Anton Rubinstein’s remarkable virtuoso career during the 19th century coincided almost exactly with the final developments of the modern piano. The increasing popularity of the instrument combined with Rubinstein’s formidable execution earned him enormous popularity as a performer. The Six Preludes and Fugues in Free Style are major works, each piece dedicated and alluding to famous composers and performers of the day. The charming Three Pieces are small-scale character works, while the Concert Étude in C major is a witty display piece in which ‘wrong notes’ are instantly corrected, like an errant pupil attempting to disguise mistakes.

Anton Rubinstein was one of the greatest pianists of his age – a virtuoso the equal of Liszt and a popular composer whose career took him all over the world. Despite his invaluable contributions to Russian music, his legacy proved controversial with later generations. Today we can appreciate Rubinstein’s very real achievement as a gifted and original composer whose works are notable for their melodic memorability and extraordinary variety of textures. These Preludes and Études bear powerful witness to this composer’s technical ability and command of tone colour, forming a comprehensive survey of Rubinstein’s piano technique and creative prowess.

REVIEWS:

A comprehensive programme of beautiful well-crafted 19th Century piano music which should be better known. Lovely performances by Martin Cousins are presented here of the complete Six Preludes, Op 24 and Six Etudes, Op 81.

-- Lark Reviews

Anton Rubinstein was one of the greatest pianists of his age – a virtuoso the equal of Liszt and a popular composer whose career took him all over the world. Despite his invaluable contributions to Russian music, his legacy proved controversial with later generations. Today we can appreciate Rubinstein’s very real achievement as a gifted and original composer whose works are notable for their melodic memorability and extraordinary variety of textures. These Preludes and Études bear powerful witness to this composer’s technical ability and command of tone colour, forming a comprehensive survey of Rubinstein’s piano technique and creative prowess.

-- Records International

The collection of pieces by Anton Rubinstein is a mini-treasure trove. Delicate, tasteful and irresistible.

Anton Rubinstein has occupied an uneasy place in the history of Russian music, largely because of his Jewish origins, which led some to write him off, and the related perception of him as a ‘German in Russia’. In recent years his solo piano music has begun to be re-evaluated. This album focuses on the series of works written in the mid-1850s and reveals music of charm and flair. The Three Pieces, Op. 16 are conventional in form but attractive, and the Two Pieces, Op. 28 contain a strongly contrasted Nocturne and Caprice. More ambitious, and intended to be performed in his concert repertoire as one of the greatest virtuosos of the age, are the Six Pieces, Op. 51.

REVIEW:

Noted Brazilian, Steinway artist Sergio Gallo concentrates his effort on the Romantic era. One can hear his connection to these pieces, filled with ardor and efficiency: a delicate edging, yet mighty in pockets of dramatic regale. Each of the pieces inside opus 16 “sing” beautifully and contain delightful swells of pitches and turns, suffused by lyrical freedom.

A caprice, in the most literal term, directly translates into unexpected twists and turns. Certainly so, as there is much more tension inside the Three Caprices. Each of the three movements is independent yet totally connected. M. Gallo’s performance is beautifully nuanced, nudging notes where needed, yet retrenching where critically needed.

The opening “Nocturne” inside Two Pieces has strong lines into Frédéric Chopin, yet Rubinstein’s composition is more restrained and bold within. But there’s a beautiful contrast which Rubinstein chose to compose in the segue “Caprice”: undoubtedly, it is fresh with mild hints of flittering deviousness. Catapults are brisk, unannounced, and filled with delightful enclaves of devilish delight, and the closing denouement is understated yet ravishing. Smooth and sleek in parts, Sergio Gallo gives a spectacular reading of this highly vivacious and spirited œuvre.

Open the capsule of case studies as we turn to the Six Pieces with its journey inside a range of mild emotions. Sergio Gallo takes a dignified and thoughtful stance into these characterizations, each one eliciting precious thoughts and careful reflections. Nothing harsh hits the ear, so a 6-term journey through reflections is spectacular! Sergio Gallo exquisitely unfolds the thoughts with delicate discernment. Brilliant.

