Rubinstein Collection, Vol. 22

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Music reviews of Rubinstein Collection, Vol. 22

Music Review: Rubinstein in Two of his Favorite Concertos
Rating: 5 Stars

Rubinstein's 1952 performance of the Brahms Second Concerto is considerably more controlled than his 1929 version (Volume 1). There are a few inconsequential mistakes here-and-there. Magnetic tape recording was in its infancy at the time, and recording producers were a bit more cautious with tape splicing than in today's recordings, which are usually spliced together bar-by-bar. Nevertheless, this remains an extroverted, youthful performance of the concerto, far superior to Rubinstein's 1971 remake (Volume 71). The Boston Symphony Orchestra, under Charles Munch provides a glowing accompaniment. This recording was made in Boston's Symphony Hall, one of the most acoustically perfect halls in the world, and it shows in the vibrant, clear recorded sound.

Rubinstein's 1949 version of the Grieg Concerto is given a crisp, bracing performance. Here, as in the Brahms, Rubinstein's subtle use of rubato is never allowed to interfere with the forward motion of the music. Antal Dorati and the RCA Victor Symphony Orchestra provide a strong accompaniment. (In reality, the "RCA Victor Symphony Orchestra" didn't exist. This was a name given to whatever pickup orchestra RCA could put together, whether in California, New York, or abroad. In this case, it was mostly assembled from musicians from Hollywood film scoring orchestras.) This recording was made at Republic Studio's film scoring stage in Hollywood. The sound is a bit dry, but well balanced and acceptable.

Both of these recordings are returning to active circulation after an absence of over forty years. In an era populated by mostly note perfect but dull recordings, they are a welcome tonic.

Description of Rubinstein Collection, Vol. 22

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