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Anton Rubinstein
Person · male · Russian Empire · Ofatinți · born 1829 · died 1894 · recording since 1944
Russian pianist, composer and conductor (1829–1894)
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Also known as Anton Rubinstein · Anton Rubinstein · Anton Rubinstein · Anton Rubinstein · Anton Rubinstein · Антон Рубинштейн · +11 more
Timeline
55 events▣ Album 51◦ Birth 1✦ Award 1† Death 1★ Debut release 1
1820s
1870s
1890s
1940s
· Debut release
Debut release: Saint‐Saëns: The Swan / Rubinstein: Melody in F
First documented Single in the MusicBrainz discography.
source: musicbrainz
1970s
· Album
Album: Rubinstein: Piano Concerto no. 3 in G, op. 45 / Kabalevsky: Piano Concerto no. 3 in D, op. 50 “Youth”
Album
source: musicbrainz
1980s
1990s
· Album
Album: Violin Concerto in G major, op. 46 / Don Quixote (Humoresque), op. 87
Album
source: musicbrainz
· Album
Album: Anton Rubinstein: Piano Concerto no. 4 in D minor / Moritz Moskowski: Piano Concerto in E major
Album
source: musicbrainz
· Album
Album: Rubinstein: Piano Concerto No. 4 / Rachmaninov: Piano Concerto No.2
Album
source: musicbrainz
2000s
· Album
Album: Rubinstein: Konsertto pianolle ja orkesterille nro 4 d-molli / Prokofjev: Sonaati nro 3 / Isoäidin tarinat / Sarkasmit / Toccata
Album
source: musicbrainz
· Album
Album: The Romantic Piano Concerto, Volume 38: Rubinstein: Piano Concerto no. 4 in D minor / Scharwenka: Piano Concerto no. 1 in B-flat minor
Album
source: musicbrainz
2010s
2020s
Biography
English biography5,107 words · 18 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1375152790
Biography
Anton Grigoryevich Rubinstein (Russian: Антон Григорьевич Рубинштейн, romanized: Anton Grigoryevich Rubinshteyn; 28 November [O.S. 16 November] 1829 – 20 November [O.S. 8 November] 1894) was a Russian pianist, composer and conductor who founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein, who founded the Moscow Conservatory.
As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos. He became most famous for his series of historical recitals, seven enormous, consecutive concerts covering the history of piano music. Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there.
Although best remembered as a pianist and educator (most notably as the composition teacher of Tchaikovsky), Rubinstein was also a prolific composer; he wrote 20 operas, the best known of which is The Demon. He composed many other works, including five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble.
In 1865 Rubinstein married Vera de Tschikouanov, a maid of honor at the Russian court, who bore him three children.
Early life and education
Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolia Governorate, Russian Empire (now known as Ofatinți in Transnistria, Republic of Moldova), on the Dniestr River, about 150 kilometres (93 mi) northwest of Odessa. His sister Sofia was a chamber singer and teacher. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later become an atheist.
Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher Alexander Villoing heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.
Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Érard for an audience that included Frédéric Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.
Berlin
In spring 1844, Rubinstein, Nikolai, his mother and his sister Luba travelled to Berlin. Here he met with, and was supported by, Felix Mendelssohn and Giacomo Meyerbeer.
Mendelssohn, who had heard Rubinstein when he had toured with Villoing, said he needed no further piano study but sent Nikolai to Theodor Kullak for instruction. Meyerbeer directed both boys to Siegfried Dehn for work in composition and theory.
Word came in the summer of 1846 that Rubinstein's father was gravely ill. Rubinstein was left in Berlin while his mother, sister and brother returned to Russia. At first he continued his studies with Dehn, then with Adolf Bernhard Marx, while composing in earnest. Now 17, he knew he could no longer pass as a child prodigy. He sought out Liszt in Vienna, hoping Liszt would accept him as a pupil. However, after Rubinstein had played his audition, Liszt is reported to have said, "A talented man must win the goal of his ambition by his own unassisted efforts." At this point, Rubinstein was living in acute poverty. Liszt did nothing to help him. Other calls Rubinstein made to potential patrons came to no avail. After an unsuccessful year in Vienna and a concert tour of Hungary, he returned to Berlin and continued giving lessons.
Back to Russia
The Revolution of 1848 forced Rubinstein back to Russia. Spending the next five years mainly in Saint Petersburg, Rubinstein taught, gave concerts and performed frequently at the Imperial court. The Grand Duchess Elena Pavlovna, sister-in-law to Tsar Nicholas I, became his most devoted patroness. By 1852, he had become a leading figure in Saint Petersburg's musical life, performing as a soloist and collaborating with some of the outstanding instrumentalists and vocalists who came to the Russian capital.
He also composed assiduously. After a number of delays, including some difficulties with the censor, Rubinstein's first opera, Dmitry Donskoy (now lost except for the overture), was performed at the Bolshoy Theater in Saint Petersburg in 1852. Three one-act operas written for Elena Pavlovna followed. He also played and conducted several of his works, including the Ocean Symphony in its original four-movement form, his Second Piano Concerto and several solo works. It was partly his lack of success on the Russian opera stage that led Rubinstein to consider going abroad once more to secure his reputation as a serious artist.
Abroad once more
In 1854, Rubinstein began a four-year concert tour of Europe. This was his first major concert tour in a decade. Now 24, he felt ready to offer himself to the public as a fully developed pianist as well as a composer of worth. He very shortly reestablished his reputation as a virtuoso. Ignaz Moscheles wrote in 1855 what would become a widespread opinion about Rubinstein: "In power and execution he is inferior to no one."
As was the penchant at the time, much of what Rubinstein played were his own compositions. At several concerts, Rubinstein alternated between conducting his orchestral works and playing as soloist in one of his piano concertos. One high point for him was leading the Leipzig Gewandhaus orchestra in his Ocean Symphony on 16 November 1854. Although reviews were mixed about Rubinstein's merits as a composer, they were more favorable about him as a performer when he played a solo recital a few weeks later.
Rubinstein spent one tour break, in the winter of 1856–57, with Elena Pavlovna and much of the Imperial royal family in Nice. Rubinstein participated in discussions with Elena Pavlova on plans to raise the level of musical education in their homeland; these bore initial fruit with the founding of the Russian Musical Society (RMS) in 1859.
Opening the St. Petersburg Conservatory
The opening of the Saint Petersburg Conservatory, the first music school in Russia and a development from the RMS per its charter, followed in 1862.
