Here are two performances that I think are of unequal quality. Rubinstein obviously felt at home when recording with Wallenstein, and this version of the Liszt concerto really is superb. Fingerwork is immaculate throughout and the veteran, who was then nearly 70, captures that spirit of elan that is so much the essence of this work. The finale has real humour. Sadly, the Schumann does not really work. Whilst it is true that the first movement is highly reflective, the seemingly conscious refusal to enter into the more assertive and brilliant side of the music leads to a certain grimness. The finale too is rather austere, with a tight rein being kept over the phrasing. The clarity of the passages is accentuated by the very forward piano sound, which was how Rubinstein liked it. This is true of the Liszt, but here the recording is exemplary for the date. The Schumann Noveletten do not go especially well.'