Classical music reviews

This recording is a fine album to add to your collection if you happen to 1: love Birgit Nilsson 2: Collect early recordings of famous opera divas like Birgit Nilsson. In this album, we are treated to arias from operas Birgit sang in both full-length productions and in concert. The large diva from Sweden was most famous for her make Wagner-proud portrayal of Wagner heroines - Brunhilde, Isolde most notably, but she was also quite accomplished in the reperotoire of Strauss, Verdi and Beethoven. Her Mozart (she only sang Dona Ana in Don Giovanni) was not good, I'm afraid to say. I feel her interpretation was very off in the Mozart style (she sounded very weird and her Nordic lyricism was not appropriate for the Mozartian technique)Her Dona Ana lacks the dramatic lustre of such sopranos as Leontyne Price, Sena Jurinac, Carol Vaness and Edda Moser. Compare Nilsson's "Or Sai Che L'onore" featured here to that of Price and Moser -major difference! Her rendition of Beethoven's moving concert aria "Oh Perfido!" is very well-done. It's an extended monologue full of bravura and Nilsson captures the spirit of the aria and Beethoven perfectly. She is also a fine Leonore in Fidelio, though I still personally prefer Sena Jurinac as Fidelio. Naturally, Sweden being closer to Germany, Nilsson was able to learn to sing the language well. She sang her best roles in German- whether it was Fidelio, Salome, Brunhilde, Isolde, Venus or Elisabeth in Tannhauser, or Elektra, or featured here - Agathe in Webber's German Gothic opera Die Freischutz. Now her Verdi was not that bad, though there have been better Aidas then hers. Nilsson took on a lot of demanding roles and always did well, but often she never strayed from the same Wagner technique so that everything she sang sounded like a Wagner heroine (this is the stigma critics always gave her) but Nilsson's voice was beautiful, big and illustrious. Very few singers could do what she did. She surpassed Maria Callas folks, to my assessment. Here are her Aida and Leonora from Forza, and her Leonora was better than her Aida. Not featured here is her fine Puccini roles- Turandot and Tosca. Also, if I were alive in the time Nilsson was singing at the Met, I'd have killed to see her sing Bellini's Norma, a role I feel was perfectly suited for her.

If you lke to be hit by vocal lightning bolts, buy this!!

If there were a greatest list of classical recordings, this would be it!! Since Nilsson retired, she has had no successor. Listen to this and you know why!!

What a wondrous singer...I absolutely agree with all the other reviews here but add:

1) he sounds as though he's singing in his First Language, whether it be French, English, German or Russian.

2) he lets his soul come out (simce Mme Callas this remains a rare event).

3) Sidebar: the San Francisco Merry Widow, whilst a delight and a wonder, is NOT fair to this man's voice.

A magnificent recital album. Every prominent opera singer out there should be jealous.

In the forward to this cd, John Bell Young, makes the argument that the darker, mellow baritone is an often underated part of the opera repetoire. I don't fully agree with him - there are fantastic, exciting lead roles for these men: Hamlet, Nabucco, Rigoletto, and The Barber of Seville - all glittering showcases of virtuoso. And even the supporting roles they often play, are thrilling - Scarpia can easily steal the show away from Tosca and her hero with his magnicent, albeit short, scenes; and Escamillo often wins not only the affection of Carmen, but that of an entire opera house... Still, all said and done, this is an interesting introduction to a man who is every bit as dashing, musical, and talented as any tenor to grace the stage.
Bo Skovhus showcases such extreme range in vocal talents and emotion. His tone is beautiful. His breath control and phrasing are astounding. Diction is clear and defined - especially the German arias. This is an extremely talented man.
The Korngold aria is mesmerizing in it's romantic beauty. But my favorite selections on this album are the pieces from "Hamlet"; this is french lyricism at its most marvelous, glorious, heart-sweeping grandeur. I can not imagine a better man to play this most famous anti-hero.
I cannot recommend this cd highly enough. While some Italian arias would have been a nice addition, I won't hold it against my recommendation. Skovhus's interpretation of the tenor's aria from "Werther" makes up for this.
Next time you are out purchasing yet another famous tenor's album, to hear the one hundreth version of "Celeste Aida", buy this cd instead. Give this baritone a chance, and soon you'll be humming songs a minor third lower.

I first heard Bo Skovhus on a Laser Disc recording of the War Requem. I was very impressed. However until this opera recital I had not heard him again. This is truly an impressive recording. I place him up there with my other favorite baritones! He's still young so, hopefully, he has many more good years left in him!