Some in Russian society were surprised that a Russian music school would actually attempt to be Russian. One "fashionable lady", when told by Rubinstein that classes would be taught in Russian and not a foreign language, exclaimed, "What, music in Russian! That is an original idea!" Rubinstein adds, And surely it was surprising that the theory of Music was to be taught for the first time in the Russian language at our Conservatory... Hitherto, if any one wished to study it, he was obliged to take lessons from a foreigner, or to go to Germany.
There were also those who feared the school would not be Russian enough. Rubinstein drew a tremendous amount of criticism from the Russian nationalist music group known as The Five. Mikhail Tsetlin (aka Mikhail Zetlin), in his book on The Five, writes, The very idea of a conservatory implied, it is true, a spirit of academism which could easily turn it into a stronghold of routine, but then the same could be said of conservatories all over the world. Actually the Conservatory did raise the level of musical culture in Russia. The unconventional way chosen by Balakirev and his friends was not necessarily the right one for everybody else.
It was during this period that Rubinstein drew his greatest success as a composer, beginning with his Fourth Piano Concerto in 1864 and culminating with his opera The Demon in 1871. Between these two works are the orchestral works Don Quixote, which Tchaikovsky found "interesting and well done," though "episodic," and the opera Ivan IV Grozniy, which was premiered by Balakirev. Borodin commented on Ivan IV that "the music is good, you just cannot recognize that it is Rubinstein. There is nothing that is Mendelssohnian, nothing as he used to write formerly."
American tour
By 1867, ongoing tensions with the Balakirev camp, along with related matters, led to intense dissension within the Conservatory's faculty. Rubinstein resigned and returned to touring throughout Europe. Unlike his previous tours, he began increasingly featuring the works of other composers. In previous tours, Rubinstein had played primarily his own works.
At the behest of the Steinway & Sons piano company, Rubinstein toured the United States during the 1872–73 season. Steinway's contract with Rubinstein called on him to give 200 concerts at the then unheard-of rate of 200 dollars per concert (payable in gold—Rubinstein distrusted both United States banks and United States paper money), plus all expenses paid. Rubinstein stayed in America 239 days, giving 215 concerts—sometimes two and three a day in as many cities.
Rubinstein wrote of his American experience, May Heaven preserve us from such slavery! Under these conditions there is no chance for art—one simply grows into an automaton, performing mechanical work; no dignity remains to the artist; he is lost... The receipts and the success were invariably gratifying, but it was all so tedious that I began to despise myself and my art. So profound was my dissatisfaction that when several years later I was asked to repeat my American tour, I refused pointblank...
Despite his misery, Rubinstein made enough money from his American tour to give him financial security for the rest of his life. Upon his return to Russia, he "hastened to invest in real estate", purchasing a dacha in Peterhof, not far from Saint Petersburg, for himself and his family.
Later life
Rubinstein continued to make tours as a pianist and give appearances as a conductor. In 1887, he returned to the Saint Petersburg Conservatory with the goal of improving overall standards. He removed inferior students, fired and demoted many professors, made entrance and examination requirements more stringent, and revised the curriculum. He led semi-weekly teachers' classes through the whole keyboard literature and gave some of the more gifted piano students personal coaching. During the 1889–90 academic year he gave weekly lecture-recitals for the students. He resigned again and left Russia in 1891 over Imperial demands that Conservatory admittance, and later annual prizes to students, be awarded along ethnic quotas instead of purely by merit. These quotas were designed to effectively disadvantage Jews. Rubinstein resettled in Dresden and started giving concerts again in Germany and Austria. Nearly all of these concerts were charity benefit events.
Rubinstein also coached a few pianists and taught his only private piano student, Josef Hofmann, who would become one of the finest keyboard artists of the 20th century.
Rubinstein never forgot his origins: he held a series of concerts, the proceeds of which he donated to the fund of his native village of Vikhvatinets (Ofatinți), with the help of which a public school was subsequently opened.
Despite his sentiments on ethnic politics in Russia, Rubinstein returned there occasionally to visit friends and family. He gave his final concert in Saint Petersburg on 14 January 1894. With his health failing rapidly, Rubinstein moved back to Peterhof in the summer of 1894. He died there on 20 November of that year, having suffered from heart disease for some time.
"Van II"
Many contemporaries felt he bore a striking resemblance to Ludwig van Beethoven. Ignaz Moscheles, who had known Beethoven intimately, wrote, "Rubinstein's features and short, irrepressible hair remind me of Beethoven." Liszt referred to Rubinstein as "Van II." This resemblance was also felt to be in Rubinstein's keyboard playing. Under his hands, it was said, the piano erupted volcanically. Audience members wrote of going home limp after one of his recitals, knowing they had witnessed a force of nature.
Sometimes Rubinstein's playing was too much for listeners to handle. American pianist Amy Fay, who wrote extensively on the European classical music scene, admitted that while Rubinstein "has a gigantic spirit in him, and is extremely poetic and original ... for an entire evening he is too much. Give me Rubinstein for a few pieces, but Tausig for a whole evening." She heard Rubinstein play "a terrific piece by Schubert," reportedly the Wanderer Fantasie. The performance gave her such a violent headache that the rest of the recital was ruined for her.
Clara Schumann proved especially vehement. After she heard him play the Mendelssohn C minor Trio in 1857, she wrote that "he so rattled it off that I did not know how to control myself ... and often he so annihilated fiddle and cello that I ... could hear nothing of them." Nor had things improved in Clara's view a few years later, when Rubinstein gave a concert in Breslau. She noted in her diary, "I was furious, for he no longer plays. Either there is a perfectly wild noise or else a whisper with the soft pedal down. And a would-be cultured audience puts up with a performance like that!"
On the other hand, when Rubinstein played Beethoven's "Archduke" Trio with violinist Leopold Auer and cellist Alfredo Piatti in 1868, Auer recalls:
It was the first time I had heard this great artist play. He was most amiable at the rehearsal... To this day I can recall how Rubinstein sat down at the piano, his leonine head thrown back slightly, and began the five opening measures of the principal theme... It seemed to me I had never before heard the piano really played. The grandeur of style with which Rubinstein presented those five measures, the beauty of tone his softness of touch secured, the art with which he manipulated the pedal, are indescribable ...
Violinist and composer Henri Vieuxtemps adds:
His power over the piano is something undreamt of; he transports you into another world; all that is mechanical in the instrument is forgotten. I am still under the influence of the all-embracing harmony, the scintillating passages and thunder of Beethoven's Sonata Op. 57 [Appassionata], which Rubinstein executed for us with unimagined mastery.
