The Rubinstein Collection Volume 59 - Beethoven 2 & Brahms 1 (w/ Erich Leinsdorf)

This recording of Beethoven's Second Concerto (which was actually written before the First Concerto), made in 1967, demonstrates Rubinstein was just as "on top" of the piece technically as he was in the earlier set with Krips (1956) and much more "into" it musically. In addition, the playing is notably more alert and straightforward than in his later set with Barenboim (1975). To be sure, purists will quibble with Rubinstein's use of rubato and approach to ornamentation, but this performance is a joy from the first bar to the last. Leinsdorf, with the Boston Symphony Orchestra, are to be credited for a fine accompaniment, far more detailed and sensitive than in the earlier set with Krips.

All three sets of Beethoven Concertos from Rubinstein are worth having, but for those only able to obtain one–this is the one to have. The sound, which was pretty good to begin with, has been superbly remastered.

The Brahms D minor Concerto is a difficult work to pull off successfully: the piano part is ungrateful, and often drowned out by an over-orchestrated accompaniment. Also, many pianists–most notably Glenn Gould–tend to drag the tempos beyond all reason. Rubinstein, who was ten years old when Brahms died, would never have considered such a nonsensical approach. The Concerto was written early in Brahms career, and was the work of a young man. In essence, "Brahms without the beard."

This 1964 performance, with superb accompaniment from Leinsdorf and the Boston Symphony, represents the very antithesis of the dragged out, boring approach that has recently tested concert audiences' endurance. As in the 1954 version with Reiner (which was the first stereo recording the pianist ever made) the pianist brings all the fire necessary to the score, with a more sober, less rhapsodic approach to the more inward sections. Rubinstein's sparing use of the sustaining pedal helps clarify some of Brahms' thick keyboard writing, and he is in far better shape technically than in his 1976 recording with Mehta. Although almost forty years old, this is still one of the very few "essential" recordings for any Brahms collection, along with the Fleischer/Szell and Serkin/Szell performances.

The sound is much improved over earlier versions. The piano is now properly balanced with the orchestra (it was originally too dominant, which apparently was how Rubinstein wished it), and the mix of instruments within the orchestra is smoother. (Hank Drake on amazon.com)