ARTS AND ENTERTAINMENT Records: Rubinstein Rarities

Press, Volume CVI, Issue 31159, 8 September 1966, Page 13

ARTS AND ENTERTAINMENT Records: Rubinstein Rarities

Considering that Artur Rubinstein is one of the greatest living pianists and a prodigious recorder, it is surprising to find that two new discs comprise the bulk of his recordings of the Beethoven sonatas. Before these there was only a 1957 coupling of the “Pathetique” and "Appassionata” sonatas available here. No others were available in Britain, although there could have been some issued only in the United States. Rubenstein has made more recordings than any other pianist, yet his main concern has apparently been with Chopin—nearly the complete works. If he has recorded

any other Beethoven sonatas, they must be well out of print However, the new discs, recorded in his seventies, have been well worth waiting for. Three of the most popular' sonatas—No. 8 "Pathetique,”! No. 14 "Moonlight” and No. 26 “Les Adieux” —come to-: gether on R.C.A. Victor mono LM2654 ( 42s 6d). and No. 23 “Appassionata” is coupled with the early Sonata No. 3! in C on R.C.A. Victor mono' LM.2812 (42s 6d). I Here is Rubenstein at his| grandest. His playing is beautifully and superbly con-> trolled, and his interpreta- 1 tions revealing and sensitive. There is so much to admire, —the sweep and majesty of the “Appassionata" first move-

ment: the graceful singing line of the “Moonlight” opening movement, the sheer ardour of the “Pathetique” adagio: the judicious fire and brilliance. There are parts, such as in the second movement of the “Moonlight." where one may feel another pianist can get closer to the matter of the music, but it would be difficult to find another to match the everpresent elan of Rubenstein’s playing. The recording quality is most satisfactory. Incidentally, one sleeve note, dated i 1963, says Rubenstein had not previously recorded or played in public the “Moonlight.” ;Some may recall how in Auckland in 1964, Rubenstein was so dissatisfied with his

playing of .that sonata in his first concert that he made the unusual gesture of repeating it during his Chopin concert. Such are his standards. Other new issues include:— Haydn: Symphonies No. 96 “Miracle” and No. 99. Concertgebouw Orchestra of 1 Amsterdam, Bernard Haitink. I Philips stereo 835.299 LY (42s 6d)—This famous orchestra I makes a welcome return to the catalogue with two attrac- ! tive performances well worth acquiring. Comparison with its earlier “Miracle” under Van Beinum shows that its playing has gained refinement under its present young Dutch conductor, although Haitink cannot match the felicities of his predecessor’s finale. No. 99 has a similar refinement, abundant good j spirits, and care in the intro- ! spective moments. Beethoven: Symphonies No. ; 1 and 8. Suisse Romande

Orchestra. Ernest Ansermet. Decca stereo SDD.IOI (29s 6d),—This coupling is one of the best of the cycle, with solid, unsentimental readings characterised by clarity and attractive instrumental timbres. The recording is clear and full-bodied. It is a bargain for those who like their Beethoven unhampered by personal qualities.