Viennese music critic Eduard Hanslick expressed what Schonberg calls "the majority point of view" in an 1884 review. After complaining of the over-three-hour length of Rubinstein's recital, Hanslick admits that the sensual element of the pianist's playing gives pleasure to listeners. Both Rubinstein's virtues and flaws, Hanslick commented, spring from an untapped natural strength and elemental freshness. "Yes, he plays like a god", Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".
Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, He enthralled you by his power, and he captivated you by the elegance and grace of his playing, by his tempestuous, fiery temperament and by his warmth and charm. His crescendo had no limits to the growth of the power of its sonority; his diminuendo reached an unbelievable pianissimo, sounding in the most distant corners of a huge hall. In playing, Rubinstein created, and he created inimitably and with genius. He often treated the same program absolutely differently when he played it the second time, but, more astoundingly still, everything came out wonderfully on both occasions.
Rubinstein was also adept at improvisation—a practice at which Beethoven had excelled. Composer Karl Goldmark wrote of one recital where Rubinstein improvised on a motive from the last movement of Beethoven's Eighth Symphony:He counterpointed it in the bass; then developed it first as a canon, next as a four-voiced fugue, and again transformed it into a tender song. He then returned to Beethoven's original form, later changing it to a gay Viennese waltz, with its own peculiar harmonies, and finally dashed into cascades of brilliant passages, a perfect storm of sound in which the original theme was still unmistakable. It was superb."
Technique
Villoing had worked with Rubinstein on hand position and finger dexterity. From watching Liszt, Rubinstein had learned about freedom of arm movement. Theodor Leschetizky, who taught piano at the Saint Petersburg Conservatory when it opened, likened muscular relaxation at the piano to a singer's deep breathing. He would remark to his students about "what deep breaths Rubinstein used to take at the beginning of long phrases, and also what repose he had and what dramatic pauses."
In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through. Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them."
Part of the problem might have been the sheer size of Rubinstein's hands. They were huge, and many observers commented on them. Josef Hofmann observed that Rubinstein's fifth finger "was as thick as my thumb—think of it! Then his fingers were square at the ends, with cushions on them. It was a wonderful hand." Pianist Josef Lhévinne described them as "fat, pudgy ... with fingers so broad at the finger-tips that he often had difficulty in not striking two notes at once." The German piano teacher Ludwig Deppe advised American pianist Amy Fay to watch carefully how Rubinstein struck his chords: "Nothing cramped about him! He spreads his hands as if he were going to take in the universe, and takes them up with the greatest freedom and abandon!"
Because of the slap-dash moments in Rubinstein's playing, some more academic, polished players, especially German-trained ones, seriously questioned Rubinstein's greatness. Those who valued interpretation as much or more than pure technique found much to praise. Pianist and conductor Hans von Bülow called Rubinstein "the Michelangelo of music." The German critic Ludwig Rellstab called him "the Hercules of the piano; the Jupiter Tonans of the instrument."
Tone
Pressman attested to the singing quality of Rubinstein's playing, and much more: "His tone was strikingly full and deep. With him the piano sounded like a whole orchestra, not only as far as the power of sound was concerned but in the variety of timbres. With him, the piano sang as Patti sang, as Rubini sang."
Schonberg has assessed Rubinstein's piano tone the most sensuous of any of the great pianists. Fellow pianist Rafael Joseffy compared it to "a golden French horn." Rubinstein himself told an interviewer, "Strength with lightness, that is one secret of my touch... I have sat hours trying to imitate the timbre of Rubini's voice in my playing."
Rubinstein told the young Rachmaninoff how he achieved that tone. "Just press upon the keys until the blood oozes from your fingertips". When he wanted to, Rubinstein could play with extreme lightness, grace and delicacy. He rarely displayed that side of his nature, however. He had learned quickly that audiences came to hear him thunder, so he accommodated them. Rubinstein's forceful playing and powerful temperament made an especially strong impression during his American tour, where playing of this kind had never been heard before. During this tour, Rubinstein received more press attention than any other figure until the appearance of Ignacy Jan Paderewski a generation later.
Programs
Rubinstein's concert programs were often gargantuan. Hanslick mentioned in his 1884 review that the pianist played more than 20 pieces in one concert in Vienna, including three sonatas (the Schumann F sharp minor sonata plus Beethoven's D minor and Op. 101 in A). Rubinstein was a man with an extremely robust constitution and apparently never tired; audiences apparently stimulated his adrenals to the point where he acted like a superman. He had a colossal repertoire and an equally colossal memory until he turned 50, when he began to have memory lapses and had to play from the printed note.
Rubinstein was most famous for his series of historical recitals—seven consecutive concerts covering the history of piano music. Each of these programs was enormous. The second, devoted to Beethoven sonatas, consisted of the Moonlight, Tempest, Waldstein, Appassionata, E minor, A major (Op. 101), E major (Op. 109) and C minor (Op. 111). Again, this was all included in one recital. The fourth concert, devoted to Schumann, contained the Fantasy in C, Kreisleriana, Symphonic Studies, Sonata in F sharp minor, a set of short pieces and Carnaval. This did not include encores, which Rubinstein sprayed liberally at every concert.
Rubinstein concluded his American tour with this series, playing the seven recitals over a nine-day period in New York City in May 1873.
Rubinstein played this series of historical recitals in Russia and throughout Eastern Europe. In Moscow he gave this series on consecutive Tuesday evenings in the Hall of the Nobility, repeating each concert the following morning in the German Club for the benefit of students, free of charge.
Rachmaninoff on Rubinstein
Sergei Rachmaninoff first attended Rubinstein's historical concerts as a twelve-year-old piano student. Forty-four years later he told his biographer Oscar von Riesemann, "[His playing] gripped my whole imagination and had a marked influence on my ambition as a pianist."
Rachmaninoff explained to von Riesemann, "It was not so much his magnificent technique that held one spellbound as the profound, spiritually refined musicianship, which spoke from every note and every bar he played and singled him out as the most original and unequalled pianist in the world."