The collection of pieces by Anton Rubinstein is a mini-treasure trove. Delicate, tasteful and irresistible.

-- ConcertoNet.com (Christie Grimstad)

Few Russian musicians in the second half of the nineteenth century could match the eminence of Anton Rubinstein. As a piano virtuoso he was internationally admired, as a progressive educator he had profound influence, and as a composer he was both significant and successful. The Symphony No 6 in A minor, Op 111 was his last symphony, composed in 1866, and fully revealing those qualities of grace and energy, as well as clever scoring, that make his works so appealing. Don Quixote, described by Tchaikovsky as “very interesting, and perfect in places”, is an inventive and charming musical portrait of Cervantes’ fictional knight. This release completes the reissue of all six Symphonies previously available on Marco Polo.

Anton Rubinstein’s Symphony No. 4 in D Minor, Op. 95, emerged in 1874 – ending a dry spell of roughly 20 years since his previous efforts in the genre. It came at a time when the future of the purely instrumental symphony was in doubt, reflecting the notion of Wagner and his disciples that Beethoven had exhausted the possibilities of symphonic development – and that the day of “synthetic” art (the “Gesamtkunstwerk”), with its blend of symphonic, vocal and theatrical elements, had arrived. Rubinstein did not agree, and composed his fourth symphony in an apparent effort to prove that Beethoven’s methods were still valid. This marks Delos’ second re-release of Russian Disk’s acclaimed series of Rubinstein’s orchestral music, as performed with authentic idiomatic flair by Igor Golovchin and his Russian State Symphony Orchestra.

Rubinstein: Symphony No. 4, 'Dramatic'

Classical Music

Anton Rubinstein was a celebrated piano virtuoso, sought-after conductor, and - on the side - one of the most successful composers of his times. His Symphony No. 2, the ''Ocean Symphony,'' experienced more than two hundred performances when it was first written, statistics matched by hardly any other work. MDG is now re-releasing this symphony and other top-quality compositions by this Russian romanticist from the rich repertoire of its many years of extremely successful cooperation with the Wuppertal Symphony Orchestra. Alban Gerhardt, largely unknown at the time, created a tremendous sensation with Rubinstein's Cello Concerto. The Wuppertal Symphony absolutely has what it takes when it comes to unleashing such energy on the concert stage. George Hanson gives his musicians free reign, and the legendary acoustics of Wuppertal's Historische Stadthalle am Johannisberg do their part to overpower music fans with original musicality even in their own living rooms - bravi, bravissimi!

Rubinstein: Symphony No. 2, "Ocean"

Classical Music

A. RUBINSTEIN Theme and Variations, op. 88. Akrostichon No. 2, op. 114 • Joseph Banowetz (pn) • NAXOS 8.570941 (73:44)


Joseph Banowetz might easily be thought of as an Anton Rubinstein specialist. He has, after all, recorded all of Rubinstein’s works for piano and orchestra for Naxos’s sister label, Marco Polo, plus four other discs of Rubinstein’s solo piano music. This is a worthy task, for while there is a grand total of some 50 recordings of Rubinstein’s famous Melody in F, very few other works recorded make even two different versions. The sheer dedication of Banowetz is remarkable, and his fine reading of these two works (both world premiere recordings) implies strongly that it is time for a reappraisal of Anton Rubinstein (1829–94). Banowetz is a pianist of some strength—clearly, he is no shrinking violet, anyway, and this robust approach coupled with exemplary finger clarity lends itself superbly to this repertoire.


The Theme and Variations, op. 88, dates from 1871 and lasts some 47 minutes in this performance. It is therefore a major work, and Banowetz certainly treats it as such. His respect for Rubinstein’s talent is evident in every measure he plays. The music itself might well come as something of a revelation, for the invention flows confidently and appealingly from Rubinstein’s pen. Moments of mystery are honored (try the recitative-like ruminations of the fifth variation). Most importantly, Banowetz provides just the right amount of fantasy. The range of the variations is wide, moving from Schumannesque innigkeit (variation 7) to Handelian grandeur viewed through a decidedly romantic telescope (the very next variation). The climax is formed by the 12th and final variation, lasting some 10 minutes. Banowetz whips the music up to a fulfilling, summatory statement. The recording is a trifle shallow and dry, perhaps, but the ear adjusts quickly.


