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.
Colin Clarke
Artur Rubinstein
(piano). 