Well I was looking for Karajan for the symphonies. As I din't find in the record store, I listened, curious, to this set. I did not know it existed. What a surprise!!! Wonderfull interpretations. Full of passion, energy, and that "autumnal fragance" so typical of Brahms. They don't seem bland at any moment. Concerning the sound, it is truly great, not a problem. Main melodic lines inside orchestra are well audible.
To sum up one of the best symphonic cycles, and the best at this price.

I've heard and been dissatisfied with many recordings of these symphonies. von Karajan puts me off with his typically overweight strings; I can barely hear the tympani in the intro to the 1st. Klemperer, though one of my favorite conductors, affirms his reputation for dragging allegros. Haitink is too civilized, cool and restrained. Toscanini was at his best with Brahms, but marred by poor sound quality. Same for Furtwangler on both EMI and M&A - great performances, but limited dynamic range makes for rough listening at times. Brahms symphonies are made even more difficult to choose by the way record companies often release them across 3 or 4 CDs rather than 2.

With Jochum, highly regarded for his Haydn and Bruckner, one has a choice between DG in mono and EMI in stereo. Only DG offers all 4 symphonies on 2 CDs, and there need be no worries over the late-mono recording - its the best of its time, very clean and dynamic in this excellent DG Originals remaster.

Best of all, the performances are really dramatic and exciting. Jochum & the BPO deliver a full-scale orchestral sound with just the right balance of agility and weight for all occasions, managing the pace so that Brahms' melodic and harmonic structures are beautifully shaped with neo-classical precision, recalling Bach as much as Beethoven, while gathering power for spine-tingling climaxes that leave the listener spellbound.

No set of Brahms symphonies has made a better impression on me than Jochum's. I've favored it for years now and always expect a sense of exhilaration whenever I play it. I equally recommend Jochum's set of Haydn's London Symphonies on DG as well.

Not much one can add to the reviews below. This is a great set.

Whoever was responsible for the selections in "The Originals" series and this recording is one, thank you. Priceless items were pulled from the Deutsche Gramophon back-catalogue that, in some cases, have been out of print for half a century. The remasterings have been exceptional. Many recordings I'd only heard about and never hoped to hear--this set, Sanderling's 1956 Rachmaninov 2nd, Fritz Lehmann's Brahms German Requiem, Jochum's mono Bruckner recordings to name a few--have been released. Add to that many exceptional recordings from the early stereo era and one can safely say that "The Originals" is possibly the greatest batch of Classical releases ever. Period.

Why buy old and sonically limited mono or early stereo recordings over something new and digital or worse? Simple. These are often interpretations by conductors with deep roots in the European classical tradition--the music is in their genes. Many knew the composers of pieces they are conducting, or studied under pupils of other composers or legendary conductors. Bruno Walter recorded a wonderful performance of Mahler's Second Symphony--he was Mahler's assistant when he was younger. Many premiered works that are now standards--Pierre Monteux conducted the first performance of The Right of Spring and 50 years later recorded it in stereo. The orchestras from these eras were often exceptional, primarily in their belief in the music. Some were ruled over with iron fists but subsequently played like demons. Stories abound of musicians being emotionally overcome by the music they were playing. (And one wonders if that happens at all these days)

So what you often lose in terms of high-tech sound (and often it's not as much as you'd imagine), you gain in fervor and commitment. Personally, I believe that's a grand understatement. When you hear the chilling savagery in the allegro of an old mono recording of Shostakovich's 10th (conducted by Mitropoulos) you're hearing an orchestra of probably largely immigrants, most of whom were touched directly by the horrors of Hitler and Stalin. You hear both their rage and Shostakovich's. German orchestras performing Brahms, Mozart, and Beethoven in the 50s and 60s are heaving everything they have into banishing demons. A legendary wartime performance of Beethoven's Ninth conducted by Furtwangler has been seen by some as an anguished attempt at an exorcism within the Reich itself. Danish orchestras, in the same era, performing works by Carl Nielsen are consciously working to bring his radiant light into a darkened world. The Sanderling Rachmaninov recording I mention was made only a few years after the end of the Stalin era and the relief is almost palpable. You will seldom experience such examples of belief in the spiritual power of music than you will in this era.

