Here you can download nocturnes arthur rubenstein shared files: 1986 The Chopin Collection: Nocturnes (Arthur Rubinstein).zip mega.co.nz 1986 - The Chopin. Download Arthur Rubinstein - Chopin: 19 Nocturnes torrent or any other torrent from Other Music category. 2 in C Sharp Minor.mp3 mediafire.com Arthur. Free Download Chopin 19 Nocturnes Moravec mp3. More on Supraphon SU 4097-2 2 CDs May 2012 Ivan Moravec, piano. 2 from Nocturnes, Op. 27 Arthur Rubinstein, piano The Nocturne in D-flat Major is initially marked as lento sostenuto and is in 6/8 meter.

• Arthur Rubinstein Plays Chopin

Arthur Rubinstein Plays Chopin

Arthur Rubinstein’s 82 years before the public comprised one of the longest and most fulfilling piano careers in history. He adored giving concerts, and audiences in turn responded to the communicative immediacy and emotional balance governing the pianist’s red-blooded and generous approach to music making. Rubinstein also loved to make recordings, and he left behind a considerable discography that basically began in 1928 and ended during the 89-year-old veteran’s final concert season in 1976. You consistently notice his robust, singing tone and rhythmic backbone, without any trace of artifice or exaggeration. That said, Rubinstein’s shellac and mono LP efforts often prove more vibrant and spontaneous (albeit cavalier at times) in contrast to his more carefully considered, textually conscientious, and technically polished studio sessions from the 1960s and 1970s. To anticipate the 125th anniversary of Rubinstein’s birth in 2012, Sony/BMG has brought out The Complete Album Collection, a comprehensive edition of Rubinstein’s entire recorded output for RCA Victor.

It also includes his HMV sessions (many of which were issued by RCA in the United States), the 1976 Brahms D minor concerto released by Decca, plus all of the previously unpublished and bonus material that first appeared in RCA’s similarly scaled 1999 Rubinstein Collection. As a bonus, The Complete Album Collection offers two DVDs, a 1975 Pasadena recital newly titled “The Benefit Concerto for Israel”, and “Rubinstein Remembered”, a Peter Rosen documentary, plus three CDs devoted to previously unpublished material from Rubinstein¹s historic 1961 Carnegie Hall recital series.

This collection is similar to Sony/BMG’s Heifetz Complete Album Collection in that common sense and logic govern the label’s “original jacket” program conception. Individual volumes are sequentially organized by original LP release date, packaged in facsimile jackets that replicate the original LP cover art. The first 14 CDs present all of Rubinstein¹s shellac recordings not released on LP by RCA in more-or-less chronological order. A large hardcover book contains a table of contents that provides full discographical information for each volume, along with two discographies respectively listed by composer and recording dates.

In addition, the book contains many unpublished photographs, a loving and frank memoir by Rubinstein¹s musician/actor son John (the same one that appeared in the 1999 Rubinstein Edition), an essay by Rubinstein biographer Harvey Sachs, a clear and cogent overview of the collection and how it was put together written by producer Robert Russ, plus a note from Jon Samuels discussing the newly unearthed Carnegie Hall material. According to Russ, each item’s most recently remastered edition in the Sony/BMG catalog provides the basis for the present set’s sonic upgrades. Generally speaking, the Complete Album Collection transfers’ heightened presence and definition proves more subtle than striking in relation to the 1999 Edition, and those who already own the latter need not replace it. However, Rubinstein acolytes will be curious about the previously unpublished Carnegie Hall material.

In almost every case, the live selections boast greater animation, spontaneity, and verve than their relatively reigned in, note-accurate studio counterparts. Selections otherwise unrepresented in Rubinstein’s discography will hold special interest, such as the magnificently played Debussy L’isle joyeuse and Scriabin Prelude for the Left Hand, and gorgeously projected renditions of Chopin’s Op. 12 (“Revolutionary”) Etudes. At long last we get to hear the sole surviving account of Stravinsky’s Three Movements from Petrouchka played by its dedicatee.

By all accounts, Rubinstein was reluctant to commit his interpretation to disc due to his numerous textual changes and simplifications. Moreover, his playing is far from note perfect, although the performance gains accuracy and assurance as it progresses. Yet Rubinstein’s unerring sense of character and dramatic momentum come across through perfectly judged transitions and dynamic scaling, and he truly inhabits the music. Certain Rubinstein recordings retain reference status to this day, such as the stereo Chopin Waltzes and French Collection, Beethoven¹s Third Concerto with Erich Leinsdorf, and the stereo Brahms F minor sonata. Yet some of the collection’s finest performances have been overlooked and undervalued.

For example, the 1956 Beethoven Emperor Concerto with Josef Krips abounds with virility and freshly conceived phrasings that Rubinstein’s more “stylistically aware” remakes don’t quite match, while the earlier, quicker, more conversationally conceived late Brahms traversals prove equally disarming. The live Carnegie Hall Schumann Arabesque is all heartfelt song, and easily surpasses Rubinstein’s three studio attempts. And while Rubinstein admittedly bangs out the Beethoven Appassionata finale’s coda to the gallery in the aforementioned Israel benefit recital, what long-lined nobility and unhurried poise the 88-year-old master achieves in the Andante con moto! When the mono LP-era Chopin Mazurkas first gained reissue in 1999, I felt that they struck a happy medium between the more familiar HMV shellac set’s sprinting sparkle and the valedictory stereo remake’s breadth and repose. Still, all three versions significantly differ to the point where a clear-cut preference is difficult, even impossible to make.

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