As the series of CD reissues entitled ''The Rubinstein Collection'' has shown, the pianist could turn his hand to the great piano works of the majority of classical composers and convince one that he was a specialist in interpreting any one. Rubinstein's Brahms was always nearly ideal, with powerful authority being counter-balanced by a simplicity in the reflective moments.
The F minor Piano Sonata, recorded in 1959 when he was already 72, has a disarmingly youthful vigour, and although the all-important maestoso elements are impressively done, the work is allowed to reflect the hesitancy of the young Brahms, as well as his confidence. The delicacy of the rising and falling motif in the Andante has no hint of affectation.
Rubinstein scrupulously adheres to the staccato markings in the third movement, and it is only in the very taxing coda of the finale that he doesn't quite reach the necessary tempo indication of presto. There is some falling-off of tension here. The recording of the four Ballades, Op. 10 dates from 11 years later, and on hearing them I was particularly struck by the quality of sound I had just enjoyed in the sonata: the engineers have achieved a uniformity of piano tone throughout the CD that is quite a testament to RCA's techniques of the period.
The Ballades are more assertive than one might have predicted, with No. 1, Edward, leaving its usual broodingness far behind. In No. 3 Rubinstein underlines the dissonances to heighten the capricious effect. Whilst I cannot remember hearing the opening melody of the last piece played with a more perfect arc in its line this is one of my favourite Brahmsian themes—it is sad that the remainder of the piece emerges as overlong here and a bit of an anti-climax. Nevertheless, there is superb Brahms-playing in this release, and little worry need be expended on account of the age of the recordings.'