Rubinstein Chamber Music

[john_boyer]

I have taken the liberty of listening to the Edlian's performances of the five Rubinstein trios to create the appended chart.  I have noted the cuts in each movement.  The notation may be read as follows:

"IV:  23-III-4" means "Fourth movement, page 23, third system, fourth bar".  Each reference is to the appropriate score available from the IMSLP, for the convenience of the members. 


I apologize for the impossible formatting.  Nothing I could do could fix it once I reached the preview stage.  The 21st Century and I are no friends.


Trio #1 in F, Op. 15, #1

II:            24-III-1   through   24-IV-8   16 bars
         31-I-1   through   31-III-9   22 bars
                             --------
                       Total      38 bars
****************************************

Trio #2 in G minor, Op. 15, #2

I:         16-II-2   through    17-I-2        8 bars
            18-II-3    through    18-III-1     2 bars
            19-II-1    through    19-II-2       2 bars
                                                                 --------
                                               Subtotal    12 bars

II:         27-III-1   through    27-III-6     6 bars
                                                                  --------
                                               Subtotal     6 bars

III:   28-I-2   through   30-III-4   135 bars
             36-III-5   through   36-IV-4    7 bars
              37-II-2    through    37-III-3     8 bars
                                                                   --------
                                               Subtotal 150 bars

IV:   48-IV-2   through   49-I-3         7 bars
                                                                    --------
                                     Subtotal      7 bars
                                                                   --------
                                                Total        175 bars
***************************************

Trio #3 in B-flat, Op. 52

I:   17-I-5   through   17-III-2    12 bars                                       --------
                                 Subtotal    12 bars

IV:    48-IV-2   through   51-I-2    82 bars
                     --------
                                   Subtotal    82 bars
              ---------
                                   Total         94 bars
***************************************

Trio #4 in A minor, Op. 85

III:   54-II-3    through    55-I-5    16 bars
                                ---------
                                               Subtotal    16 bars

IV:   65-I-1    through   65-I-4     4 bars
              66-I-1   through   67-IV-5     33 bars
              80-I-1     through   82-II-4      32 bars
                   ---------
                          Subtotal    69 bars
                    ---------
                                   Total     85 bars
***************************************

Trio #5 in C minor, Op. 108

       No cuts

[mbhaub]

That's depressing. Back in the early LP era cuts were so common, and I would have thought that performers would have gotten over themselves and present the music AS WRITTEN. Too bad they did this. I'll probably get the set anyway, but dang it! why did they do that?

[eschiss1]

That's depressing. Back in the early LP era cuts were so common, and I would have thought that performers would have gotten over themselves and present the music AS WRITTEN. Too bad they did this. I'll probably get the set anyway, but dang it! why did they do that?

Can think of at least two CD recordings besides this which also without mention cut/mangled the scores - Fellegi's of Medtner's sonata tragica on Marco Polo, and, I'm told, a recording by Toradze of Mussorgski's Pictures.  I'd add the Koch recording of Liszt's St. Elizabeth but I don't know if that is a CD recording or a remaster of an LP recording; it's pretty seriously cut too (quite possibly cuts authorized by the composer, this is Liszt, after all. A little depressing, still, especially since the performance and recording are really so good in other ways and there's only a few other recordings of this rare and very lovely oratorio.)
Eric

[Peter1953]

This is very shocking indeed. It's almost a musical crime. The only positive thing is that in No. 5 there are no cuts. But... while listening I try to forget this knowledge and... I still enjoy very much of what I hear.

[LateRomantic75]

I had a very pleasant surprise tonight when I listened to Rubinstein's String Quartet no. 1 with rather low expectations! It is quite a strong work, both thematically and harmonically. What's more, it owes quite a bit less to contemporary Germanic models than I had expected! The first movement has a dramatic development section, the slow movement is melancholy and resigned, the hugely enjoyable scherzo is a rollicking tarantella with a chorale-like trio, and the finale is remarkable for its beautiful, trance-like secondary theme.

Can anyone who is familiar with Rubinstein's chamber music please point out which works are on the level of invention and inspiration of the first quartet? That would be greatly appreciated!

[Mark Thomas]

The Quintet for Piano & Winds is one of Rubinstein's most inspired creations. You might like to try that.

[LateRomantic75]

Thanks, Mark! I actually have heard the Quintet once (a couple years ago), but it was in the car and I, of course, wasn't paying close attention to the music. It was on a Russian Disc CD (coupled with the Viola Sonata) which I had checked out of the library, and, if I recall, the performance was rather poor. I see there are three other recordings of it on the Orfeo, Brana Records, and Dynamic labels. Which recording(s) do members recommend?

[Mark Thomas]

I have both the Consortium Classicim on Orfeo and Wolfgang Sawallisch and the Munich Residence Quintet on Calig, which may not be available new any longer. I tend to play the latter, as it is coupled with Rimsly-Korsakov's equally winning Quintet for the same forces.

[LateRomantic75]

The Calig recording is still available, but Amazon sellers are asking in excess of $20 for used copies. I read in the Rubinstein Piano Quartets thread that the first piano quartet is an arrangement of the piano and wind quintet, so I'll be sure to check out that Hyperion recording when it is released!

[John 514tga]

Thanks, Mark! I actually have heard the Quintet once (a couple years ago), but it was in the car and I, of course, wasn't paying close attention to the music. It was on a Russian Disc CD (coupled with the Viola Sonata) which I had checked out of the library, and, if I recall, the performance was rather poor. I see there are three other recordings of it on the Orfeo, Brana Records, and Dynamic labels. Which recording(s) do members recommend?

I like the Orfeo, which is the only complete performance of the Quintet.  All the others make cuts of one sort or another in the finale. 

You should give the Viola Sonata another try.  There is a very nice concert performance in good sound, video, and performance on You Tube, played before an appreciative audience:

http://www.youtube.com/watch?v=ShVcbD_dJF8

Since you'll be on You Tube, here, in somewhat weaker sound and video, is a very convincing performance of the first, second, and fourth movements of the 3rd String Quartet:

http://www.youtube.com/watch?v=SKNa1Ps9HXU

http://www.youtube.com/watch?v=_D2BgoHCawQ

http://www.youtube.com/watch?v=vsLtsz1zjOs