Rachmaninoff's detailed description to von Riesemann is of interest:
Once he repeated the whole finale of [Chopin's] Sonata in B minor, perhaps he had not succeeded in the short crescendo at the end as he would have wished. One listened entranced, and could have heard the passage over and over again, so unique was the beauty of tone... I have never heard the virtuoso piece Islamey by Balakirev, as Rubinstein played it, and his interpretation of Schumann's little fantasy The Bird as Prophet was inimitable in poetic refinement: to describe the diminuendo of the pianissimo at the end of the "fluttering away of the little bird" would be hopelessly inadequate. Inimitable, too, was the soul-stirring imagery in the Kreisleriana, the last (G minor) passage of which I have never heard anyone play in the same manner. One of Rubinstein's greatest secrets was his use of the pedal. He himself very happily expressed his ideas on the subject when he said, "The pedal is the soul of the piano." No pianist should ever forget this.
Rachmaninoff biographer Barrie Martyn suggests that it might not have been by chance that the two pieces Rachmaninoff singled out for praise from Rubinstein's concerts—Beethoven's Appassionata and Chopin's "Funeral March" Sonata—both became cornerstones of Rachmaninoff's own recital programs. Martyn also maintains that Rachmaninoff may have based his interpretation of the Chopin sonata on Rubinstein's traversal, pointing out similarities between written accounts of Rubinstein's version and Rachmaninoff's audio recording of the work.
Rachmaninoff admitted that Rubinstein was not note-perfect at these concerts, remembering a memory lapse during Balakirev's Islamey, where Rubinstein improvised in the style of the piece until remembering the rest of it four minutes later. In Rubinstein's defense, however, Rachmaninoff said that "for every possible mistake [Rubinstein] may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes."
Conducting
Rubinstein conducted the Russian Musical Society programs from the organization's inception in 1859 until his resignation from it and the Saint Petersburg Conservatory in 1867. He also did his share of guest conducting both before and after his tenure with the RMS. Rubinstein at the podium was as temperamental as when at the keyboard, provoking mixed reactions amongst both orchestral musicians and audiences.
Teacher
As a composition teacher, Rubinstein could inspire his students and was noted for his generosity in time and effort he spent working with them, even after a full day of administrative work. He could also be exacting and expected as much from them as he gave to them. According to one of Tchaikovsky's fellow students, Alexandr Rubets, Rubinstein would sometimes begin class by reading some verses, then assign them to be set for either solo voice or chorus, depending on the student's preference. This assignment would be due the following day. At other times, he would expect students to improvise a minuet, a rondo, a polonaise or some other musical form.
Rubinstein warned his students continually to guard against timidity, not to stop at a difficult place in a composition but to leave it and press ahead. He also encouraged them to write in sketches with indications of whatever form in which that piece would be written and to avoid composing at the piano. Notable students include pianists Leopold Winkler, Josef Hofmann, and Sandra Drouker.
Composition
By 1850, Rubinstein had decided that he did not want to be known solely as a pianist, "but as a composer performing his symphonies, concertos, operas, trios, etc." Rubinstein was a prolific composer, writing no fewer than twenty operas (notably The Demon, written after Lermontov's Romantic poem, and its successor The Merchant Kalashnikov), five piano concertos, six symphonies and many solo piano works along with a substantial output of works for chamber ensemble, two concertos for cello and one for violin, free-standing orchestral works and tone poems (including one entitled Don Quixote). Edward Garden writes in the New Grove,
Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved.
Rubinstein and Mikhail Glinka, considered the first important Russian classical composer, had both studied in Berlin with pedagogue Siegfried Dehn. Glinka, as Dehn's student 12 years before Rubinstein, used the opportunity to amass greater reserves of compositional skill that he could use to open up a whole new territory of Russian music. Rubinstein, conversely, chose to exercise his compositional talents within the German styles illustrated in Dehn's teaching. Robert Schumann and Felix Mendelssohn were the strongest influences on Rubinstein's music.
Consequently, Rubinstein's music demonstrates none of the nationalism of The Five. Rubinstein also had a tendency to rush in composing his pieces, resulting in good ideas such as those in his Ocean Symphony being developed in less-than-exemplary ways. As Paderewski was later to remark, "He had not the necessary concentration of patience for a composer... He was prone to indulge in grandiloquent cliches at moments of climax, preceded by over-lengthy rising sequences which were subsequently imitated by Tchaikovsky in his less-inspired pieces." Nevertheless, Rubinstein's Fourth Piano Concerto greatly influenced Tchaikovsky's piano concertos, especially the first (1874–5), and the superb finale, with its introduction and scintillating principal subject, is the basis of very similar material at the beginning of the finale of Balakirev's Piano Concerto in E-flat major ... The first movement of Balakirev's concerto had been written, partially under the influence of Rubinstein's Second Concerto, in the 1860s.
After Rubinstein's death, his works began to lose popularity, although his piano concerti remained in the repertoire in Europe until the First World War, and his principal works have retained a toehold in the Russian concert repertoire. Perhaps somewhat lacking in individuality, Rubinstein's music was unable to compete either with the established classics or with the new Russian style of Stravinsky and Prokofiev.
Over recent years, his work has been performed a little more often both in Russia and abroad, and has often met with positive criticism. Amongst his better known works are the opera The Demon, his Piano Concerto No. 4, and his Symphony No. 2, known as The Ocean.
Rubinstein's repartee
Rubinstein was as well known during his lifetime for his sarcasm as well as his sometimes penetrating insight. During one of Rubinstein's visits to Paris, French pianist Alfred Cortot played the first movement of Beethoven's Appassionata for him. After a long silence, Rubinstein told Cortot, "My boy, don't you ever forget what I am going to tell you. Beethoven's music must not be studied. It must be reincarnated." Cortot reportedly never forgot those words.
Rubinstein's own piano students were held just as accountable: he wanted them to think about the music they were playing, matching the tone to the piece and the phrase. His manner with them was a combination of raw, sometimes violent criticism and good humor. Hofmann wrote of one such lesson:
Once I played a Liszt rhapsody pretty badly. After a little of it, Rubinstein said, "The way you play this piece would be all right for Auntie or Mamma." Then rising and coming toward me, he said, "Now let us see how we play such things."
... I began again, but I had not played more than a few measures when Rubinstein said loudly, "Have you begun?" "Yes, Master, I certainly have." "Oh," said Rubinstein vaguely, "I didn't notice." ... Rubinstein did not so much instruct me. Merely he let me learn from him ... If a student, by his own study and mental force, reached the desired point which the musician's wizardry had made him see, he gained reliance in his own strength, knowing he would always find that point again even though he should lose his way once or twice, as everyone with an honest aspiration is liable to do.
