)

    Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

    EAC extraction logfile from 10. April 2008, 19:46

    Arthur Rubinstein / The Rubinstein Collection Volume 42 - Carnegie Hall Highlights

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    2 | 6:01.50 | 3:49.67 | 27125 | 44366
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    15 | 34:53.27 | 0:41.20 | 157002 | 160096
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    23 | 45:25.15 | 2:23.32 | 204390 | 215146
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    25 | 49:20.65 | 1:25.42 | 222065 | 228481
    26 | 50:46.32 | 1:34.38 | 228482 | 235569
    27 | 52:20.70 | 7:18.02 | 235570 | 268421
    28 | 59:38.72 | 5:29.45 | 268422 | 293141


    Track 1

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    Track 27

    Filename C:\The Rubinstein Collection Volume 42 - Carnegie Hall Highlights (1999) [FLAC]\27 - Robert Schumann - Arabeske in C major, Opus 18.wav

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    Track 28

    Filename C:\The Rubinstein Collection Volume 42 - Carnegie Hall Highlights (1999) [FLAC]\28 - Isaac Albeniz - Navarra.wav

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    All tracks accurately ripped

    No errors occurred

    End of status report


    Recording Information

    recorded October - December 1961
    released in 1999

    RCA Red Seal 09026 63042-2

    Reviews

    In the Autumn of 1961, Arthur Rubinstein graced New York with an unprecedented demonstration of musical generosity. He performed ten solo piano recitals at Carnegie Hall, never programming the same work twice. What's more, he donated his entire proceeds to several charities, including the Musicians' Emergency Fund, Big Brother, and the NAACP. RCA recorded all of the concerts, and Rubinstein (who was uncomfortable with live recordings) consented to the release of a small portion of the music, which is mostly geared toward 20th Century music.
    Rubinstein was playing Debussy's music when it was hot off the press, and as often as not, being booed for playing such "abstract" modern music. Rubinstein never cared for the "piano without hammers" approach of such Debussy specialists as Gieseking–he wanted more "meat" in his Debussy. However, he doesn't treat the French composer as some sort of 20th Century Chopin. Rubinstein generally uses softer "sound colors" here than he does in Chopin's work. His approach here is analogous to that of a painter substituting watercolors for oil paint.
    Karol Szymanowski was a close friend of Rubinstein's, and the Mazurkas heard here were dedicated to the pianist. Rubinstein recorded some of these miniatures during the 78RPM era, and comparison with those recordings shows this later performance to more elegant and urbane than the rustic earlier version.
    Rubinstein knew Prokofiev in Paris before the composer returned to Soviet Russia. The pianist performed less of this composer's music than that of his other contemporaries, perhaps because he did not feel at home with Prokofiev's percussive use of the keyboard. These 12 excerpts from the composer's 20 Visions fugitives are, along with the March from The Love for Three Oranges on Volume 70, Rubinstein's entire recorded Prokofiev output. Rubinstein's performance never crosses the line from percussive into ugly.
    Rubinstein was an early champion of Villa-Lobos' piano music, and the composer's Rudepoema is said to be a musical portrait of the pianist. One of Rubinstein's favorite works was the Prole do bebe (The Baby's Children), and he often performed excerpts of the work in concert, usually altering the running order of the individual pieces. It's a pity that the pianist never recorded the entire cycle, as his approach to coloration and phrasing suits the work perfectly.
    Schumann's Arabesque is the only 19th Century work on this disc. Rubinstein's utterly natural performance suits the music perfectly.
    Albeniz' Navarra was one of Rubinstein's favorite encores, and the performance here is a demonstration of how the pianist, who understood that virtuosity meant more than mere technique, could bring down the house and leave the audience begging for more.
    RCA's remastering is a considerable improvement over the rather distorted LP issue, with greater dynamic range and warmer sound. The contents of this CD, and Schumann's Symphonic Etudes on Volume 39, are the only documents of these remarkable concerts to be released to the public. As Rubinstein begged his son John not to allow any further releases, and the pianist is said to have destroyed a number of the tapes himself, it is unlikely that we will hear any more documents of this remarkable gift to music lovers everywhere. (Hank Drake on amazon.com)



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