RUBINSTEIN "THE CHOPIN BALLADES" 1960 RCA VICTOR NM-/GD-"SHADED DOG" PLAYS GREAT

Description: NOTE: MAIL RATES HAVE RECENTLY GONE UP A LITTLE RECENTLY, MY FLAT RATE ENCOMPASSES THAT WITH A LITTLE EXTRA TO COVER THE COST OF THE RECORD MAILERS. THANKS! I DO SHIP INTERNATIONALLY, PLEASE DOUBLE CHECK BEFORE BIDDING OR BUYING THAT IS SHIP TO YOUR COUNTRY. THE PHOTO'S MAY BE A LITTLE BLURRY (SORRY ABOUT THAT), BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON OR BUYING. THANKS FOR LOOKING. FEEL FREE TO ASK QUESTIONS. NOTE: eBay HAS TAKEN IT UPON THEMSELVES TO REMOVE WHAT THEY CALL “OUTSIDE” LINKS, THESE ARE IN THE HTML DESCRIPTION, AND CAN'T EVEN BE SEEN IN MY ITEM DESCRIPTION, SO FROM NOW ON IF YOU WANT TO KNOW MORE ABOUT THE ITEM &/OR ARTIST LOOK 'EM UP, ON WIKI, OR OTHER SOURCES ETC. (SORRY 'BOUT THAT!) CLEANING OUT MORE LP'S. SOME FROM THRIFT STORES, SOME FROM MY MUSIC LIBRARY, AND SOME FROM MY RADIO FRIENDS SOLD OR GIVEN TO ME, SOME FROM THE NETWORK I WAS AT. NOTE: I DO NOT ACCEPT "BEST OFFERS" I WANT EVERYONE TO HAVE A FAIR SHOT AT WHAT I AM SELLING. THANKS! I DO COMBINE SHIPPING! THIS IS A PHOTO OF THE ACTUAL ITEM FOR SALE, SORRY IF THE PICTURE(S) ARE A BIT BLURRY OR IF THERE'S A LITTLE GLARE. I HAD A SMALL HEART ATTACK A COUPLE OF YEARS AGO AND AM SLOWLY LETTING GO OF MY ALBUM COLLECTION, THIS COMES FROM OVER 40 YEARS OF COLLECTING AND ALSO WORKING IN RADIO WHEN STATIONS WERE TRANSITIONING FROM LP's TO CD's. ARTIST: ARTUR RUBINSTEIN TITLE: “THE CHOPIN BALLADES” TRACK LISTING-SEE PHOTOS/BELOW: 1 Ballade No. 1 In G Minor, Op. 23 9:13 A2 Ballade No. 2 In F, Op. 38 6:36 B1 Ballade No. 3 In A-Flat, Op. 47 7:12 B2 Ballade No. 4 In F Minor, Op. 52 10:36 NOTES- This version has red 'Shaded Dog' labels. Matrix / Runout (Side A Label): K2RY-4019 RECORD LABEL: RCA VICTOR RED SEAL RECORDS (SHADED DOG LABEL) CAT.#: LSC-2370 YEAR OF RELEASE: 1960 RECORD CONDITION: THE RECORD IS IN NM/NM- CONDITION, NICE SHINEY BLACK LUSTER. NO MARKS, SCRATCHES, BLEMS OR FINGERPRINTS. BOTH LABELS IN EXCELLENT CONDITION, LOOKS AND PLAYS SUPER CLEAN. THIS IS AMAZINGLY CLEAN FOR A RECORD OF THIS AGE JACKET CONDITION: THE JACKET IS IN GD/GD- CONDITION, NICE CLEAN STRAIGHT EDGES, NO WRITING, NO DINGS, BENDS, STAINS ETC. THERE'S THE OBVIOUS APPROX. 6” SEAM SPLIT ALONG THE TOP (SEE PHOTO). THERE'S AN “X” IN BALLPOINT INK ON THE FRONT UNDER THE WORD “STEREO”. COUPLE SMALL CORNER DINGS. AND LIGHT RING WEAR NEAR THE TOP ON THE BACK OF THE JACKET. HAS GREAT LINER NOTES. MORE INFO: THIS RECORD IS CURRENTLY OUT OF PRINT. MORE INFO: ARTUR RUBINSTEIN BIO/INFO-One of the 20th century’s two most iconic classical pianists, Arthur Rubinstein (1887–1982) was a very different man and musician than Vladimir Horowitz, his peer and fellow household name. Rather than a neurotic recluse, Rubinstein was a polyglot raconteur and indefatigable bon vivant who lived to perform; instead of a fire-breathing dynamo, Rubinstein was an elegant virtuoso, his mature playing a spontaneous balance of color, lyricism and verve, with a rich, warm tone; not only a recitalist and concerto soloist, Rubinstein was also an enthusiastic player of chamber music, collaborating over his long career with Jascha Heifetz, Gregor Piatigorsky, Henryk Szeryng, Emanuel Feuermann, Pierre Fournier and the Guarneri Quartet, among others. Of course, Rubinstein — who was born in Lódz, Poland — became the 20th-century embodiment of Chopin’s music, interpreting the Polish composer’s poetry with sinew as well as sighs. Although he recorded most of Chopin’s major works multiple times from the era of early electrical recording to the age of hi-fidelity stereo, Rubinstein commanded a vast repertoire beyond that — from Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Liszt, Grieg, Tchaikovsky, Saint-Saëns and Brahms to Albéniz, Falla, Granados, Fauré, Franck, Debussy, Ravel and Rachmaninoff, plus select pieces by Stravinsky, Szymanowski, Villa-Lobos, Prokofiev, Poulenc and Bach-Busoni. His appetite for music — as with cigars, books, paintings, travel, food, wine, women – remained prodigious throughout his life. Over his eight-decade career before the public, Rubinstein played thousands of concerts across Europe and the