*I. Allegro con moto* EXPOSITION 0:00 Theme Group 1, Theme A (T1A) in E minor, presented by the orchestra alone. It consists notably of a descending triplet motif (M1). At 0:46, dominant preparation leads us to the first orchestral climax, which modulates into the dominant of G (D). The second motif, a jumpy dotted rhythm, is presented early, announcing the arrival of 1:51 Theme 2 in G, of a much lighter mood, presented by the clarinets. M1 is also present in T2 (2:07), this time losing its somber tone for an arpeggiated, light feel. 2:37 Sudden, almost comically unexpected arrival of the piano on the dominant (B) of the home key. It uses M2 to lead back into Em for- 3:00 Re-exposition of T1 on the piano, with orchestral accompaniment, this time outbursting and almost violent. Rubinstein shows here no fear of large, full chords, precursing Rachmaninoff’s own. 4:01 Theme B from Group 1 is presented for the first time, at the piano alone without having been introduced beforehand by the orchestra. Lyrical and of pure romantic essence, it bears reminiscences of Chopin (whose funeral had taken place just the year before!) DEVELOPMENT 5:11 The first real passage of virtuosic figuration comes through, closing T2’s lyrical ambience into an outburst of agitation and excitement while modulating towards G. 5:54 T2 in piano, accompanied by a countermelody in the horns 7:00 The orchestral transition passage from 6:38 leads back into agitation (still in G), featuring free use of traditional virtuoso figuration with double notes, octaves, scales and trills galore. 7:59 T1A, this time in G. M1 is developed. Modulation takes us through a few unstable keys before settling on- 9:01 The key of D (9:01) for T2 by the orchestra alone, although the key’s unstableness shows this temporary steadiness won’t last long. At 9:05 a developmental motif (MD) is introduced, a descending staccato segment making use of a grace note, used to develop T2 and provide transition. 9:38 The piano interrupts once more, leading us back to the home key. REEXPOSITION 10:01 T1A in E minor, this time with added figuration (using MD) at the piano. 10:48 Modulation, then pedal point in A, leads to T2 now in the home key of E, accompanied by rising-falling piano arpeggios. 12:16 T1B in a calmly bouncy transition. 12:40 Back to pianistic figuration, now in E. 13:38 T1A is used as basis for modulation. As usual, though, steadiness doesn’t last more than a few moments as 14:04 interrupts with a high-tension passage with tremolos in the strings based on the diminished seventh dominant of E. The tension doesn’t resolve just yet though, taking us through long modulation (14:20) before settling on the dominant (14:44), all the while using M1. 15:20 Pianistic figuration with M1 (15:05) brings us back to E in a flurry of octaves. CODA 15:50 uses M2 in the orchestra to modulate. 16:14 Some very conclusion-ish measures seem to lead us to an end- 16:23 But a sudden drop in tension leads to a Meno mosso coda with a (very rarely seen) static tremolo at the piano, giving the music a throbbing feel. T1B in the clarinets. An apparently quiet last few measures lead to a final, brutal chord. You’ll have understood this by now: Rubinstein likes startling the audience awake. *II. Andante con moto* 17:11 Theme in C, played by horns. Gentle, benevolent lyricism. Restated by the piano at 17:39, horns and piano then taking turns continuing the theme. 19:55 Sudden interruption and violent change of mood in Am. Alternating strings and piano chords lead to an appassionato outburst at the piano (20:32). Modulation ensues, taking us to Dm. The tremolo-style figuration keeps coming back, like an inescapable sentence. 22:39 Calm modulation (22:15) takes us back to a beautiful restatement of the main theme, back in C major. 24:19 C and Am themes collide and alternate, although it is the major key that comes out victorious, closing the movement in a Lisztian bVI-I-iv-I cadence. *III. Allegro ma non troppo* 25:40 Floating introductory measures in the woodwinds, anticipating T3 (which will be stated in full much later). The piano catches on quickly. 26:37 Theme 1, in E major. Jubilant and festive in a celebratory way, quite endearing in its straightforwardness. 27:55 Some very Mendelssohn-y features at the piano, in a dialogue with the bassoon/clarinet reprising T1. 28:36 Development using T1’s motifs. 29:04 T2, in B. Theatrical in an almost pompous king’s-arrival way. Then picked up by the orchestra with piano flourishes. 30:40 T1 in G#m with some delicate and surprisingly tender development, giving the theme a new colour (31:08). 31:29 Rubinstein’s knack for long, stretchy chord progressions precedes a transition to the dominant of G, announced by a short piano cadenza (32:24) 32:37 T3 at the piano, in G, taken from the orchestral introduction at the start of the movement. T1 ensues in an orchestra-piano dialogue between the two themes. 34:51 T2 hinted in the orchestra, followed by an interaction of T1 and T3 (both in minor) presented simultaneously through piano and strings. T2 is then used in a transition. 35:46 T1 in F, then Ab. Back to the first, merry colour. 36:54 Some virtuosic flourishes at the piano. From now on, it’s straight octaves till the last few bars (...!) 37:15 Final grandiose declamation with T2 in the orchestra, pain in the piano, compassion in the audience.