The Akrostichon , op. 2, of 1890, stands in stark contrast. A set of five salon pieces (which together add up in duration to around 27 minutes), the op. 2 counterbalances the Theme and Variations perfectly. There is a spring-like freshness to the second (Allegretto) that is most appealing. All five pieces make for compelling listening, not least the individual, evocative solo lines of the fourth piece (Adagio).


This constitutes Volume 1 of what is presumably intended to be a complete edition of Rubinstein’s piano works, and I note that ArkivMusic is already listing (and highlighting, at the time of writing) Volume 2 (which contains Akrostichon No. 1; Two Pieces, op. 26; Souvenir de Dresde , op. 118; Two Melodies, op. 3; and the Sérénade russe in B Minor). I hope to hear the next installment in due course; in the meantime, Volume 1 provides ample cause for celebration.


FANFARE: Colin Clarke

ANTON RUBINSTEIN Grigorios Zamparas, piano; Philharmonia Bulgarica/Jon Ceander Mitchell. ANTON RUBINSTEIN: Piano Concerto No. 3 in G major, Op. 45; PianoConcerto No. 4 in D minor, Op. 70.

A new addition to Centaur's Complete Recordings of Anton Rubinstein Piano Concertos, this release features Grigorios Zamparas, Jon Caender Mitchell and the Bohuslav Martinu Philharmonic Orchestra. Anton Rubinstein was a Russian pianist, composer and conductor where he ranked among the besth 19th-century pianists. Grigorios Zamparas has received worldwide acclaim for his astounding musicianship and versatile performances. He has performed with prestigious orchestras such as the Porto Alegre Symphony Orchestra, Indiana University Symphony Orchestra and many others.

RUBINSTEIN Piano Concerto No. 5, Op. 94. Caprice russe, Op. 102. Der Thurm zu Babel, Op. 80: Overture • Grigorios Zamparas (pn); Jon Ceander Mitchell, cond; Bohuslav Martin? PO • CENTAUR 3204 (74:55)


The fifth and last of Anton Rubinstein’s piano concertos was composed in 1874. Dedicated to the French pianist and composer Charles-Valentin Alkan (misspelled “Arkan” in Centaur’s notes), it is by far the longest of Rubinstein’s works in this genre, comparable in duration if not stature to the concertos of Brahms. The first movement alone lasts over 22 minutes in this performance, with a total timing of 50 minutes. Perhaps it’s not a coincidence that Rubinstein chose the same key for this work, E?-Major, as did Beethoven for his “Emperor” Concerto. That lengthy first movement is a grand, expansive, often rhapsodic statement, although as is usual with Rubinstein, there is too much repetition. The slow movement strikes me as rather perfunctory, but the brilliant, exuberant finale, at 17 minutes nearly as long as the first movement, offers considerable pleasure. The performance by Grigorios Zamparas is straightforward, crisp, fluent, and technically proficient. He does not quite match the brilliance, forcefulness, and spontaneity that pianists such as Joseph Banowetz and Marc-André Hamelin have brought to other Rubinstein concertos, although he does contribute some pretty impressive rapid passagework. Hamelin, however, has not recorded this concerto, and the Banowetz reading, on Marco Polo, is currently available only as an MP3 download. I have not heard it, but the Marco Polo catalog is gradually being transferred to Naxos, so Banowetz may eventually be available again on CD. On the other hand, the Centaur recording, although a bit dry and unreverberant, is better focused and balanced and more realistic than the Marco Polo series, and the piano sound is solid and well defined. Peaks have plenty of impact and are free from strain or harshness. No other recordings of this concerto are currently available.