So if you're young and interested in Classical, maybe one of those lucky ones with great ears who's already realized no one will ever top Billie Holiday, or Ella, or maybe "The King", or Miles, or the Beatles, or Edith Piaf, or Charlie Parker, then you should give stuff like this a try. If those names resonate then you're probably already working with your own passion, music isn't wallpaper or mere lifestyle accessory for you. Bravo, prepare for a lifetime of great experiences! If you're older and allegedly wiser toss these older recordings at the young 'uns but, please, only with lots of humility. I'm often awestruck by the musical artists of early to mid Twentieth Century but especially by those of the post-war era.

I only have two recordings of the Brahms 1st Piano Concerto. Both are legendary and have the same conductor, George Szell. The earlier of the two recordings has Clifford Curzon as soloist. It may be legendary but I find the performance to be a neurotic mess. This Serkin recording, on the other hand, is simply wonderful, perfect in every way. I was lucky enough to hear the live performance in Severance Hall just before it was recorded. That performance was even better than this recording. If you can find this recording, buy it. You won't regret it.

Aqui un conjunto de interpretes que no siendo lo famoso que debieran nos muestran una peque�a y grandiosa seleccion de lo que son capaces de lograr; Serkin un pianista del mejor nivel es absolutamente grandioso, George Szell un director pulcro y genial, y Eugene Ormandy uno de los mejores directores de todos los tiempos.
Szell conductor hungaro al igual que Ormandy, se presenta ante nosotros con una capacidad notable de llevar una direccion genial, sensible pero potente, la Orquesta de Cleveland que lo acompa�a es sencillamente extraordinaria, para este concierto Serkin como el mejor de los mejores fluye en su piano haciendonos disfrutar de una obra bella, sutil y luminosa.
Ormandy por su parte se hace cargo de dos obras digamos mas ligeras pero definitivamente exquisitas, Introduction & allegro apassionato es como lo dice una peque�a introduccion para entrar de lleno en un energico y vibrante juego musical, Serkin como siempre genial. La otra obra es el capricho brillante y es mas que brillante, es ludico, es algo solemne y nos muestra mas de la capacidad de creacion de Mendelssohn, Ormandy y la Orquesta de Filadelfia suenan como siempre casi perfecto.
Un CD imperdible.

My impression is that Rudolf Serkins (who is arguably one of the greatest 20th century pianists) plays the Brahms concerto in a very classical manner. I think this is consistent with the manner of the composition and what Brahms envisioned. (It certainly stands in stark contrast to the lyrical second piano concerto.) The classical interpretation is especially apparent in the final movement, where Serkin plays the legato detache notes with greater discipline than many contemporary pianists.

This is not to say that the interpretation is stiff, for Serkin has a flowing touch. What the listener will find is an exacting performance of Bach-like serenity and regularity (remember Brahms worshipped Bach, and often compared his own pieces with Bach's and Beethoven's - often to his dismay). Serkins also demonstrates his beautifully lyrical touch in the cascading melodies of Shumann's Introduction & Allegro.

After you've listened to this CD fifty times, you might want to try the Alfred Brendel/Claudio Abbado CD, just for variety. Until then, don't bother with anyone else. Curzon takes the slow movement much slower than even Gilels dares to do, and manages to make it work as though nobody would ever consider a faster tempo. Szell makes a brief escape from the clutches of Columbia's engineers. It's all here. This is the penultimate rendition of this gripping concerto.

I agree with all the rave reviews about this classic recording of Brahms First Piano Concerto. But so far no one has mentioned the technical aspect of this recording which makes it so stunning. If you are used to the Columbia recordings of Szell/Cleveland made in Severance Hall, you will be shocked by the close miking of the piano and the orchestra in this recording. The result in an "in-your-face" musical experience that is simply compelling - it is impossible to listen to it and remain disengaged. A worthy addition to any collection, even if you have other recordings of this great work.

I think I've reached the point where I enjoy this product of Brahms' youth as much as his later Second Piano Concerto. This performance by Curzon and Szell stands at the head of the class, and CLASS is the perfect description here. I'm familiar with two other versions of this Brahms work that Szell recorded some time ago as well, with Leon Fleisher and Rudolf Serkin. While both of these pianists perform extremely well, Curzon moves to a higher level. He provides the nimbleness of Fleisher AND the sturdiness of Serkin, but he offers greater suppleness, repose and refinement. His lovely phrasing is more imaginative and he is more musical in his playing. The greater musicality is often manifested in the range of sonority he displays in fleshing out notes, particularly in the second movement. Though Fleisher might play with more abandon in the final movement, my overall experience with Curzon is simply more enjoyable. George Szell is superb as well, as he is also in both of the other recordings. Frankly, I own and enjoy all three of the Szell-led renditions, but if I had to go with one it would be the Curzon, though I do like very much the raw power of Serkin/Szell. And, no, I do not care for the style exhibited by Gilels/Jochum (in either the First or Second Concerto) that others have raved about. For me, their pace is frequently too slow.