Rubinstein's insistence on absolute fidelity to the printed note surprised Hofmann, since he had heard his teacher take liberties himself in his concerts. When he asked Rubinstein to reconcile this paradox, Rubinstein answered, as many teachers have through the ages, "When you are as old as I am, you may do as I do." Then Rubinstein added, "If you can".
Nor did Rubinstein adjust the tenor of his comments for those of high rank. After Rubinstein had reassumed the directorship of the Saint Petersburg Conservatory, Tsar Alexander III donated the dilapidated old Bolshoi Theater as the Conservatory's new home—without the funds needed to restore and restructure the facility. At a reception given in the monarch's honor, the Tsar asked Rubinstein if he was pleased with this gift. Rubinstein replied bluntly, to the crowd's horror, "Your Imperial Majesty, if I gave you a beautiful cannon, all mounted and embossed, with no ammunition, would you like it?"
Rubinstein's voice
The following recording was made in Moscow in January 1890, by Julius Block (1858–1934) on behalf of Thomas Edison. Rubinstein is heard to make a complimentary remark about the phonograph recorder.
Other languages
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 58 | 97.6th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 58 | 95.3th |
| Studio albums | 53 | 99.4th |
| Awards recorded | 3 | 95.4th |
| Timeline events | 55 | 99.1th |
| Recording span (years) | -50 | 6.5th |
| Genres | 8 | 94.5th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (58 release groups · 53 studio albums)
Albums · 53
1974 · studio album
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Tracklist · 6 tracks · 45:34
1Piano Concerto no. 3 in G major, op. 45: I. Moderato con moto12:022Piano Concerto no. 3 in G major, op. 45: II. Andante5:093Piano Concerto no. 3 in G major, op. 45: III. Allegro10:204Piano Concerto no. 3 in D major, op. 50 ("Youth"): I. Allegro molto6:405Piano Concerto no. 3 in D major, op. 50 ("Youth"): II. Andante con moto5:336Piano Concerto no. 3 in D major, op. 50 ("Youth"): III. Presto5:50Symphony no. 2 “Ocean” (complete 7-movement version)
1987 · studio album
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Tracklist · 7 tracks · 1:12:56
1Symphony no. 2 in C major, op. 42, “Ocean”: Moderato assai11:482Symphony no. 2 in C major, op. 42, “Ocean”: Lento assai18:313Symphony no. 2 in C major, op. 42, “Ocean”: Andante8:544Symphony no. 2 in C major, op. 42, “Ocean”: Allegro5:025Symphony no. 2 in C major, op. 42, “Ocean”: Andante9:096Symphony no. 2 in C major, op. 42, “Ocean”: Scherzo6:067Symphony no. 2 in C major, op. 42, “Ocean”: Andante13:26Les deux sonates pour alto et piano
1990 · studio album
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Tracklist · 11 tracks · 1:07:16
1Sonate pour alto et piano Op. 120 no. 1 : Allegro Appassionata6:582Sonate pour alto et piano Op. 120 no. 1 : Andante Un Poco Adagio4:313Sonate pour alto et piano Op. 120 no. 1 : Allegretto Grazioso3:254Sonate pour alto et piano Op. 120 no. 1 : Vivace5:095Sonate pour alto et piano Op. 120 no. 2 : Allegro Amabile8:026Sonate pour alto et piano Op. 120 no. 2 : Allegro Appassionata4:517Sonate pour alto et piano Op. 120 no. 2 : Andante Con Moto6:488Sonate pour alto et piano Op. 49 : Moderato8:479Sonate pour alto et piano Op. 49 : Andante4:3510Sonate Pour alto et piano Op. 49 : Scherzo (Moderato Con Moto)6:0811Sonate Pour alto et piano Op. 49 : Allegro Assai8:021990 · studio album
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Tracklist · 8 tracks · 56:25
1Piano Sonata no. 1 in E minor, op. 12: I. Allegro appassionato6:472Piano Sonata no. 1 in E minor, op. 12: II. Andante largamente6:343Piano Sonata no. 1 in E minor, op. 12: III. Moderato4:304Piano Sonata no. 1 in E minor, op. 12: IV. Moderato con fuoco7:205Piano Sonata no. 3 in F major, op. 41: I. Allegro risoluto e con fuoco9:176Piano Sonata no. 3 in F major, op. 41: II. Allegretto con moto6:127Piano Sonata no. 3 in F major, op. 41: III. Andante7:548Piano Sonata no. 3 in F major, op. 41: IV. Allegro vivace7:511990 · studio album
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Tracklist · 7 tracks · 1:07:07
1Piano Sonata no. 4 in A minor, op. 100: I. Moderato con moto15:282Piano Sonata no. 4 in A minor, op. 100: II. Allegro vivace7:003Piano Sonata no. 4 in A minor, op. 100: III. Andante10:534Piano Sonata no. 4 in A minor, op. 100: IV. Allegro assai8:235Piano Sonata no. 2 in C minor, op. 20: I. Allegro con moto7:386Piano Sonata no. 2 in C minor, op. 20: II. Tema con variazioni8:137Piano Sonata no. 2 in C minor, op. 20: III. Vivace9:32Violin Concerto in G major, op. 46 / Don Quixote (Humoresque), op. 87
1990 · studio album
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Tracklist · 4 tracks · 58:33
1Violin Concerto in G major, op. 46: I. Moderato assai13:202Violin Concerto in G major, op. 46: II. Andante12:083Violin Concerto in G major, op. 46: III. Moderato assai12:034Don Quixote (Humoresque for Orchestra), op. 8721:02Two Sonatas for Cello and Piano
1991 · studio album
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Tracklist · 7 tracks · 1:00:54
1Sonata no. 1 in D major op. 18: I Allegro con moto11:422Sonata no. 1 in D major op. 18: II Allgretto7:043Sonata no. 1 in D major op. 18: III Allegro molto10:074Sonata no. 2 in G major op. 39: I Allegro11:325Sonata no. 2 in G major op. 39: II Allegretto con moto4:096Sonata no. 2 in G major op. 39: III Andante8:017Sonata no. 2 in G major op. 39: IV Allegro8:19Fantaisie Op. 84 / Concertstück Op. 113