The Caprice russe , an appealing 20-minute fantasy for piano and orchestra on three folk or folk-like themes, was written in 1878. Zamparas once again offers a straightforward and proficient performance, perhaps lacking a degree of the flamboyance that Rubinstein’s music seems to demand. The only other recording of this piece in the catalog is that of Banowetz, also coupled with his performance of the Fifth Concerto and therefore available only as an MP3. Rubinstein’s “sacred opera” Der Thurm zu Babel (The Tower of Babel), one of several he wrote on biblical themes and to German librettos, dates from 1869. Its brief overture is deliberate and brooding but uneventful. No other recordings of the overture and none of the opera itself are available.


Under Jon Ceander Mitchell, the Bohuslav Martin? Philharmonic shows itself to be a capable and proficient ensemble, although lacking the tonal opulence of some more famous orchestras. The violins, at least as recorded here, can sometimes seem thin and steely, but the winds are reliable, more so than in the Slovak orchestra used in the Banowetz recordings of the first four concertos. (A different Slovak orchestra performs in the Fifth Concerto.)


In the absence of any current competition on CD, I can recommend these accomplished and well-recorded performances to anyone interested in Rubinstein’s music.


FANFARE: Daniel Morrison

A. RUBINSTEIN Sérénade russe. 2 Melodies, op. 2. Souvenir de Dresde, op. 118. Romance and Impromptu, op. 26. Akrostikon No. 1, op. 37 • Joseph Banowetz (pn) • NAXOS 8.570942 (75:21)


Recently, I reviewed Joseph Banowetz’s first volume of music by Anton Rubinstein, declaring myself ripe for more at the end of it. Well, here is Volume 2, a mix of the new (five of the six movements of Souvenir de Dresde are world premiere recordings—No. 6 was recorded by Leo Sirota and is available on the Arbiter label—as are the Romance and Impromptu , the Sérénade russe, and the Akrostichon No. 1). Volume 1 contained music from 1871–90; this presents works written 1852–94. I also mentioned in my earlier review that only the Melody in F has gained the favor of the catalog, and here in fact it is, played with unaffected simplicity by Banowetz and bringing in tow its lesser-known companion, a Melody in B, a work of supreme delicacy. Rubinstein uses single-line melody to great effect, and Banowetz plays with supreme dignity and maturity.


The disc begins with a work minus opus number. The Sérénade russe was written around 1852, and was composed for a publication named L’Album Bellini . The melancholy feel of the work seems entirely Russian. Banowetz ensures that the lightenings of texture and mood register to maximum effect, and that the Lisztian arabesques contain hints of improvisation.


The sublime sweetness of the first movement of Souvenir de Dresde (1894) draws one into the work. This movement’s title is, in fact, “Simplicitus.” The music opens out into sequences of roulades (dispatched with remarkable ease by Banowetz). In contrast, the second movement, marked “Appassionata,” uses Brahmsian sonorities to bring a contrastive disquiet. Annotator Joshua Creek suggests that the opening of the third movement, “Novelette,” is pastiche Rameau, and it is easy to hear what he means. The movement is a delight. A light, almost Mendelssohnian Caprice leads to an extended Nocturne where the shadow of Chopin can be clearly felt. Drama is the characteristic of the final Polonaise. Banowitz does not quite project the full sweep of the piece, perhaps.


Dripping, slow descending lines that one might expect to encounter in late Brahms begin the Romance from op. 26. Rubinstein’s offering turns out to be a simple but expressive song without words, its melody exquisitely shaped by Banowetz. The Impromptu makes for effective contrast in its playful, busy nature. Finally, Akrostikon No. 1 (written around 1856). Each movement is headed by a letter, which when put together spell “LAURA” (Laura Shveykovskaya, a young lady evidently admired by the composer). All five movements are remarkably stress-free, liquid outpourings. Any hints of disquiet in the fifth movement (Con moto) are dismissed in the quasi-improvised final movement, a clear Lied ohne Worte.


Once again, Banowetz has succeeded in alerting the record buying public of the importance of Anton Rubsinstein’s music while simultaneously providing playing of the utmost clarity and beauty.


FANFARE: Colin Clarke