To be honest, I can't really figure out how much I like Katchen's performance. It's hard to gauge because Brahms's piano music is inherently exceptional played by just about any performer.

I feel that the ballades, op. 10 are played way too fast (although I'm not exactly sure how close Katchen is to Brahms's tempi indications). I've heard them by several other performers and, being a Gould fan, would have to say that his slower interpretation really captures how beautiful the pieces are more than anyone else. I also enjoy Kempff's performances of many later works. Katchen really seems so rushed for some reason. To me, that really takes attention away from the fine details, which I think are so essential to Brahms's piano music. He's not quite delicate enough with some of the pieces.

This faster speed is only very slight for the rest of the set, but pretty consistently. I think he does a better job with more intense pieces like many of his larger-scale variations and the sonatas. Those I would give 5 stars, but only 4 stars for the op. 116-119, for they're a little too fast.

My only other qualm is the arrangement of the set. It would be nice to have all the sonatas together on a disc, 116-119 on a disc, etc., going along with the whole chronological thing..

However, all these things are personal preference. I would definitely recommend this set. It's made up about 1/2 of my music listening for the past couple months. It's not expensive at all for what you're getting, and if you get just one Brahms piano cd, you're going to want to get more, so you should just get it over with and have this whole set, it's fabulous music. Just keep in mind that this is not the only interpretation that should be considered.

If there is a more effervescent , idiomatic , innovative and resplendently performance of the Handel Variations , I have not heard it . Katchen emphasizes with colossal scrupulosity the wide doe and the diversity spectre of the orchestral instruments . You must marvel at the technical equipment of Katchen playing .
The other outstanding version of these Variations is of Michael Ponti (live preformance)
gifted with a major emphasis in the striking and color tone ; but the point to remark is that in both performings the approach is similar ; every one of the Variations must be played as a microcosmos in itself ; with nuance , grace , majesty, powerful imagination, sense of the span and above al ; savoir vivre . If you intend to play with authoritative precision without Mediterranean dewy and radiant mood ; you are destined to fail with these Variations and becoming unbearable for the audience and the listener . Lamentably , there are many of them in the actual market but I think you can guess them .
The two Rhapsodies are performed with the highest commitment . Melodic flight and arresting lyricism .
The Sonatas are superbly performed . The Sonata No. 3 may find serious matchers with Clifford Curzon and Paul Badura Skoda .
The intermezzos are depicted with the adequate illuminating . These intimate pages must be played with the perfect balance of light and shadows ; think in Chopin Nocturnes for instance . Only Glenn Gould gets close to him in the Intermezzo Op. 117 No. 2 .
The Ballades may be the weakest works of this fundamental set . Benedetti Michelangeli and Emil Gilels recorded brilliant and eloquent versions.
Finally The Paganini Variations find in Benedetti Michelangeli a serious and unbeatable adversary .
To be honest , this set is widely recommendable for you , to know the whole and intimate world of Johannes Brahms , the beloved son of Hamburg.
Katchen also recorded a powerful Islamey and an unforgettable Rachmaninoff No. 2 .

This recording is definitive. Brahms is known to be passionate, loud, and temperamental like Beethoven. Thus, the piano playing required would have to be as such. Katchen makes full use of the range of the piano, never subduing any bass note, but rather, amplifies it. Furthermore, you don't get the over-romanticized and muddy texture of Evgeny Kissin. It is crisp, powerful, direct, and highly artistic. Truly passionate and other-worldly. But loud passion is not the only thing here; my opinion of Brahms is that his orchestral works are his best, that is, the symphonies and concertos. Yet, his intermezzi are perhaps one of the best compositions for the piano, and Katchen plays with the most careful detail to each and every nuance and phrasing for these gentle, often tragic pieces. Definetly recommended.

In 1961 when the 84-year-old Bruno Walter made this recording, he was still the caretaker of Mahler's reputation among the general public. Bernstein was just beginning the rediscovery of Mahler that would sweep an obscure, often denigrated composer to the very heights of populairty. But without Walter we wouldn't have those links of musical tradition that are so vital to style, mood, and emotional integrity.

Compared to his legendary 1938 recording made for EMI in Vienna with the Nazis hard on his heels, Walter added three minutes to each movement. Even so, his Adagio at 21 min. is among the fastest ever recorded, making the 18 min. in Vienna impossibly rushed. But that whole performance is hectic and scrappy. It's great as an event and a testament, not so great as sheer music.

