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Support us financially by purchasing this disc from
Frédéric CHOPIN (1810-1849)
Legendary Rubinstein!
Complete Nocturnes and Mazurkas
Artur Rubinstein (piano)
rec. Nocturnes: 1936-7; Mazurkas: 1938-9, Abbey Road Studio, London
EMI Classics 730250 2 [3 CDs: 77:38 + 72:43 + 62:03]

The title 'Legendary Rubinstein!' seems absolutely right for a Chopin recital from the great pianist but be warned. Various marketing departments have used this title several times before, as a cursory glance at the results of an internet search will confirm. This collection of three CDs featuring the complete Nocturnes and Mazurkas is actually an historical issue of recordings dating from the late 1930s. Rubinstein's career extended right up towards his death in 1982. Curiously for a tribute album, nowhere does the accompanying booklet give his dates. 

That said, in many respects the booklet is rather good. With so many shorter pieces - there are no fewer than 19 Nocturnes and 51 Mazurkas - the listings of the tracks and the identification of the compositions need to be clearly articulated and laid out on the page, as indeed they are. The details of the recordings, the re-masterings and the engineers are all included, though inevitably some details of these have disappeared with the passing of so many years. There is an admirable essay by Max Harrison, which explains Rubinstein's career in the context of the 1930s when these recordings were made. This then proceeds to introduce the music generally in a lucid and informative manner. Too often these 'tribute albums' concentrate solely on the artist in their booklet notes - the recent Klemperer Bruckner collection, also from EMI, being a case in point. Here the balance between artist and music is perfectly judged, and is a model of its kind.
 
Essentially there are two issues to consider about these recorded performances, and they amount to the music and the recorded sound. The piano sound is accurate but the re-masterings generally opt for this priority over that of atmosphere. Consequently the sound is somewhat unforgiving, except that occasionally - as in the F sharp Nocturne Op. 15 No. 2 - there is a 'frying tonight' background. The same is true of the Mazurkas, whose sound is admirably clear, if allowance is made regarding atmosphere.
 
The set forms a complete collection and is valuable in that regard, especially at bargain price. Moreover, Rubinstein had studied the music afresh at this stage of the career and the performances are thoughtful, imaginative and peerless. All that is lacking is subtlety of piano sound, and with it the subtlety of dynamic shading that only a more modern recording could provide. Rubinstein himself did make such recordings in the post-war era.
 
To conclude: this collection offers excellent value and wonderful performances, but it comes with a health warning about the quality of the recorded sound.
 
Terry Barfoot