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Collection 24 Original recording remastered

5 customer reviews

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Audio CD, Original recording remastered, January 9, 2001
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$11.67 & FREE Shipping on orders over $35. Details Temporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your account will only be charged when we ship the item. Ships from and sold by Amazon.com. Gift-wrap available.


Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
  • Sample this album Title - Artist (Sample)
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30
8:39
2
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6:24
3
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3:30
4
30
8:07
5
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8:50
6
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5:46
7
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7:08
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5:43

Product Details

  • Performer: Arthur Rubinstein, Gregor Piatigorsky, Emanuel Feuermann, Jascha Heifetz
  • Composer: Felix Mendelssohn, Johannes Brahms
  • Audio CD (January 9, 2001)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: RCA
  • Run Time: 55 minutes
  • ASIN: B000031WBP
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #189,061 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

15 of 15 people found the following review helpful By Hank Drake VINE VOICE on April 22, 2001
Format: Audio CD
Volume 24 of RCA's complete Arthur Rubinstein Collection features the pianist in collaboration with violinist Jascha Heifetz and cellists Emanual Feuermann and Gregor Piatigorsky.

With the outbreak of World War II in 1939, many of Europe's finest musicians took refuge in the United States. Rubinstein settled in Southern California, where he remained until the 1950s. The pianist came into frequent contact with fellow Californian Jascha Heifetz, where both were persuaded by RCA to return to the recording studio and build on the success of their earlier collaboration, the Franck Violin Sonata, recorded in 1937 (Volume 7).

Rubinstein disliked Heifetz, and his distaste for the violinist's domineering personality (which clashed with Rubinstein's own need to be the center of attention) grew with the passage of time. All the more surprising then, that they managed to obtain excellent results.

The Mendelssohn Trio was recorded in 1941, in collaboration with Emanuel Feuermann. The performance is more boldly expressive and intense than is usually heard today, and played on a larger dynamic scale. One of the tricks with performing chamber music is the expression of the individual personalities of the players, while still achieving unanimity of interpretation. Rubinstein, Heifetz, and Feuermann meet and surpass this goal superbly. One never forgets the fact that these are three top rate instrumentalists playing - particularly with Heifetz - but they never unduly overshadow each other.

Feuermann died in 1942. Russian cellist Gregor Piatigorsky signed on, and the three became known as the Millian Dollar Trio, a name which amused Heifetz and disgusted Rubinstein. Many of the same attributes heard in the Mendelssohn are also present here.
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7 of 7 people found the following review helpful By Chayim Herzig-Marx on June 4, 2008
Format: Audio CD
If you appreciate classical chamber music, then you MUST acquire this CD. It's a reprint from old analog recordings (1950s) and features four giants of musical performance at the height of their powers. Rubinstein and Heifetz collaborate on both trios and they are truly magnificent. Piatigorsky and Feuermann more than hold their own. The Mendelssohn Op. 49 trio is, to my mind, the most perfect piece of chamber music ever composed. Its digital reproduction is clear and compelling. The Brahms reproduction is pretty scratchy -- you should prepare to listen as if to an old AM radio.
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8 of 11 people found the following review helpful By Gengler VINE VOICE on June 28, 2009
Format: Audio CD Verified Purchase
I am not fond of the recordings made by The Million Dollar Trio. Rubinstein hated the name, probably for the same reasons I dislike the performances - the musicians are an unnatural match made in Hollywood heaven.

Let me admit right off the bat that I am a Rubinstein admirer, though I am not a Heifitz admirer. Another reviewer questions "whether (Rubinstein) was up the the standard of the other two or whether the three mixed well is a different matter." The fact is he was, and they didn't. When Rubinstein played his humanity shone through. The playing may not have been perfect, but the musicianship most oftentimes was. In the case of Heifitz, the playing was perfect, but the humanity was lost. Sorry - but I listen to Heifitz, and all I see is that stony countenance scrunched into the violin. It's joyless, technically perfect playing.

Hank Drake - amazon's premier Rubinstein reviewer - has written that the Mendellsohn "performance is more boldly expressive and intense then is usually heard today, and played on a larger dynamic scale." I agree. To the point where it sounds rushed and loses some of its charm.

Drake goes on to suggest that the Brahms performance here is far superior to Rubinstein 1972 performance with Szeryng and Fournier. Here I must respectfully disagree. In sheer musical terms - musicanship and tempi - I agree with him wholeheartedly. But I must say that I find the later performance to have more heart. True, it is not a young man's Brahms, in fact it sounds elegiac in character. But the warmth that is communicated transcends any of the quibles one may have regarding the slight flaws in musicianship.
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2 of 3 people found the following review helpful By Leeber Cohen on June 21, 2011
Format: Audio CD Verified Purchase
If you are new to chamber music and interested in the piano trios of Brahms and Mendelssohn this CD is not the best place to start. I would storngly recommend volume I of the Stern Collection which contains the 3 Brahms, 2 Mendelssohn, and 2 Schubert trios in better sound and with far better ensemble playing. The Mendelssohn in this recording has the violin way to closely recorded. The piano is too far in the background and the cello frequently difficult to hear. The balance is better in the Brahms and there are many beautiful moments. The musicians in this recording are all great but this is documented much better in other music and recordings.
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11 of 18 people found the following review helpful By BLee on March 4, 2003
Format: Audio CD
Heifetz was not an easy going man, as could be seen from the immaculate perfection he demanded of himself. All the great violinists of his time, including Jan, Kreisler, Elman, Milstein... all were suffering from the so-called "Heifetz disease". Consciously or unconsciously, Heifetz might have displayed some disapproval of Rubinstein. But on that score, Heifetz was not alone: Moriz Rosenthal as well as Ignaz Friedman, two of the top 5 or 6 pianists of the century, took the same stance and the latter two was even more open...and there came a time when Rubinstein himself was so troubled of his own deficiency that he undertook a seclusion tying himself to the piano for months before going before the public again.
Among the trio, Feuermenn was rare in the sense that Heifetz "liked" him, calling him "his fireman". Naturally, Heifetz recognised him -- well, Toscanini saw him as the greatest cellist and Casals saw him as the greatest artist of the century! That Feuermenn was a better and more worthy partner is undoubted.
In any event, when we listen to Rubinstein, we need to take a different standard than the modern one-- one aiming at precise rendition of the notes like Horowitz (or even Serkin ) somehthing which is not exactly his strength. However, his playing and his music is natural and very easy to listen to. In any event, Paderewski also sounded more or less like Rubinstein ( or even Horszowski ) and like Rubinstein, he was also hailed as the most popular pianist of his time. But whether he was up the the standard of the other two or whether the three mixed well is a different matter.
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