The Columbia Sym., a pickup group of Los Angeles free-lancers for the most part, plays the score better than the Vienna Phil. of 23 years previous (only two decades but a historical world away). The recording venue had good acoustics, and the Columbia engineers caught a full, faithful reproduciton of Walter's reading. It isn't incredibly detailed or nuanced, there is no striving for exaquisite pianissimos or overwhelming eathquakes in the climaxes. What we hear is authenticity, an emotional rightness that may or may not be close to Mahler's own. But since Walter was born in 1876, just a century after American independence, we are assured of his genuine link to Mahler's musical world. A one-of-a-kind performance that everyone should own who loves this work.

Incidentally, amazon seems to feel that this set is out of print--it isn't.

This isn't always cited as one of the greatest Mahler 9ths out there, which surprises me. Walter has a reputation for smoothing Mahler over and minimizing the intensity, but this is one earth-shaking recording, with triple fortissimos and pianissimos, and a heart-rending reading that contains all of Mahler's sadness, nostalgia and joy. My only (mild) complaint is I'd prefer a bit more of a raucous third movement, but that's probably because Bernstein is ringing in my ears. Two of the biggest moments, the first movement opening tutti and the shattering fourth movement climax (where the trombones of the Berlin Philharmonic famously held out on Bernstein) are brought off here with more power and conviction than I've ever heard before, and special mention goes to the orchestra's timpanist, whomever he was. I'm not sure how much attention should be paid to the fact that Walter was Mahler's understudy. Willem Mengelberg also learned Mahler's works "at his knee" so to speak (though not in the official capacity of student), yet his interpretations of Mahler, judging by what he's left us, are so different from Walter's as to bear no relation. I don't think it's a matter of Walter's relationship to Mahler; I think it's simply that Walter was a great conductor period, at least in the Germanic tradition, whether the composer was Mozart, Mahler, or Beethoven. Certainly this 9th is a testament to a great musical mind.

The accompanying rehearsal commentary, while not up to the standard of Walter's rehearsals of Mozart and Beethoven Symphonies with the Columbia Symphony, is interesting nevertheless. Walter was a master at getting musicians to do what he wanted as they played, without having to stop after every twenty bars, and the players loved him for it. The radio interview is fascinating--Walter talking about his earliest experiences both in the recording studio and with his mentor Mahler. I have listened to this conversation countless times and still find it interesting.

Sound is very good for the period. The presentation is fine, the price is right, and this recording stands up to Haitink, Barbirolli, Bernstein and Karajan. What are you waiting for?

I think, this is the best recording of Mahler's 9 available.

Bruno Walter is still well known with his Mahler interpretations, and this is his one of the most beatiful recordings. His favourite orchestra Columbia Symphony Orchestra (they are Hollywood's studio musicians) is amazing

Very highly recommended!

This CD is a favorite of mine for two reasons, Bergonzi is magnificent and the Italian songs are gorgeous. Moreover, these wonderfully crafted Italian songs are arranged in a straightforward manner--the tenor sings with a piano accompaniment--which allows the listener to focus directly on the beauty of the music. Bergonzi is simply extraordinary, he has such subtle vocal control combined with real warmth. The result is refined, but lush music.

This CD is for lovers of Italian "classical" Ballads, and is highly recommended. Most of the songs are sung by Carlo with a piano accompaniment, so don't expect to hear grand opera.

A very lovely CD

This album is quite simply put, exquisite! Bergonzi shows in this collection that even late in his career he could still produce that wonderful lyric beauty he was so famous for. My favorite song on this abum Donaudy's "Vaghissima sembianza" is so perfect, so shimmering, just so very beautiful. This song is worth the price of the album itself. Bergonzi's stylings on de Curtis' "Non ti scordar di me" will send one back to the recording of Beniamino Gigli, and favorably so. Begonzi also demonstrates a musicianship on this album that is second to none. Bergonzi was truly a "class act". This is one of the most beautiful, most perfect Neapolitan collections ever. This CD is a must have for lovers of Bergonzi, for lovers of Neapolitan songs, or just lovers of perfect singing!!

Truly an artist of the highest caliber! This one stands out among the many recordings in the market. She put so much thought & verve into Chopin's music that the music simply come alive. The Ballade is particularly dramatic as is the Scherzo.

Too bad she hasn't been recording much at all ); Her gifts should be spread and shared to musiclovers all over the world.