Favoloso!Sicuramente a quei tempi il primo concerto di un compositore russo e sicuramente di una qualità inimmaginabile. Professionalmente inecceppibile l'esecuzione di Banowetz ,e la partecipazione dell'orchestra.Io che da anni ne ho i CD non posso che congratularmi. Le migliori registrazioni dei concerti di A.Rubinstein.
Thanks for posting this. I listened to a CD of his 2nd and 4th concertos over and over while I was on vacation in April . . . was blown away by how good they were!
Very nice recording. Rubinstein is definitively underrated as a composer. Question: this is my first time I've seen the orchestral parts above the actual piano part in a score in which the 2nd piano is playing orchestral parts. This caught my eye.
@@paulstrickler5684Both performances by Banowetz and Zamparas are available here on TH-cam. Main differences in the 3rd movement are that Zamparas plays the repeats and the octave runs at the end are faster than Banowetz. Also the pianos sound different between the 1st/2nd movement than the 3rd.
He unironically composes like a beginner. Some very basic misunderstandings never got corrected for this guy I guess. Must be the difference between having and not having a good teacher and educational material.
@@butter5014The constant relying on repeated rhytmic and melodic figures. Not so great composers think this gives unity and structure while in fact it is the opposite of organic development. Wagner said: composing is the art of transition. Repetition of figures makes this impossible. Almost all modern pop music is constant repetition and thus worthless.
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Saddened to hear of Banowetz’s recent passing. He did much for the legacy of Rubinstein’s piano music.
*I. Allegro con moto*
EXPOSITION
0:00 Theme Group 1, Theme A (T1A) in E minor, presented by the orchestra alone. It consists notably of a descending triplet motif (M1). At 0:46, dominant preparation leads us to the first orchestral climax, which modulates into the dominant of G (D). The second motif, a jumpy dotted rhythm, is presented early, announcing the arrival of
1:51 Theme 2 in G, of a much lighter mood, presented by the clarinets. M1 is also present in T2 (2:07), this time losing its somber tone for an arpeggiated, light feel.
2:37 Sudden, almost comically unexpected arrival of the piano on the dominant (B) of the home key. It uses M2 to lead back into Em for-
3:00 Re-exposition of T1 on the piano, with orchestral accompaniment, this time outbursting and almost violent. Rubinstein shows here no fear of large, full chords, precursing Rachmaninoff’s own.
4:01 Theme B from Group 1 is presented for the first time, at the piano alone without having been introduced beforehand by the orchestra. Lyrical and of pure romantic essence, it bears reminiscences of Chopin (whose funeral had taken place just the year before!)
DEVELOPMENT
5:11 The first real passage of virtuosic figuration comes through, closing T2’s lyrical ambience into an outburst of agitation and excitement while modulating towards G.
5:54 T2 in piano, accompanied by a countermelody in the horns
7:00 The orchestral transition passage from 6:38 leads back into agitation (still in G), featuring free use of traditional virtuoso figuration with double notes, octaves, scales and trills galore.
7:59 T1A, this time in G. M1 is developed. Modulation takes us through a few unstable keys before settling on-
9:01 The key of D (9:01) for T2 by the orchestra alone, although the key’s unstableness shows this temporary steadiness won’t last long. At 9:05 a developmental motif (MD) is introduced, a descending staccato segment making use of a grace note, used to develop T2 and provide transition.
9:38 The piano interrupts once more, leading us back to the home key.
REEXPOSITION
10:01 T1A in E minor, this time with added figuration (using MD) at the piano.
10:48 Modulation, then pedal point in A, leads to T2 now in the home key of E, accompanied by rising-falling piano arpeggios.
12:16 T1B in a calmly bouncy transition.
12:40 Back to pianistic figuration, now in E.
13:38 T1A is used as basis for modulation. As usual, though, steadiness doesn’t last more than a few moments as 14:04 interrupts with a high-tension passage with tremolos in the strings based on the diminished seventh dominant of E. The tension doesn’t resolve just yet though, taking us through long modulation (14:20) before settling on the dominant (14:44), all the while using M1.
15:20 Pianistic figuration with M1 (15:05) brings us back to E in a flurry of octaves.
CODA
15:50 uses M2 in the orchestra to modulate.
16:14 Some very conclusion-ish measures seem to lead us to an end-
16:23 But a sudden drop in tension leads to a Meno mosso coda with a (very rarely seen) static tremolo at the piano, giving the music a throbbing feel. T1B in the clarinets. An apparently quiet last few measures lead to a final, brutal chord. You’ll have understood this by now: Rubinstein likes startling the audience awake.
*II. Andante con moto*
17:11 Theme in C, played by horns. Gentle, benevolent lyricism. Restated by the piano at 17:39, horns and piano then taking turns continuing the theme.