1991 · studio album
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Tracklist · 7 tracks · 1:02:41
1Fantaisie in C major, op. 84: I. Allegro moderato11:372Fantaisie in C major, op. 84: II. Moderato6:063Fantaisie in C major, op. 84: III. Moderato assai10:424Fantaisie in C major, op. 84: IV. Allegro10:185Concertstück in A-flat major, op. 113: I. Moderato assai8:326Concertstück in A-flat major, op. 113: II. Con moto moderato13:577Concertstück in A-flat major, op. 113: III. Allegro vivace1:29Symphony no. 5 / Dmitry Donsky / Faust
1991 · studio album
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Tracklist · 6 tracks · 1:10:50
1Symphony no. 5 in G minor, op. 107: Moderato assai11:202Symphony no. 5 in G minor, op. 107: Allegro non troppo - Moderato assai7:253Symphony no. 5 in G minor, op. 107: Andante9:264Symphony no. 5 in G minor, op. 107: Allegro vivace11:035Dmitry Donskoy, Overture11:546Faust, Musical Picture after Goethe, op. 6819:42Piano Music, Vol. 2: Soirées musicales, op. 109
1991 · studio album
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Tracklist · 17 tracks · 1:07:24
1Soirées musicales, op. 109: No 1. Prélude4:312Soirées musicales, op. 109: No 2. Valse4:373Soirées musicales, op. 109: No 3. Nocturne8:104Soirées musicales, op. 109: No 4. Scherzo8:255Soirées musicales, op. 109: No 5. Impromptu6:176Soirées musicales, op. 109: No 6. Rêverie-caprice7:037Soirées musicales, op. 109: No 7. Badinages: I. Allegro con moto1:068Soirées musicales, op. 109: No 7. Badinages: II. Presto1:009Soirées musicales, op. 109: No 7. Badinages: III. Con moto1:1110Soirées musicales, op. 109: No 7. Badinages: IV. Allegro moderato0:5611Soirées musicales, op. 109: No 7. Badinages: V. Allegro1:4212Soirées musicales, op. 109: No 7. Badinages: VI. Andante0:5613Soirées musicales, op. 109: No 7. Badinages: VII. Con moto assai1:4114Soirées musicales, op. 109: No 7. Badinages: VIII. Allegro con moto1:3115Soirées musicales, op. 109: No 7. Badinages: IX. Moderato con moto2:3216Soirées musicales, op. 109: No 8. Thème varié8:5117Soirées musicales, op. 109: No 9. Etude6:55Piano Music, Vol. 1: Album de Peterhof, op. 75
1991 · studio album
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Tracklist · 12 tracks · 58:33
1Album de Peterhof, op. 75: No. 1. Souvenir in C6:102Album de Peterhof, op. 75: No. 2. Aubade in E-flat2:383Album de Peterhof, op. 75: No. 3. Marche funèbre in G minor7:274Album de Peterhof, op. 75: No. 4. Impromptu in E-flat2:275Album de Peterhof, op. 75: No. 5. Rêverie in D minor5:466Album de Peterhof, op. 75: No. 6. Caprice in F4:117Album de Peterhof, op. 75: No. 7. Pensées in F-sharp minor5:468Album de Peterhof, op. 75: No. 8. Nocturne in G5:369Album de Peterhof, op. 75: No. 9. Prelude in D4:0410Album de Peterhof, op. 75: No. 10. Mazurka in D minor2:1811Album de Peterhof, op. 75: No. 11. Romance in B-flat4:3912Album de Peterhof, op. 75: No. 12. Scherzo in F7:31Symphony no. 4 in D minor, op. 95 “Dramatic”
1991 · studio album
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Tracklist · 4 tracks · 1:05:42
1Symphony no. 4 in D minor, op. 95: I. Lento - Allegro moderato23:182Symphony no. 4 in D minor, op. 95: II. Presto15:583Symphony no. 4 in D minor, op. 95: III. Adagio9:174Symphony no. 4 in D minor, op. 95: IV. Largo - Allegro con fuoco17:09Anton Rubinstein: Piano Concerto no. 4 in D minor / Moritz Moskowski: Piano Concerto in E major
1991 · studio album
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Tracklist · 7 tracks · 1:11:17
1Piano concerto, no. 4 in, D minor, op. 70: I. Moderato assai - Allegro12:432Piano concerto, no. 4 in, D minor, op. 70: II. Andante11:113Piano concerto, no. 4 in, D minor, op. 70: III: Allegro9:504Piano Concerto in E major, op. 59: I. Moderato - Allegro animato12:334Piano Concerto in E major, op. 59: II. Andante8:524Piano Concerto in E major, op. 59: III. Scherzo. Vivace - Ancora più presto6:574Piano Concerto in E major, op. 59: IV. Allegro deciso9:11String Quartets I & II (The Royal String Quartet Copenhagen)
1992 · studio album
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Tracklist · 8 tracks · 57:04
1String Quartet No. 1 in G major, Op. 17: I. Moderato con moto10:092String Quartet No. 1 in G major, Op. 17: II. Andante con moto7:293String Quartet No. 1 in G major, Op. 17: III. Presto - Allegro moderato6:124String Quartet No. 1 in G major, Op. 17: IV. Allegro assai8:245String Quartet No. 2 in C minor, Op.17: I. Moderato10:186String Quartet No. 2 in C minor, Op.17: II. Allegro molto vivace4:397String Quartet No. 2 in C minor, Op.17: III. Molto lento3:238String Quartet No. 2 in C minor, Op.17: IV. Moderato6:301992 · studio album
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Tracklist · 6 tracks · 1:05:03
1Piano Concerto no. 3 in G major, op. 45: I. Moderato assai11:132Piano Concerto no. 3 in G major, op. 45: II. Moderato6:393Piano Concerto no. 3 in G major, op. 45: III. Allegro non troppo13:274Piano Concerto no. 4 in D minor, op. 70: I. Moderato assai12:125Piano Concerto no. 4 in D minor, op. 70: II. Andante11:526Piano Concerto no. 4 in D minor, op. 70: III. Allegro9:401992 · studio album
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Tracklist · 6 tracks · 1:19:03
1Piano Concerto no. 1 in E minor, op. 25: I. Moderato17:062Piano Concerto no. 1 in E minor, op. 25: II. Andante con moto8:203Piano Concerto no. 1 in E minor, op. 25: III. Con moto12:294Piano Concerto no. 2 in F major, op. 35: I. Allegro vivace assai18:595Piano Concerto no. 2 in F major, op. 35: II. Adagio non troppo11:336Piano Concerto no. 2 in F major, op. 35: III. Moderato10:361994 · studio album
