19 Songs, 1 Hour 47 Minutes

EDITORS’ NOTES

Chopin’s nocturnes could well have been written for the voice, their beautiful, lyrical melodies unfolding with a magic that few composers for piano can match. Arthur Rubinstein understood their childlike wonder, his playing refreshingly, charmingly simple. The bell-like tone of his right hand soars artlessly over subtle accompaniment, and everything is delicately pedalled, tempos just so. Bask in Op. 15 No. 3 or Op. 27 No. 1 to hear the mastery of Rubinstein’s control: fortes never growl, pianissimos are exquisite. And the elegant ornamentation in Op. 32 No. 1 shows a stunning technique at the total service of Chopin’s timeless music.

EDITORS’ NOTES

Chopin’s nocturnes could well have been written for the voice, their beautiful, lyrical melodies unfolding with a magic that few composers for piano can match. Arthur Rubinstein understood their childlike wonder, his playing refreshingly, charmingly simple. The bell-like tone of his right hand soars artlessly over subtle accompaniment, and everything is delicately pedalled, tempos just so. Bask in Op. 15 No. 3 or Op. 27 No. 1 to hear the mastery of Rubinstein’s control: fortes never growl, pianissimos are exquisite. And the elegant ornamentation in Op. 32 No. 1 shows a stunning technique at the total service of Chopin’s timeless music.

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