Beethoven was not a
composer whose music was especially
associated with Artur Rubinstein. Indeed,
in his interesting liner note Jeremy
Siepmann points out that the great Polish
pianist only performed about six of
the sonatas during his lengthy career.
Rubinstein did record the concertos,
setting down a complete set for RCA
with Josef Krips in 1956. He also made
earlier recordings of the Third concerto
with Toscanini and of the Fourth with
Beecham though I think it would be fair
to say that none of these have been
widely regarded as being among the finest
examples of his recorded legacy.
In this performance
of the "Emperor" he’s accompanied
by Eugene Ormandy at the helm of London’s
Philharmonia Orchestra. It’s most unusual
to find an example on disc of Ormandy
working with an orchestra other than
his Philadelphia Orchestra. Don’t expect
too many revelations, however. Ormandy
accompanies efficiently, although I
felt that he could have persuaded the
band to play more softly in certain
passages. However, one cannot form a
real judgment as to how he interacted
with the Philharmonia on the evidence
of this concerto performance. (Of what
did the remainder of the programme consist,
I wonder and might it be worth issuing
separately by BBC Legends?)
Jeremy Siepmann’s notes
point to the fullness of Rubinstein’s
tone and that is certainly evident in
this concerto performance although as
recorded the piano sounds rather clangorous,
especially in louder passages. Indeed
in loud tutti passages
the piano tends to dominate the sound
picture.
The first movement
is generally well played, though when
the opening piano flourishes return
(at 12’20") the soloist’s playing
is somewhat splashy. The overall impression
is of a rather forceful account of the
movement by both pianist and orchestra.
At the start of the second movement
the strings are marked piano
but what we actually hear is closer
to mf. This failure by Ormandy
to procure genuinely soft playing vitiates
any sense of mystery. It presages what
is, I think, a rather prosaic account
of the movement. It must be said, however,
that Rubinstein negotiates the magical
transition to the finale very atmospherically.
The finale itself is spirited and jovial.
At the end the audience
response is most enthusiastic but I’m
bound to say that the performance didn’t
set my pulse racing. It sounds to me
like an efficient traversal of the notes
but little more than that. You will
look in vain for the profundity that
someone like Brendel, Richter, Schnabel
or Solomon would bring to this epic
work. In fairness, though, I don’t think
that was ever Rubinstein’s intention.
In the notes we can read a lengthy quotation
from him in which he chides people who
"prefer to see a man sitting over
his Beethoven with a big frown….and
like what the Germans like to call ‘deep’.
I don’t believe in the ‘depth’ of music.
It is usually linked, for me, with the
word ‘boring’." I’m not entirely
sure one should take all this at face
value but I can’t say that Rubinstein’s
view of "Emperor" is one that
I’m likely to return to in a hurry.
However, the solo recital
items are another matter entirely. Here
the pianist is on much more congenial
territory. The sound quality is less
good than in the concerto (the recordings
derive from BBC acetates) but the playing’s
the thing.
His Brahms group is
very good, crowned by a magnificent,
compelling rendition of the G minor
Rhapsody in which Rubinstein’s playing
is by turns poetic and darkly glowing.
The lovely touch that served him so
well in Chopin is evident also in the
two Schubert Impromptus. The one in
G flat minor receives a limpid reading
yet the performance has undoubted inner
strength. Its companion is scarcely
less successful or enjoyable.
Inevitably, perhaps,
the recital ends with Chopin. The F
sharp minor Nocturne is a thing of delicate
beauty and Rubinstein treats us to a
reading that is exquisitely poised.
The music breathes in his hands, thanks
in no small measure to his rubato, which
he has down to a fine art. Siepmann
refers to the A flat major Polonaise
as the artist’s "signature tune".
Here Rubinstein achieves the not inconsiderable
feat of giving an heroic, storming performance,
but one which is refined at the same
time.
It’s this second half
of the CD that shows clearly why Rubinstein
was held in such high regard. These
solo performances give us a glimpse
of the "Rubinstein magic"
that is missing from the concerto. I
wish BBC Legends had given us a full
CD of recital items for the concerto
performance, frankly, is not in the
same league. I can only surmise that
a limited amount of recorded material
was available. Admirers of Rubinstein
will want all the contents of the disc
and other listeners may well find more
in the Beethoven than I did. To my mind,
however, it’s in the Brahms, Schubert
and Chopin items that we get a true
taste of one of the twentieth century’s
most remarkable pianists.
John Quinn
Artur Rubinstein (piano) 