Arthur Rubinstein’s 1963 recording of Chopin waltzes (he included the “traditional” 14 but not the five posthumous ones) is the stereo reference version for these works, and it’s likely to remain so for a long time. The performances embody the quintessential Rubinstein in his Indian-summer glory: directness, red-blooded tone, joie de vivre, impeccable taste, and more technique than he often was given credit for. True, his mono cycle of the Waltzes offers quicker tempos and fanciful phrasing at times, but the stereo remakes are more centered, thoughtful, and cleanly played. Rubinstein’s liberal caesuras and luftpauses in the Impromptus (nowhere close, however, to Arrau’s rhetorical extremes) underscore the composer’s bel canto affinity and stand in contrast to the feathery fleetness that distinguishes his earlier mono traversals and Earl Wild’s aforementioned Ivory Classics reference version. Rubinstein’s stereo Waltzes and Impromptus previously appeared on Volume 47 of RCA’s Complete Rubinstein Edition, along with the pianist’s only recording of Chopin’s rarely-played Bolero.