19:55 Sudden interruption and violent change of mood in Am. Alternating strings and piano chords lead to an appassionato outburst at the piano (20:32). Modulation ensues, taking us to Dm. The tremolo-style figuration keeps coming back, like an inescapable sentence.
22:39 Calm modulation (22:15) takes us back to a beautiful restatement of the main theme, back in C major.
24:19 C and Am themes collide and alternate, although it is the major key that comes out victorious, closing the movement in a Lisztian bVI-I-iv-I cadence.
*III. Allegro ma non troppo*
25:40 Floating introductory measures in the woodwinds, anticipating T3 (which will be stated in full much later). The piano catches on quickly.
26:37 Theme 1, in E major. Jubilant and festive in a celebratory way, quite endearing in its straightforwardness.
27:55 Some very Mendelssohn-y features at the piano, in a dialogue with the bassoon/clarinet reprising T1.
28:36 Development using T1’s motifs.
29:04 T2, in B. Theatrical in an almost pompous king’s-arrival way. Then picked up by the orchestra with piano flourishes.
30:40 T1 in G#m with some delicate and surprisingly tender development, giving the theme a new colour (31:08).
31:29 Rubinstein’s knack for long, stretchy chord progressions precedes a transition to the dominant of G, announced by a short piano cadenza (32:24)
32:37 T3 at the piano, in G, taken from the orchestral introduction at the start of the movement. T1 ensues in an orchestra-piano dialogue between the two themes.
34:51 T2 hinted in the orchestra, followed by an interaction of T1 and T3 (both in minor) presented simultaneously through piano and strings. T2 is then used in a transition.
35:46 T1 in F, then Ab. Back to the first, merry colour.
36:54 Some virtuosic flourishes at the piano. From now on, it’s straight octaves till the last few bars (...!)
37:15 Final grandiose declamation with T2 in the orchestra, pain in the piano, compassion in the audience.
Thank you.
Zamparas plays the final movement, not Banowetz.
Favoloso!Sicuramente a quei tempi il primo concerto di un compositore russo e sicuramente di una qualità inimmaginabile.
Professionalmente inecceppibile l'esecuzione di Banowetz ,e la partecipazione dell'orchestra.Io che da anni ne ho i CD non posso che congratularmi.
Le migliori registrazioni dei concerti di A.Rubinstein.
I had lessons briefly on a piano course with Banowetz he was a fine teacher. What a nice concerto I didn't know this before.
А зря! Рубинштейн это сила.Русский фортепианный дух!....
Thanks for posting this. I listened to a CD of his 2nd and 4th concertos over and over while I was on vacation in April . . . was blown away by how good they were!
Very nice recording. Rubinstein is definitively underrated as a composer. Question: this is my first time I've seen the orchestral parts above the actual piano part in a score in which the 2nd piano is playing orchestral parts. This caught my eye.
First time I listen this and its awesome!!
Good.
Gorgeous ....🌹
Nice, great concerto by an underrated composer.
Magnifique Concerto. J'adore !
Bravo bravo bravo super wow brilliance grandiose music concerto
BRAVISSIMO!!!
Très beau concerto magnifiquement interprété !
Esse homem foi professor de Tchaikovsky ❤.
Afraid to say I’ve never gotten much out of Anton Rubinstein. And this piece is no different for me, but I’ll keep trying.
Слышать надо Рубинштейна,а не просто слушать....
3rd movement is NOT Banowetz. It is played by Zamparas.
And you know this how? Seriously, enlighten me.
@@paulstrickler5684Both performances by Banowetz and Zamparas are available here on TH-cam. Main differences in the 3rd movement are that Zamparas plays the repeats and the octave runs at the end are faster than Banowetz. Also the pianos sound different between the 1st/2nd movement than the 3rd.
Adorable Concerto
The last few minutes tells me why Rubinstein's reputation is what it is. Page after page of octaves for no good reason
I must admit that although I dislike Rubinstein's lazy and at times shallow pianistic writing, he wrote some very nice themes.
Agreed !
bruh
Wow, turns out the unskilled managed to do what is the bare minimum an unskilled could do.
Meno noto del quarto, risulta retorico anche se di buona fattura
He unironically composes like a beginner. Some very basic misunderstandings never got corrected for this guy I guess. Must be the difference between having and not having a good teacher and educational material.
What exactly are you pointing out under ‘basic misunderstandings’?
@@butter5014 don’t pay attention to this guy he doesn’t know absolutely nothing about music yet alone composing
You ruins everything.
@@butter5014The constant relying on repeated rhytmic and melodic figures. Not so great composers think this gives unity and structure while in fact it is the opposite of organic development. Wagner said: composing is the art of transition. Repetition of figures makes this impossible. Almost all modern pop music is constant repetition and thus worthless.
@@christianwouters6764 This may be an oversimplification. But yes - Rubinstein is a bit heavy-handed at times
This is like a generic knockoff of beethoven's Egmont Overture