I have known for years on the fingertips almost all of these records. I have a lot in 78 original towers, much in vinyl and of course the old complete edition in 94 compact. What treasures and how lucky can follow Rubinstein in the evolution of his career. In terms of releases, he will know three periods corresponding to different recordings of technical progress. From 1927 to 1948, he recorded for the 78 It is between 40 and 60 years .We will say that it is a young man, we can not see impetuous impetuous !!! (I refer you to read his memoirs and you will understand what I mean) Between 1949 and 1961, the period in mono vinyl It has between 62 and 74 ans.Il recognizes that registration allows them to progress to listening to his jeu.Les things will be more thoughts, more controlled. Between 1962 and 1975 he re-recorded almost all of her repertoire, stéréo.Il has between 75 and 88 years. It is a sage. There will be some great successes, including mazurkas, night Chopin, some Schumann, a magnificent "Choral Prelude and Fugue" Franck and a lot of chamber music, especially Brahms who are splendid. But it may also be in the presence of fairly distant records in terms of commitment. I will not go up to talk about froideur.Il should not generalize, but some works have more panache, more sound projection in earlier versions, especially those of the second period found almost separate edition of Hence the interest to own this set. If I had to define the art of Rubinstein in a few words I will speak first of all notion of pleasure. It was a real epicurean and that in any sense of the word. Knowing enjoy and savor life in every detail, an immense literary and artistic culture. He knew us to enjoy the beauty of a sentence, his breaths are unique and identifiable, he knew highlight a Harmony colorer.Son sense of rhythm, inner pulsation are amazing and will do one of the interpreter of Spanish repertoire. There was no interest for him to make his repertoire of works in which he did not feel fun to play, fun to share, far from any academicism see all pedantry. Rubinstein does not bother in any case détails.Faire the instrument sing. Talking with doigts.Il is primarily a wonderful storyteller. Things are prioritized in a way suivante.Suprématie of the vocal line, it stamps all temps.Ensuite he will grant all its importance to low and place third in the accompanying parts, the harmonic frame giving way to the piano a relief particular recognizable tous.C'est speech clarity prevails, he goes to the essential, and that is certainly what it will affect a large number of gens.autant among professionals than among the general public. For against him I want some, whatever he may say, not having defended the music of his time really thoroughly. His career being what it was he could travel, carrying in his luggage, Dukas's Sonata, Fantasia Baetica by Falla, much of Iberia, Ravel, the Ginastera, Prokofiev and so on. Other pianists will do in his place, Blanche Selva, Ricardo Vines, but this dimension internationale.Dommage. Some must in this case: Chaconne Bach Busoni, Schubert D 960, Schumann opus 12 (good for the desert island), Chopin of course, but especially his Nocturnes, Mazurkas, Concertos median (the preludes are a total misfires?) Brahms Concertos and Intermezzi, some are interesting Debussy, Poulenc Intermezzo # 2 (a gem) Franck Choral Prelude and Fugue (3 versions) a splendid Ravel trio and then of Spanish music (sorry that we do not have major cycles) We do not play and you will never play again the piano so. This is another time, a time or each artist had his individuality, without any formatting, each leaving its own trace, his own signature second to none. So please, do not use this canvas to play with you one who will swing the name of the greatest pianist of the past. Thank you to Rubinstein, Horowitz, Kappel, Solomon, Cortot and many others for being what they were, and still live thanks to what this memory recording.