Her strong individuality, exuberance, technical prowess, and poetry are perfect for Chopin's Polonaise & Preludes, Debussy's etudes, Rachmaninoff's Transcriptions, Liszt's Etudes, and the concertos of Mendelssohn, Rach (#1), Ravel's, and Poulenc's Concerto for 2 pianos (hopefully w/ Madam Argerich, who i believe happens to be the godmother of Ms. Licad's son).

Cheers!

I am blessed to have been a witness to one of the greatest pianists in the world. I am a regular in her concerts here in Manila and I had been lucky enough to see and hear her execute the gigantic Rachmaninoff Third Piano Concerto, wherein the middle of the concerto (second movement), the lights went out in the Cultural Center of the Philippines, the premiere arts venue in the Philippines. (Our equivalent of Carnegie Hall). Having listened to this concerto an innumerable number of times, I can attest that she didn't miss a single note in the pitch black darkness. Good thing power was restored in less than two minutes.

What I really want to say is, very few pianists even come close to this talent except some I mentioned who are at par with her.(e.g. Rubinstein, Horowitz, Cliburn, Argerich, Serkin...) In Europe, she was described as the best Chopin player of our time and she often humbly retorts that she is still learning even up to now how to improve her playing! Now mark that for dedication and talent in one artist!

I've seen her perform these etudes live once and it was just spectacular! This CD captures one of her many endearing performances! I would sure love to hear her on more recordings!

I recently attended a concert where Cecile Licade was featured. What a wonderful piano player. I don't really have words to describe her talent. I own this Cd which I purchased at her concert. I'm not really a music critic, but I found the music on this cd very easy to listen to. Her perfomance seemed flawless to me. I would like to see more of her music on Cd's

As long as pianists perform Chopin, they will read the name of Artur Rubinstein in their reviews, because Rubinstein is the standard to which all others are compared. It doesn't matter if the performance is more pyrotechnic, as Horowitz's Polonaise in Ab (Op. 53) certainly was, or if they are supremely intelligent and perfectly rendered, as Pollini's Etudes and Preludes are, of if they are fresh and exciting as in Murray Perahia' more recent recordings; we can rate only them because Rubinstein set the standard by which all others are judged. And after listening to all those others, and loving them, I still go back to Rubinstein and feel as though I'm home again. He has a voice and an incredible "something" to communicate in each turn of phrase that is never ostentatious, never over-reaching, yet always deep, always pure and natural, always the sound of the old world, as if it had simply transported itself through time and was speaking in its native voice. Which... it was. Rubinstein was 12 years old at the turn of the century (1900), but he already was deeply rooted in old Europe's musical style. His long life enabled him to bring that world to life for several generations.

This is one of the most incredible boxed sets in the music world. It is the Rubinstein I grew up on, made new with digital remastering, mostly by Max Wilcox, who was also the original engineer on most of these discs. If you have not heard these recordings, you are in for a treat. If you have heard them before, then this set is going to sound familiar, but more clear and detailed than the old LPs and 45s of the originals.

This is essential Chopin, by one of the most incredible men who ever sat at a piano. I just can't recommend this enough.

Shooshie

Rubinstein has always been one of my favorite pianists. Some criticize him for technique or this or that, but I have heard dozens and dozens of concert pianists live and I heard him live only once. It was one of the great nights of my life. Of course, he didn't follow the program. He played what he felt like playing (he was nearly blind then). And the Chopin was utterly beautiful. His tone and phrasing and love of the music was a force that won over everyone in the audience.

This collection contains the Chopin recordings Rubinstein made over the years. It contains some pieces more than once because there were recordings in Rubinstein's early and late years. There is a difference in the playing (and the sound is better in the later recordings).

Purists complain about this or that. It is easy to attack giants. But Rubinstein has remained in the pantheon and I don't think anyone is going to knock him off the list of great pianists anytime soon. I hope this collection isn't going out of print. It is an important collection musically and historically.

I recently purchased this box set, and even though I have many other different versions of Chopin's mazurkas, etudes, preludes, sonatas and noctures, I had very few waltzes, impromtus or polinaises before this purchase. So while the music isn't necessarily new to me, the interpretations are. There are a few different tempos than I am used to with some pieces, but the sound quality is excellent, with the exceptions of the preludes. They were recorded nearly 60 years ago so the background noise is something I'm not accustomed to, but this set is amazing. I will listen to it many times over, and treasure this set the rest of my life.
If you can get your hands on a copy, I would highly recommend doing so as soon as you can.