‘Like many fecund composers,’ wrote Albert Lockwood in 1940, ‘[Anton Rubinstein] offers two kinds of failures. First, the pieces which are essentially tedious because of aridity of thought, and second, those which are ineffective through careless writing, though they contain good ideas.’ With few exceptions, the contents of this CD pertain to the latter category.

All Rubinstein’s best pieces have strong, memorable melodies exemplified by the few survivors from his prodigious output: Melody in F, Valse-caprice, ‘Staccato’ Étude and Romance in E flat, and not forgetting the quite magnificent D minor Concerto No 4. In the Six Preludes, Op 24 of 1854 (here recorded complete for the first time) and Six Études, Op 81 of 1870, there are plenty of good ideas but, too often, Rubinstein has little of interest to say in his development of them.

Among the Preludes, many of which could pass equally well as études, No 2 in F minor would make an attractive encore. This was once favoured by the great Josef Lhevinne, as was the whole Op 81 set of Études, a far more enticing collection. The Mendelssohnian Nos 2 and 4, and No 3 with its echoes of Alkan are charming and well worth exploring. I was particularly glad of the inclusion of the lovely stand-alone Ondine Étude, Rubinstein’s Op 1 from 1842, and to hear the premiere recording of another attractive unconnected C major Study from 1868. Too frequently, however, we have to acknowledge that it was the dazzling manner in which Rubinstein presented his work during his lifetime that led to his bust being placed next to Schubert, Mozart and Wagner in many a Victorian music venue.

This despite the sterling and often impassioned advocacy of Scottish pianist Martin Cousin. His website tells us of triumphs in various minor competitions some years ago and that ‘he is now regarded as one of the most exceptional pianists of his generation’. He has been very well recorded (credit to Jim Unwin, the producer, engineer and editor) in the Trinity Recital Hall of Trinity School, Croydon (UK). Other labels might like to take note – and also of the fact that somehow the CD manages a total playing time of 87'41". Is this a record?