U.S. to South America, Asia, Australia, North Africa and Russia. Initially for HMV/EMI and then over a thirty-six-year association with RCA, he made a huge quantity of recordings from 1928 to 1978, the quality often improving rather than diminishing with the years. On the occasion of Rubinstein’s 75th birthday, New York Times critic Harold Schonberg wrote: “Horowitz may have a more glittering technique, Rudolf Serkin may have a better way with German music, Rosalyn Tureck more of an affinity for Bach, Sviatoslav Richter for Prokofiev and Scriabin, and Claudio Arrau may have a bigger repertory. But no pianist has put everything together the way Rubinstein has. Others may be superior in specific things, but Rubinstein is the complete pianist.” He was a prodigy by the time he could walk, with perfect pitch and a photographic memory; at age ten, he was sent from Warsaw to Berlin to study under the supervision of the great violinist-conductor Joseph Joachim, friend and collaborator to Brahms (establishing a connection to that composer’s oeuvre that the pianist cultivated throughout his life). Joachim trusted Karl Heinrich Barth as Rubinstein’s piano teacher; that made him part of the grandest lineage — Barth had been instructed by Liszt, who had been taught by Czerny, who had been a pupil of Beethoven. Rubinstein made his Berlin Philharmonic debut at age thirteen. A few years later, the precocious teenager moved to Paris, where he interacted with the cream of cultural society — from Ravel to Ysa e to Picasso. Rubinstein also enjoyed performing and socializing in London and fell in love with Spain and its music, although the pianist’s initial tour of the U.S. in the early 1900s was not the success he expected. Never a young man keen on practicing, he took a sabbatical from a glittering, whirlwind life in the early 1930s to study repertoire and hone his technique. Still, he continued to see over-practicing as a bane, saying: “At every concert, I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It’s like making love. The act is always the same, but each time it’s different.” His new-era recital at Carnegie Hall in 1937 augured an ever-deepening relationship with American audiences. Rubinstein then moved to Los Angeles, where he did some work in Hollywood and played chamber music with his fellow European émigrés. He became a U.S. citizen in 1946 and worked extensively with American and English orchestras. As early as the start of World War I, Rubinstein would never play in Germany again. He was proud of his heritage, often putting his art to the service of Jewish and Polish causes — including at the inauguration of the United Nations in 1945 and later in Israel. Rubinstein received awards and honors the world over, finally retiring in 1976. He had published his first memoir, My Young Years, in 1973; he followed that with My Many Years in 1980. He settled in Geneva, Switzerland, where he died in his sleep at age 95. His longtime RCA producer, Max Wilcox, recalled that in 1963, when the pianist was 76, they were scheduled to record Chopin’s waltzes over three days in a Rome studio. But Rubinstein started playing at 6:45 p.m. the first evening and by 11:15 p.m., all 14 waltzes were taped to satisfaction. “We were all limp — but not Rubinstein,” the producer said. “The party on the Via Venuto lasted until 2:30 a.m.” After all, Rubinstein once said, referencing his powerful agent: “Don’t tell [Sol] Hurok, but I’d play the piano for nothing, I enjoy it so much.” —Bradley BambargerCHOPIN BIO-The popular image of Fryderyk Chopin as a consumptive invalid does him a disservice. He was a man of paradoxes: a Polish nationalist who lived out his days in exile in France; a musician who hated giving public concerts; a composer whose piano works were replete with the influence of bel canto opera, and whose idols in the early Romantic era were Bach and Mozart. Lavishly melodic yet classically restrained, visionary in imagination yet tautly constructed, his was one of the most individual musical voices of his era. Born at Żelazowa Wola, in the Duchy of Warsaw, Chopin was son of a Polish mother. His father, Nicolas (or Mikolaj) Chopin was born in