Classical Editor: Rob Barnett                               Founder Len Mullenger: Len@musicweb-international.com

Ludwig van BEETHOVEN (1770-1827)
Piano Sonatas - No. 8 in C minor, Op. 13, 'Pathétique'; No. 21 in C, Op. 53, 'Waldstein'; No. 23 in F minor, Op. 57, 'Appassionata'.

Artur Rubinstein (piano).
Recorded in Webster Hall, New York City on December 28th and 30th, 1954.
RCA RED SEAL Rubinstein Edition 09026 63033-2 [ADD] [66'08]

Crotchet   AmazonUK   AmazonUS  
Amazon recommendations

Rubinstein was not a pianist who set his heart on a complete traversal of the Beethoven Piano Sonatas. He expressed reservations about some (notably his disappointment /disapproval of the second movement of Op. 90) and only recorded seven of the total. Here on this disc are three 'named' sonatas. The impression given is a mixed one: insights sit side-by-side with mannerisms, moments of magic juxtapose with miscalculations.

Some unnecessary rhythmic lingerings apart, the first movement of the Pathétique comes off very well. The singing tone in evidence here is employed to full effect in the famous Adagio cantabile. Rubinstein conceives this movement almost in terms of a string quartet, with the treble acting as a quasi-improvisatory first violin. The Rondo is very precisely delineated, but on the dry side. It ultimately fails to generate the excitement which gives it its power.

Dryness again afflicts Rubinstein's only recording of the Waldstein Sonata (both in recording and in pedal usage). Here, though, one cannot fail to marvel at the crystal clarity of articulation and the way he elevates the importance of the brief Adagio molto. The finale is expertly pedalled: misty, but still with every note registering. Rubinstein evokes near-orchestral textures near the end (it almost sounds like the piano will burst), but the literal handling of passage work (and the 'glissandi' near the end) reveal an unfortunate lack of fantasy.

The contrasts which characterise the first movement of the Appassionataa are perhaps more violent than one might expect, but because of Rubinstein's concentration on the moment, the effect is not particularly cumulative. This trait is most marked in the final movement, where generation of excitement can only come from a larger outlook. Even the 'shock' chords which mark the beginning of the last movement are not dramatic enough. Neither does the Andante con moto attain a prayer-like concentration at its opening.

There are more successful volumes in this Rubinstein series from RCA Red Seal, and definitely more successful accounts of all these sonatas in the catalogues. It is difficult to muster great enthusiasm for Rubinstein's Beethoven on this disc and it is better to go to some of the other volumes for evidence of his undoubted genius.

Colin Clarke




Return to Index

Reviews from previous months
We welcome feedback on our reviews. Please use the Bulletin Board.  Please paste in the first line of your comments the URL of the review to which you refer.This is the only part of MusicWeb for which you will have to register.


You can purchase CDs, tickets and musician's accessories and Save around 22% with these retailers: