Recorded in Webster Hall, New York City on December 28th and 30th, 1954.
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.
