At 86, Arthur Rubinstein (the pianist always spelled his first name with an “h” in America) still played beautifully, as his 1973 Concertgebouw performances of the Beethoven C minor and Brahms D minor concertos prove. To observe his calm presence and absolutely centered body language constitutes a master-class from which today’s keyboard emoters can learn (Olli Mustonen and Lang Lang, take note!).
In the Beethoven first movement Rubinstein’s solo turns usually relax Bernard Haitink’s faster basic tempos, yet the natural ebb and flow of the pianist’s phrasing and his seamless transitions prevent any sense of discontinuity. His ravishing tone and proportioned lyricism come into their own in a brisker than usual yet never hurried slow movement. The Rondo’s point and panache belies Rubinstein’s advanced years and also inspires particularly incisive podium support from Haitink, looking slim and energized in his mid-40s, sporting those inevitable 1970s sideburns.
Rocky drama and mellow poetry easily coexist in the Brahms concerto’s first movement. How exciting it is to watch Rubinstein’s huge hands embrace the taxing octaves with hardly any effort, even when he rises from his seat to reinforce a climax! The slow movement is appropriately inward and meditative without losing shape and flow, while the Rondo is full of rhythmic character, singing spirit, and genuine pianist/conductor repartee.
Among the solo selections, the Brahms pieces best back up Gregor Piatigorsky’s claim that Rubinstein “had the best cello tone.” The Chopin Scherzo’s few stumbles don’t matter in light of the pianist’s perceptions, such as the care he takes to articulate the opening motive’s triplets that many pianists merely brush off. Lastly, an insightful bonus interview with Robert MacNeil, “Rubinstein at 90”, upholds the pianist’s offstage reputation as a charmer and raconteur. For artistic quality, this is the most compelling visual document of Rubinstein’s final performing years. [10/9/2008]
