Search - Ludwig van Beethoven, Erich Leinsdorf, Boston Symphony Orchestra :: Rubinstein Collection, Vol. 57

First rate Beethoven from Rubinstein & Leinsdorf

Hank Drake | Cleveland, OH United States | 05/15/2001

(5 out of 5 stars)

"The recordings on this CD are from Rubinstein's second of three complete sets of the Beethoven Piano Concertos (there is also a separate Third Concerto, with Toscanini, recorded live in 1944). These recordings, made in 1965-67, demonstrate Rubinstein was just as "on top" of these works technically as he was in the earlier set with Krips (1956) and much more "into" them 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, (not to mention his use of Busoni's editions of Beethoven's cadenzas) but these performances are 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.    "

Beethoven brought into the parlor, but very nicely done

Santa Fe Listener | Santa Fe, NM USA | 06/16/2006

(4 out of 5 stars)

"With his specialty in Chopin, Rubenstein brought a sophisticated, somewhat underplayed style to Beethoven that relies on charm more than power. He doesn't miniaturize the music, though, and we have the pleasure of hearing his lovely touch, as in the slow movement of Concerto #1--it's like taking Beethoven out of the concert hall into an intimate parlor. Leinsdorf is on best behavior in the First, also, and RCA has recorded the BSO well. As the reviewer below states, there's a good deal of inner detail, and Leinsdorf never dawdles.



Concerto #3 is a larger work, and pianists have the choice to play it like a mini-Empreror Concerto (grand and romantic) or remain in the classical style of the first two concertos. Leinsdorf begins with a strong, big-boned accompaniment, but Rubenstein isn't comfortable there, so once the soloist enters we get a tug of war between his smaller reading, with lots of expressive rubato, and Leinsdorf's robust one. Rubenstein gets to set the tone for the slow movement, which he makes sound charming and flexible. The finale is fairly low-key but nicely articulated by both pianist and orchestra. Rubenstein is again full of little expressive touches.



I remember liking Rubenstein's individuality when these performances first came out in the mid-Sixties, and I still do, especially on CD, which has much improved sound over the Dynagroove LPs."