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Tracklist · 6 tracks · 1:16:42
1Piano Concerto no. 2 in F major, op. 35: Allegro vivace assai18:282Piano Concerto no. 2 in F major, op. 35: Adagio non troppo10:063Piano Concerto no. 2 in F major, op. 35: Moderato10:234Piano Concerto no. 4 in D minor, op. 70: Moderato assai14:155Piano Concerto no. 4 in D minor, op. 70: Andante12:306Piano Concerto no. 4 in D minor, op. 70: Allegro11:00Piano Concerto o. 5 / Caprice Russe
1994 · studio album
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Tracklist · 4 tracks · 1:07:18
1Piano Concerto No. 5 in E flat major, Op. 94: I. Allegro moderato20:472Piano Concerto No. 5 in E flat major, Op. 94: II. Andante10:123Piano Concerto No. 5 in E flat major, Op. 94: III. Allegro15:514Caprice Russe (Russian Capriccio), Op. 10220:28Viola Sonata / Quintet for Piano & Winds
1994 · studio album
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Tracklist · 8 tracks · 1:09:03
1Sonata for Viola and Piano in F minor, Op. 49: I. Moderato9:122Sonata for Viola and Piano in F minor, Op. 49: III. Andante5:543Sonata for Viola and Piano in F minor, Op. 49: IIII. Moderato con moto7:194Sonata for Viola and Piano in F minor, Op. 49: IV. Allegro assai8:105Quintet for Piano and Winds in F major, Op. 55: I. Allegro non troppo10:436Quintet for Piano and Winds in F major, Op. 55: II. Scherzo: Allegro assai7:177Quintet for Piano and Winds in F major, Op. 55: III. Andante con moto8:378Quintet for Piano and Winds in F major, Op. 55: IV. Allegro appassionato11:511996 · studio album
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Tracklist · 13 tracks · 1:17:24
1Piano Concerto no. 4 in D minor, op. 70: I. Moderato assai13:552Piano Concerto no. 4 in D minor, op. 70: II. Andante11:393Piano Concerto no. 4 in D minor, op. 70: III. Allegro11:144Wein, Web und Gesang9:115The Swan3:056Waltz-Poem IV2:267Moments Musicaux no. 3 in F minor, D708.31:558Alt Wien2:229Melody in F, op. 3-14:1810Nocturne, op. 19-43:4811Waltz in D, op. 42-33:1812Autrefois, op. 874:2213Caprice Espagnol, op. 375:51Chantal Masson-Bourque, viola and Mariko Sato, piano
1997 · studio album
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Tracklist · 11 tracks · 1:10:42
1Sonata for Viola and Piano: I. Impetuoso7:552Sonata for Viola and Piano: II. Vivace4:063Sonata for Viola and Piano: III. Adagio11:464Trois Poèmes pour alto et piano: I. Avec gravité expressive3:235Trois Poèmes pour alto et piano: II. Lento, molto espressivo3:406Trois Poèmes pour alto et piano: III. Avec mouvement3:347Alto Neptune6:128Sonata in F minor, op. 49: I. Moderato appassionato9:469Sonata in F minor, op. 49: II. Andante5:0410Sonata in F minor, op. 49: III. Moderato con moto6:5711Sonata in F minor, op. 49: IV. Allegro assai8:19Rubinstein: Piano Concerto No. 4 / Rachmaninov: Piano Concerto No.2
1997 · studio album
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Tracklist · 6 tracks · 1:11:31
1Piano concerto, No. 4 in, D minor, Op. 70: I. Moderato assai12:542Piano concerto, No. 4 in, D minor, Op. 70: II. Andante12:003Piano concerto, No. 4 in, D minor, Op. 70: III: Allegro10:294Piano concerto, No. 2 in C minor, Op. 18: I. Moderato10:425Piano concerto, No. 2 in C minor, Op. 18: II. Adagio sostenuto13:036Piano concerto, No. 2 in C minor, Op. 18: III. Allegro scherzando12:231997 · studio album
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Tracklist · 30 tracks
Disc 11Deux Mélodies, op. 3: No. 1 in F major (revised edition). Moderato (Melody in F)2Deux Mélodies, op. 3: No. 2 in B major: Andante3Deux Morceaux, op. 30: No. 1 in F minor: Premiere Barcarolle (Moderato)4Deux Morceaux, op. 30: No. 2 in D minor: Allegro appassionato5Deuxième Barcarolle in A minor, op. 45bis6Troisième Barcarolle in G minor, op. 50 no. 3bis7Quatrième Barcarolle in G major (Allegretto con moto)8Fantaisie in E minor, op. 77: Adagio - Allegro con fuoco9Fantaisie in E minor, op. 77: Moderato assai10Fantaisie in E minor, op. 77: Allegro molto - Moderato - Allegro molto - Poco meno mosso - Presto11Fantaisie in E minor, op. 77: Molto lento - Vivace assai - Tempo rubato - Quasi prestoDisc 21Trois Caprices, op. 21: No. 1 in F-sharp major: Allegretto scherzando2Trois Caprices, op. 21: No. 2 in D minor: Andante - Allegro3Trois Caprices, op. 21: No. 3 in E-flat major: Allegro risoluto - Andante - Tempo 14Trois Sérénades, op. 22: No. 1 in F major: Moderato assai5Trois Sérénades, op. 22: No. 2 in G minor: Moderato assai6Trois Sérénades, op. 22: No. 3 in E-flat major: Allegretto con moto7Thème et Variations, op. 88: Thème: Lento - Allegro moderato (G major)8Thème et Variations, op. 88: Variation I: Allegro (G major)9Thème et Variations, op. 88: Variation II: Andante con moto (E minor)10Thème et Variations, op. 88: Variation III: Moderato con moto (C major)11Thème et Variations, op. 88: Variation IV: Moderato (C minor)12Thème et Variations, op. 88: Variation V: Moderato (G major)13Thème et Variations, op. 88: Variation VI: Allegro non troppo14Thème et Variations, op. 88: Variation VII: Moderato assai (E-flat major)15Thème et Variations, op. 88: Variation VIII: Moderato assai (E-flat minor)16Thème et Variations, op. 88: Variation IX: Moderato (B major)17Thème et Variations, op. 88: Variation X: Moderato (B minor)18Thème et Variations, op. 88: Variation XI: Allegro (D major)19Thème et Variations, op. 88: Variation XII: Allegro moderato (G major)2001 · studio album