France, having moved to Poland in his youth. A strong patriot, Chopin sometimes said that he wished his name could have been Chopinski. His first composition was a Polonaise – the classic Polish slow dance – while his last would be another Polish dance, a Mazurka. Chopin fell in love with a young soprano Konstantja Gladkowska while studying with Jozef Elsner in Warsaw, and regularly attended the Warsaw Opera to hear her sing. It was here, perhaps inadvertently, that he became steeped in the sounds of bel canto. He also began to work on music for piano and orchestra that could become a vehicle for his abilities at the piano: two concertos (the one known as No.2 was in fact written first) as well as a Fantasia on Polish Folksongs, a Krakowiak, and Variations on ‘La ci darem la mano’ from Mozart’s opera Don Giovanni. Further studies took him to Vienna, and tours well beyond. When the Polish Uprising took place in November 1830 he was away, and after some soul-searching he resolved not to return to Warsaw. The following year he settled in Paris, where he soon found himself in demand both socially and as a superb teacher, not only to the children of wealthy patrons but also to budding professional musicians and accomplished amateurs. Their accounts of him include first-hand descriptions of his playing and his very particular approach to such matters as rubato, rhythm and beauty of tone. Chopin struck up friendships in both aristocratic and artistic circles, the latter notably with the painter Eugène Delacroix, the composers Hector Berlioz, Franz Liszt and Felix Mendelssohn, and above all the writer George Sand, a divorcée whose real name was Aurore Dupin, the Baroness Dudevant. His liaison with her lasted a decade. Chopin’s ill health, perfectionism, tetchiness and fondness for barbed sarcasm cannot have made him easy to live with. Sand once described him as her ‘third child’ and her portrait of him as Prince Karol in her novel Lucrezia Floriani is often less than complimentary. The pair spent a disastrous winter in Majorca (1838–39), where terrible weather and accommodation, plus the hostility of the locals, worsened Chopin’s health instead of improving it. Still, the experience bore fruit in the form of some of his Preludes op.28, two Polonaises and his Scherzo no.3. Under Sand’s care Chopin’s creativity was free to flower. He wrote some of his finest works during summers at her country estate, Nohant, including his magnificent Sonata no.3 in B minor, his most substantial solo work. There, too, he would improvise for their many guests. Chopin disliked giving public concerts in full-scale halls, but performed constantly in salon soirées for intimate groups of friends and admirers. His skill at improvisation was legendary. Many of his compositions would have started life in such moments of spontaneity at the keyboard. Chopin eventually split with Sand after a family feud over the marriage of her daughter, Solange, to the young sculptor August Clésinger. Sand disapproved, while Chopin took Solange’s side. After the break-up, Chopin’s life was never quite the same. During his two last years, he depended still more on his teaching, though worsening health made this ever harder. A Scottish pupil, Jane Stirling, persuaded him to visit Britain, and in London he gave his last public concert: a special event to raise money for Polish refugees. He died in Paris aged only 39. Chopin left a tremendous impact on piano music, not only among contemporaries such as Liszt and Schumann, but for decades to follow. Like Liszt, Chopin extended the demands placed on performer and instrument alike. Developments in piano manufacture meant that he was able to push the boundaries not just of the instrument’s power, but more importantly to create a wider range of colour, resonance and softness. He rarely sought display for the sake of it. His evocative, intensely imaginative style was a vital influence on such composers as diverse as Fauré, Debussy, Scriabin, Szymanowski and Rachmaninov.NOTE: ONLY LIMITED INTERNATIONAL SHIPPING. 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End Time: 2024-12-02T19:53:20.000Z

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