アントン・ルビンシュタインのページです。 ルビンシュタインは、ピアノ協奏曲が５曲、交響曲が６曲、歌劇が１２、 弦楽四重奏曲が１０曲もあります。 バイオリン協奏曲もあります。
アントン・ルビンシュタイン ピアノ協奏曲第１番ホ短調
Joseph Banowetz, piano - Czechoslovak Philharmonic. Alfred Walter conductor
1番よりこっちの方が好き。↓
アントン・ルビンシュタイン ピアノ協奏曲第２番ヘ長調作品３５
Alexander Paley, piano
State Symphony Orchestra Igor Golovchin, conductor
アントン・ルビンシュタイン ピアノ協奏曲第３番 (1853)
Alexander Paley, piano
State Symphony Orchestra Igor Golovchin, conductor
アントン・ルビンシュタイン 交響曲第１番作品４０(1850)
Slovak State Philharmonic Orchestra Kosice
conducted by Robert Stankovsky
アントン・ルビンシュタイン 交響曲第２番長調作品「Ocean」(1851)
I. Allegro Maestoso - 00:00 II. Adagio Non Tanto - 15:58
III. Allegro - 26:51 IV. Adagio - Allegro Con Fuoco - 33:02
Russian music and music in Russia owe a great debt to Anton Rubinstein. Nevertheless he found himself, in his life-time, in opposition to the polymath Stasov's Mighty Handful, led by Balakirev, while a younger generation of composers, as Stravinsky tell us, would use his name as characteristic of all that was meretricious. "C'est Rubinstein" was the ultimate condemnation of a new composition that failed to please. Subsequent musical opinion has tended to continue the denigration of Rubinstein, condemned for his facility and, indeed, for the very technical proficiency of his composition and the obvious virtuosity of his performances as a pianist. Liszt, perhaps fearing a rival near the throne, spoke of him as the "pseudomusician of the Future"; Cesar Cui wrote of him as not a Russian composer but "merely a Russian who composes, his music allied rather to that of Germany". Jibes of this kind have continued. Sacheverell Sitwell, in his biography of Liszt, describes Rubinstein as "a fountain of bad music", while a scholar of the eminence of Gerald Abraham can refer to him as "a highly competent imitator of Mendelssohn or Schumann".
There is no doubt that a great deal of the prejudice against Rubinstein was excited by anti-semitism. Jewish emancipation brought a measure of freedom, political rights and greater opportunities, but suspicion, jealousy and hostility remained. Rubinstein, moreover, like Mendelssohn, was something of a cosmopolitan, in his own words "considered a Russian in Germany and a German in Russia"
Anton Rubinstein was born in the Podolsk district of Russia in 1829. He had piano lessons from his mother, before studying with Alexandre Villoing in Moscow. He gave his first public concert at the age of nine, thereafter touring Europe. In Paris he met Liszt and Chopin, in the Netherlands members of the Russian Imperial family and in England Queen Victoria. In 1844 his family settled in Berlin, where, for two years, Rubinstein was able to take lessons from Glinka's teacher, Siegfried Dehn. In 1846 his father died and his family, including his younger brother Nikolay, returned to Russia, while he moved to Vienna, supporting himself as best he could. In later years he was to be critical of the failure of Liszt to give him any practical help. In 1846 he had played to Liszt, who was well known for the encouragement that he gave to young musicians. Possibly Liszt sensed competition from Rubinstein. "A talented man must win the goal of his ambition by his own unassisted efforts" was his comment. Two months later he visited Rubinstein, in his attic in Vienna, "accompanied by his usual retinue, his so-called courtiers, who followed him wherever he went". The visit had no practical result, and Rubinstein was obliged to continue "by his own unassisted efforts".
Rubinstein spent the winter of 1848/1849 in Russia. A meeting with the Grand Duchess Elena Pavlovna, sister-in-law of the Tsar, and formerly Princess of Saxe-Altenburg, led to her continued patronage. Rubinstein was given an apartment in one of her palaces, and became, in his own words, her "musical stoker". The relationship proved an important one. With her support plans were drawn up for changes in Russian musical education, resulting in the foundation, in 1859, of the Russian Musical Society, which promoted concerts, conducted by Rubinstein, and in 1862 the St Petersburg Conservatory was established, with Rubinstein as its first director and Tchaikovsky among its first pupils. In 1867 he resigned from both positions, although he was to return as director of the Conservatory twenty years later, after a career in which he established himself as one of the greatest pianists of the time, as a composer of international reputation, and as a conductor. By the time of his jubilee, in 1889, he enjoyed the greatest fame. In spite of this, the Russian Symphonic Evening in his memory, two weeks after his death in late 1894, failed to attract an audience. "So much for the public's famed love of Rubinstein", remarked Rimsky-Korsakov's memorialist, Yestrebstev.
アントン・ルビンシュタイン 交響曲第４番作品９５「劇的」(1874)
Slovak State Philharmonic Orchestra Kosice
conducted by Robert Stankovsky
アントン・ルビンシュタイン 交響曲第５番作品107(1880)
George Enescu Philharmonic Orchestra Bucarest
conducted by Horia Andreescu
アントン・ルビンシュタイン 交響曲第６番イ短調作品111
Philharmonia Hungarica/G.Varga