Brahms Concerto 1 Rubinstein Reiner

From December on, "Arthur Rubinstein The Complete Album Collection" will be the world's biggest CD edition for a solo artist according to Guinness World Records (TM). It features all the legendary pianist's issued recordings made by RCA Victor between 1940 and 1976, and includes one LP issued on the DECCA label in 1978. The collection also includes the recordings Rubinstein made in England for the English label His Master's Voice (HMV) between 1928 and 1940, most of which were released in the United States by RCA on its Victor label. The collection includes complete studio and live performances, solo, concerto and chamber music repertoire in reproductions of original LP sleeves and labels, the earlier recordings, initially released on 78-rpm discs, appear in three sets with 14 CDs in the edition.

What release is this that can command such a gaudy price? Well, take another look: that's for 142 (!) CDs, which is what's necessary to compile-for the first time- every Arthur Rubinstein album ever released! One of the great poets of the piano, Rubinstein is heard here on every RCA Victor album he made from 1940-76, and also on one Decca album from 1978. Lastly, you'll hear the fine recordings he made in England for HMV between 1928 and 1940 plus the world-premiere release of two Carnegie Hall concerts from December 8 and 10, 1961 (featuring works by Debussy and Chopin). A dream come true for classical lovers, and a dream that will soothe your musical soul for a very, very long time!

What release is this that can command such a gaudy price? Well, take another look: that's for 142 (!) CDs, which is what's necessary to compile-for the first time- every Arthur Rubinstein album ever released! One of the great poets of the piano, Rubinstein is heard here on every RCA Victor album he made from 1940-76, and also on one Decca album from 1978. Lastly, you'll hear the fine recordings he made in England for HMV between 1928 and 1940 plus the world-premiere release of two Carnegie Hall concerts from December 8 and 10, 1961 (featuring works by Debussy and Chopin). On the bonus DVDs: Rubinstein Remembered , a documentary chronicling his life, and The Benefit Recital for Israel from 1975. In the 164-page full-color hardcover book: a wealth of essays and photos plus complete discography, track listings and discographical notes. And on those 142 CDs?: Rubinstein's vast array of studio and live recordings of solo, concert and chamber-music pieces, with all albums presented in their best remasterings (using SACD and XRCD mastering sources). A dream come true for classical lovers, and a dream that will soothe your musical soul for a very, very long time!

Few musical partnerships have elicited such divergent critical opinions as Maurizio Pollini and Claudio Abbado in Brahms’s two piano concertos. Reviewing the First Concerto in April 1999, Richard Osborne found ‘a lack of quickness and intelligence in the inner-part playing’ while missing ‘any real sense of interaction between soloist and orchestra’. A year earlier Bryce Morrison, in his review of the Second Concerto, had found it ‘impossible to think of them apart, their unity [here] is so indissoluble’. BM also praised what he heard as ‘a granitic reading stripped of all surplus gesture, preening mannerism or overt display, intent only on the unveiling of a musical or moral truth’.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

Fritz Reiner was one of the foremost conductors of his time. Crowning his long career in Europe and America was the decade from 1954 to 1963 as music director of the Chicago Symphony Orchestra – an illustrious partnership that ranks along such other historical tenures as Karajan’s in Berlin, Szell’s in Cleveland and Bernstein’s in New York.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.