Rubinstein Fantaisie/Concertstück (Banowetz)

[Alan Howe]

This is rather a lovely pair of recordings dating from October 1989 on Marco Polo. I must confess that both works had passed me by - and they lead me to ask this question: Are they all the better for the fact that Rubinstein isn't constrained by having to produce a 'concerto'(even though the Fantaisie at 38+ minutes is in effect a four-movement concerto in all but name)?

[John Boyer]

Ever since I first heard it, I have felt that the Fantasy in C was Rubinstein's best work for piano and Orchestra after the Fourth Concerto. To construct a work of nearly 40 minutes on a single theme would be a remarkable achievement for any composer, but all the more so for Rubinstein, for whom, as much as I like him, I would not have held high hopes for success in such an endeavor.

You are not alone, Alan, in seeming to miss it. It has always surprised me that there wasn't more discussion about it here on the boards compared to the first three piano concertos, which I've always found inferior.

If the Concerstuck is not on the same level, it still has a lot going for it too. I had the old Vox Turnabout recording, but Banowetz revealed how savagely cut that one was.

Regarding your question, I am not sure if being released from the formal concerto requirements is better or worse for Rubinstein. I would have guessed worse, given his tendency to meander -- the sonata form imposes a certain discipline -- but this does not seem to be the case here.

[Alan Howe]

My copy turned up in the post today. I'm not quite gobsmacked, but I am very pleasantly surprised! Thanks, John, by the way.

[FBerwald]

This entire cycle by Banowetz could have been the ideal collection had it not been for the instrument used in the recording.

[Alan Howe]

Well, in this case we have no choice, so beggars...

[John Boyer]

This entire cycle by Banowetz could have been the ideal collection had it not been for the instrument used in the recording.

I'm in the minority, but I liked the bright sound of the Baldwin used in the series.

[Alan Howe]

I rather like the piano sound too - with the possible exception of the rather clattery treble end. It's certainly no bar to my enjoyment.

[semloh]

This is rather a lovely pair of recordings dating from October 1989 on Marco Polo

Yes, I agree, Alan. As John says, it is a work that tends to be overlooked compared to the concertos. Maybe it's because the mere phrase "Piano Concerto" carries a special cachet. I was always happy with the Marco Polo recordings.

[eschiss1]

cachet maybe just in the sense that - as already mentioned - it gives one, at least certain composers, a better idea what to expect, which can be important; audiences are, I think, skittish folk...

[FBerwald]

The problem like Alan said is the upper register sound of the piano. Especially in the recording of Concerto No. 3 & 5[this one still hasn't had a decent outing imho]. If only someone like Marc-André Hamelin or Stephen Hough would have recorded this!

[Alan Howe]

Well, in this case we only have the indomitable Banowetz. I for one am thoroughly grateful.

[John Boyer]

Especially in the recording of Concerto No. 3 & 5 [this one still hasn't had a decent outing imho].

Regarding the Fifth, do you know the Grigorios Zamparas (piano), Bohuslav Martinu Philharmonic/Jon Mitchell on Centaur? It's the one I like the best. The Banowetz Fifth is the only one in his entire series that I was disappointed with, though only because for some reason in that one they recorded the piano too far forward.

[Alan Howe]

The 5th still really needs an absolutely first-rate recording, IMHO.

[John Boyer]

The Adrian Ruiz / Zsolt Deaky is the only one that gets the slow movement right.  The others tend to rush, missing the chance for the unsettling atmosphere that Ruiz and Deaky achieve.

Meanwhile, Banowetz has the benefit of a better orchestra, while Zamparas has better balances. This is the problem of waiting for the ideal recording: one might have better sonics but a less interesting performance and the other vice versa. Still, someday it might happen.  Perhaps Mr. Triendl?

[John Boyer]

Returning to the Fantasy and Concertstück pairing, I was a bit unfair in an earlier post when I said that the Concertstück doesn't quite hold up compared to the Fantasy. If it's less ambitious and inventive, it does have a very charming first movement, and the 2nd movement is filled with a lot of fun, "Perils of Pauline", silent movie melodrama.  Some might criticize it as a bit over blown, but I think it can be thoroughly enjoyed as a guilty pleasure.