Involving, as it does, three master musicians and a fine chamber orchestra this was never likely to be be other than rewarding. It may not correspond with the ways of playing Mozart at the beginning of the twenty-first century which are fashionable at the beginning of the twenty-first century, but it has virtues – such as high intelligence, sympathy, certainty of purpose, grace, alertness of interplay – which transcend questions of performance practice. Looking at the names of the pianists above, we might be surprised by the presence of Sir Georg Solti, so used are we to thinking of him as a conductor. But the young Solti appeared in public as a pianist from the age of twelve and went on to study piano in Budapest, with Dohnányi and Bartok.
A classic collection of 11 CDs that compiles every recording that the late Arthur Rubinstein released on the RCA label from 1946-1967! Many aficionados consider these definitive performances of Chopin repertoire, produced by the legendary Grammy award winner Max Wilcox and presented in both monaural and stereo recordings.
In his lifetime, Anton Rubinstein (1829-1894) was most celebrated as a pianist and was often considered Liszt's only real rival. However, he was also an extremely productive composer, his output including eight concertos, two of which are for 'cello.
The outstanding young German pianist Joseph Moog makes his debut on ONYX with a superb disc of two great Russian piano concertos that have had very different fates. Anton Rubinstein s 4th was once one of the most famous and popular concertos in the repertoire, and many of the major virtuosos performed this work into the early years of the 20th century when the composer s other works vanished from the concert hall.
The G major Anton Rubinstein violin concerto is a fine and powerful work, quite as good as many a lesser-known Russian example in the same genre, and easily as deserving of wider currency as, say, the Taneyev Suite de Concert, which is just as rarely heard these days. Nishizaki gives a committed and polished reading, though you often feel that this is music written by a pianist who had marginally less facility when writing for the violin. Still, here’s a well-schooled performance, full of agreeable touches of imagination (the Andante shows Nishizaki’s fine-spun tone to particularly good effect) delivered with crisply economical urgency that makes good musical sense even of the work’s plainer and less idiomatic passages.