Artur Rubinstein/Chopin Nocturne No.5 F Sharp Major Op.15/2
- Length: 3:59
- Rating: 4.81 (16 ratings)
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- Author: tHEnOOSEsWING
Tags: Artur Chopin Nocturne Rubinstein
================================ Chopin Nocturne No.5 F Sharp Major Op.15/2Artur Rubinstein,piano.================================ Related information: Part 2He was a well-known pianist-artist all his life, but not until the middle 1930's did he become an international headliner. Despite Rubinstein' s claim that he never settled down until his return to the United States in 1937, the records that he made in the middle 1920's tell a different story. Such discs as the ones of Liszt's Tenth Rhapsody, or the Albeniz Navarra, demonstrate a phenomenal virtuosity, gorgeous colorations and the most beautiful of singing lines. To tell the truth, he probably never played better. What really happened was that, in his young maturity, he suddenly found himself in the right place. The two reigning heroes of the keyboard, Josef Hofmann and Sergei Rachmaninoff, were nearing the end of their careers. The new crop of younger pianists were, by and large, percussionists and not very interesting. (There were exceptions, of course. Benno Moiseiwitsch and Vladimir Horowitz were major pianists by any standards). The public was looking for a new Romantic hero, and Rubinstein met all specifications. He was Polish, hence romantic and exotic. He had incredible charisma. In the United States he had been preceded by a series of superb recordings - the Tchaikovsky B flat minor Concerto, the Chopin Scherzos and other works by Chopin - that had created a great deal of interest. Suddenly Rubinstein found himself in great demand, and after World War II he became one of the most popular pianists before the public. The other was Vladimir Horowitz; but the moody, unpredictable Horowitz had a habit of taking long sabbaticals, the longest of which (from 1953 to 1965) kept him away from the public for twelve years. Rubinstein never was away. He spent his long life playing. He never did much teaching, although he did interest himself in the careers of some younger pianists. "On stage," Rubinstein told in an interview with Harold C. Shonberg in 1964, "I will take a chance. There has to be an element of daring in great music-making. These younger ones, they are too cautious. They take the music out of their pockets instead out of their hearts. And they know little about pedalling or tone production. " Rubinstein's remark about "playing from the heart" was characteristic. He always played from the heart. Music was nothing if not an emotional expression. In his long life he saw interpretation pass from Romanticism to the percussionism of Bartok and Prokofiev, and then to the literalism brought in by the anti-Romantic movement, in which young pianists were trained to observe only the printed note, keeping themselves out of music. Rubinstein did not like what he heard. He realized, as all great artists do, that music means nothing until brought to life by an imaginative, sympathetic player. He knew that it was the function of the interpreter to refract the message of the composer through the prism of his own mind. Otherwise a robot could do the job as well. Toward the end of his life Rubinstein lent his name to the piano competition in Tel-Aviv named after him. Perhaps the example of his own life, and of the many great recordings he left, will spur young artists at the competition to be their own masters, to realize that there is more to music than merely playing the notes correctly, to make music with a big mind and a big conception that not only reproduces the notes but also transcends them. Taken from Harold C. Shoenberg's article "Arthur Rubinstein" which appears in the brochure of the Fifth Arthur Rubinstein International Piano Master Competition, April 1986. http://www.arims.org.il/artist.htm================================ *Note:Support the artist, their families and their legacy by purchasing their music.
Arthur Rubinstein plays Schumann's Fabel and Traumeswirren, op. 12
- Length: 5:30
- Rating: 5.00 (13 ratings)
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Tags: classical fabel fantasiestucke music piano recital rubinstein schumann traumeswirren
Arthur Rubinstein plays Schumann's Fabel and Traumeswirren from the suite "Fantasiestucke", op. 12. From a recital in 1975.--------------------------Info about Schumann's Fantasiestucke:Robert Schumann's Fantasiestücke, Op. 12, are eight pieces for piano, written in 1837. Schumann is said to have perceived in In der Nacht the story of Hero and Leander, albeit not until after writing it. Schuman composed the pieces with the characters Florestan and Eusebius in mind, representing the duality of his personality. Eusebius depicts the dreamer in Schumann while Florestan represents his passionate side. These two characters parlay with one another throughout the collection, ending self-reflectively with Eusebius in Ende vom Lied--------------------------Fabel: The sixth piece in Robert Schumann's Fantasiestucke piano collection is Fabel. Like the previous piece, this also juxtaposes both the passionate and dreamy side of Schumann within the same work (as opposed to representing each separately, as in the first subset). Fabel -- the German cognate for the English word 'Fable' -- precedes the piece In der Nacht and is followed by Traumes Wirren. As indicated by the tempo, langsam, the piece should be played at a slow pace. Regarding key signature, this piece breaks from the pattern of D-flat major/F minor established by the previous pieces and is written in C major, the functional dominant of F minor. In this piece, the whimsical nature of Florestan is set against the ethereal tranquility of Eusebius, resulting in a "placid narrative together with rich veins of humor."Traumeswirren:Traumes Wirren is german for 'tangled dreams' and is the seventh piece of Robert Schumann's Fantasiestucke. The title is implicative of the struggle between the dreams and the passions within Schumann. In this piece the dreamy quality of Schumann, represented by the character of Eusebius, becomes entangled by the passions of Florestan, who symbolizes Schumann's more emotional side. The piece should be played in an extremely lively fashion, as indicated by the tempo of 'Äußerst lebhaft'. Like the previous piece, Fabel*, this piece departs from the established D-flat major/f minor key signature scheme, as it is written in the key of F major which is also the key of Ende vom Lied, the next piece. The piece is rhythmically intense and a rapid pulse permeates it.--------------------------No. 6: Fabel(Fable), C Major - Langsam - schnellNo. 7: Traumeswirren(Tangled Dreams), F Major - Äußerst lebhaft
Chopin
- Length: 5:28
- Rating: 4.75 (4 ratings)
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- Author: kaspergodowsky
Tags: chopin classical horowitz music nocturnes rubinstein
The a minor valse by Chopin
Chopin Nocture F-Sharp, Op 15 No 2
- Length: 4:3
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- Author: kaspergodowsky
Tags: bach chopin classical horowitz kasper music nocturnes rubinstein
Recorded live while my kids where running around...
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