Rubinstein, a poor creature?

[Peter1953]

Why is it that Anton Rubinstein got and gets a lot of criticism? In his days he was laughed at, called a dimwit, an idiot, conservative (c' est du Rubinstein), was humiliated by The Mighty Handful, a group of amateurs including Balakirev, the man who refused to attend the celebration of Rubinstein's 60th birthday.

Is it (semi) academic wisdom to regard a lot of Rubinstein's output as poor, or handicapped with a lack of thematic development, despite the fact that quite a lot of his music is tuneful? I don't know, at least I don't understand. I am not a musicologist, a poor piano player, but a rather critical listener. Listening carefully to the majority of Rubinstein's music, whether it is orchestral, chamber, or solo piano, I can only hear beautiful, interesting and well-crafted music with rich, powerful thematic developments and tone colours, enough depth, and besides that, for the greater part most memorable. Am I right or wrong or somewhere in the middle? It is very well possible that my adoration is due to a lack of musical knowledge, but on the other hand I simply love to listen to everything Rubinstein has written, although he had his weaker moments (like so many other fine composers). And after all, it's the melody that counts.

Yesterday afternoon I spent a most civilized couple of hours by listening to Rubinstein's Piano Sonata No. 3, followed by his wonderful Dramatic Symphony and Piano Concerto No. 4 (to me the most beautiful unsung PC), finished by his sparkling Octet op. 9. And while I'm writing this topic, I listen to his utterly romantic, appealing Violin Concerto.

[Alan Howe]

The Dramatic Symphony is 'wonderful'? Nope - not for me: an awful lot of huffing and puffing and turgid development. I've returned to it on a number of occasions and find it frustrating and hard work to listen to every time. Rubinstein's problem is that he doesn't know when to stop...

Mind you, we could do with a recording by an absolutely first-class orchestra and conductor (specifically, without the tuning problems in the performance on Russian Disc and with rather more vim than that on MP/Naxos.)

[Gareth Vaughan]

I think you have put your finger on Rubinstein's problem. He didn't know when to stop. I enjoy his music enormously, and, at its best it is prodigal of melody and just sweeps you along, but so often it simply outstays its welcome - which is such a pity. (The Concert Etudes are a case in point: some of them just go on and on and on, with material that can't stand that sort of repetition, so that one begins to feel one is being beaten about the head with a blunt instrument!) Not that this is true of everything he wrote, of course - but it is an underlying fault.

[Alan Howe]

Having said what I have about the 4th Symphony, I am happy to confirm how much I enjoy PCs 3 (my personal favourite) and 4, the VC, and Syms 2 and 6. But I do think that Rubinstein often goes on for too long and that his output is very uneven; and yet I also acknowledge that he was an important figure in Russia. Certainly Tchaikovsky thought so...

[JimL]

Let's not forget the cello concertos (the second of which I value enormously) and PC 5.  The last is one of his more successful 'long' works, one in which he was actually able to sustain an extended form without being overly repetitive.  The development of the ideas in this work is also quite accomplished.

[Mark Thomas]

Interesting that Rubinstein has managed to sustain so much interest and debate here.

Yes, like you Jim, I find the Piano Concerto No.5 a really powerful piece which doesn't outstay its welcome. The first movement in particular has a granite-like solidity to those mighty chords. A grand, grand conception. I've "rediscovered" the attractions of the first two concertos in the last week, but would rate No.3 as the most satisfying after No.5. I've never shared everyone else's enthusiasm for No.4, but I know that's my loss. Amongst the symphonies Nos.2 and 6 work best, but I can see what people find so attractive about No.5, even though I don't think it a very well put together piece. The Quintet for Piano & Winds, Octet and the first three Piano Trios are great fun. The Piano Sonatas make for a good listen...

The list of Rubinstein works I enjoy goes on. There's no doubt that he was an eminent musical educator, one of the two greatest pianists of his time and a composer of often enjoyable music but I just don't think that he's a great composer.

[Alan Howe]

but I just don't think that he's a great composer.

Quite, Mark. Unlike Raff...

[JimL]

I think that his output is erratic, but I consider him a second-string composer with a handful of truly great works which should establish him firmly in the repertory - certainly by more than the paltry few by which he is barely known.

[Amphissa]

There are some pieces by Rubunstein that I enjoy, others that I do not. I can make the same comment about a great many unsungs.

It must be remembered that a lot of the criticism of Rubinstein in Russia was politically motivated, including the condemnation issuing from Cui and the Mighty Handful and their admirers. To an extent, those criticisms have propagated down through the years, or at least influenced the way critics listen to Rubinstein.

Fact is, there have been recordings of Rubinstein's music around for many years. He is not a new-found unsung. And if he is a second- or thrid-tier composer, he has never been completely ignored or "lost."

[thalbergmad]

It is very well possible that my adoration is due to a lack of musical knowledge.

If that is true (and i do not think it is), then I am in the same club as you Peter.

I am not a musicologist and only a third rate hack pianist, but I love Rubinstein. Obviously, i could not explain why in 13,000 words and I would not waste my time in trying to do so. I simply enjoy the music and leave the indepth explanations of lack of thematic development to the experts.

I once almost crippled myself on the "Staccato" Etude. Is there anyone here who can play this???

Thal

[Jonathan]

Hi Thal,
I bought the music for the "Staccato" Etude a few weeks ago with the intention of trying to learn it.  I tried, put it on one side and left it alone!  The Valse Caprice in E flat, that's a different kettle of fish altoghther in that I can make a half decent stab at it!
Might go back to the etude, now you mention it...

[thalbergmad]

Good luck. I too put it to one side.

About 5 years ago

Thal

[Alan Howe]

Just as an aside: I don't think it takes an expert musicologist to understand that a 66-minute symphony, such as Rubinstein's 4th, must be able to justify its length. Unfortunately R4 cannot. However, this doesn't mean that one cannot enjoy this composer. We just have to be realistic about his ultimate position in the pantheon.

[Gareth Vaughan]

Raff is certainly, IMHO, a superior composer to Rubinstein, though, as I've said, I do enjoy a lot of his music.  As to the Staccato Etude, good luck, Jim. As well as being immensely difficult, it's one of those pieces which goes on and on and on... without really getting anywhere. A pianist needs a lot of stamina to get through it - and so, alas, does the audience!

[JimL]

As to the Staccato Etude, good luck, Jim. As well as being immensely difficult, it's one of those pieces which goes on and on and on... without really getting anywhere. A pianist needs a lot of stamina to get through it - and so, alas, does the audience!

I don't know whether you were aiming your comment to Jonathan or Thal, but I'd love to take a stab at the Staccato Etude.  If, that is, you (or anybody else here) would care to send me a piano!