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Tracklist · 14 tracks · 1:08:36
1Konsertto pianolle ja orkesterille nro 4 d-molli, op. 70: I. Moderato assai - Allegro12:442Konsertto pianolle ja orkesterille nro 4 d-molli, op. 70: II. Andante11:103Konsertto pianolle ja orkesterille nro 4 d-molli, op. 70: III. Allegro9:504Sonaatti nro 3, op. 288:355Isoäidin tarinat, op. 31: I. Moderato2:526Isoäidin tarinat, op. 31: II. Andantino1:207Isoäidin tarinat, op. 31: III. Andante assai2:548Isoäidin tarinat, op. 31: IV. Sostenuto2:409Sarkasmit, op. 17: I. Tempestoso2:2810Sarkasmit, op. 17: II. Allegro rubato1:1711Sarkasmit, op. 17: III. Allegro precipitato1:5912Sarkasmit, op. 17: IV. Smanioso3:0213Sarkasmit, op. 17: V. Precipitosissimo3:3114Toccata, op. 114:14Symphonies, Vol. 1: Symphony no. 1 / Ivan the Terrible
2001 · studio album
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Tracklist · 5 tracks · 1:00:39
1Symphony no. 1 in F major, op. 40: I. Allegro con fuoco10:292Symphony no. 1 in F major, op. 40: II. Allegro6:553Symphony no. 1 in F major, op. 40: III. Moderato10:554Symphony no. 1 in F major, op. 40: IV. Allegro9:105Ivan the Terrible, op. 7923:10Symphony no. 3 / Eroica Fantasia
2002 · studio album
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Tracklist · 5 tracks · 1:06:51
1Symphony no. 3 in A major, op. 56: I. Allegro risoluto11:192Symphony no. 3 in A major, op. 56: II. Adagio - Moderato8:093Symphony no. 3 in A major, op. 56: III. Scherzo: Allegro vivace assai7:044Symphony no. 3 in A major, op. 56: IV. Finale: Allegro maestoso12:075Eroica Fantasia, op. 11028:122002 · studio album
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Tracklist · 12 tracks · 1:15:52
16 Etudes, op. 23: No. 1 in F major6:3826 Etudes, op. 23: No. 2 in C major, “Staccato Etude”4:4536 Etudes, op. 23: No. 3 in C-sharp minor8:0846 Etudes, op. 23: No. 4 in E-flat major4:1656 Etudes, op. 23: No. 5 in F major5:0566 Etudes, op. 23: No. 6 in G major7:097Barcarolle no. 1 in F minor, op. 30 no. 16:218Barcarolle no. 2 in A minor, op. 45bis7:019Barcarolle no. 3 in G minor, op. 50 no. 33:4610Barcarolle no. 4 in G major4:4511Barcarolle no. 5 in A minor, op. 93 no. 46:4912Barcarolle no. 6 in C minor, op. 104 no. 411:09Sonates: pour alto, op. 49 / pour violon, op. 98
2004 · studio album
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Tracklist · 8 tracks · 1:15:51
1Sonate pour violon et piano, op. 98: Allegro vivace10:162Sonate pour violon et piano, op. 98: Moderato assai5:513Sonate pour violon et piano, op. 98: Adagio7:114Sonate pour violon et piano, op. 98: Allegro moderato8:365Sonate en fa mineur pour piano et alto, op. 49: Moderato17:066Sonate en fa mineur pour piano et alto, op. 49: Andante6:107Sonate en fa mineur pour piano et alto, op. 49: Moderato con moto9:398Sonate en fa mineur pour piano et alto, op. 49: Allegro assai11:022004 · studio album
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Tracklist · 8 tracks · 1:16:17
1Octet in D major, op. 9: I. Allegro non troppo13:212Octet in D major, op. 9: II. Vivace7:563Octet in D major, op. 9: III. Andante non troppo8:504Octet in D major, op. 9: IV. Allegro moderato7:125Quintet for Piano & Winds in F major, op. 55: I. Allegro non troppo11:446Quintet for Piano & Winds in F major, op. 55: II. Scherzo: Allegro assai7:517Quintet for Piano & Winds in F major, op. 55: III. Andante con moto7:498Quintet for Piano & Winds in F major, op. 55: IV. Allegro appassionato11:34Complete Works for Cello and Piano
2004 · studio album
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Tracklist · 10 tracks · 1:21:49
Disc 11Sonata for Cello and Piano No. 1 in D Major, Op. 18: I. Allegro con moto11:472Sonata for Cello and Piano No. 1 in D Major, Op. 18: II. Allegretto6:423Sonata for Cello and Piano No. 1 in D Major, Op. 18: III. Allegro molto9:364Three Pieces for Cello and Piano, Op. 11/3: I. Andante quasi adagio4:255Three Pieces for Cello and Piano, Op. 11/3: II. Allegro con moto6:256Three Pieces for Cello and Piano, Op. 11/3: III. Allegro risoluto5:46Disc 21Sonata for Cello and Piano No. 2 in G Major, Op. 39: I. Allegro13:232Sonata for Cello and Piano No. 2 in G Major, Op. 39: II. Allegro con moto5:303Sonata for Cello and Piano No. 2 in G Major, Op. 39: III. Andante9:174Sonata for Cello and Piano No. 2 in G Major, Op. 39: IV. Allegro8:582005 · studio album
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Tracklist · 6 tracks · 59:11
1Piano Concerto no. 1 in B-flat minor, op. 32: I. Allegro patetico10:232Piano Concerto no. 1 in B-flat minor, op. 32: II. Allegro assai7:113Piano Concerto no. 1 in B-flat minor, op. 32: III. Allegro non tanto – Allegro patetico (Come prima)10:214Piano Concerto no. 4 in D minor, op. 70: I. Moderato assai11:405Piano Concerto no. 4 in D minor, op. 70: II. Andante10:386Piano Concerto no. 4 in D minor, op. 70: III. Allegro8:582007 · studio album
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Tracklist · 6 tracks · 1:03:59
1Concerto for cello no. 1 in A minor, op. 65: I.12:142Concerto for cello no. 1 in A minor, op. 65: II.10:023Concerto for cello no. 1 in A minor, op. 65: III.12:384Concerto for cello no. 2 in D minor, op. 96: I.11:185Concerto for cello no. 2 in D minor, op. 96: II.5:276Concerto for cello no. 2 in D minor, op. 96: III.12:202009 · studio album
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Tracklist · 7 tracks · 1:10:51
1Cello Sonata no. 1 in D major, op. 18: I. Allegro moderato11:562Cello Sonata no. 1 in D major, op. 18: II. Moderato assai6:583Cello Sonata no. 1 in D major, op. 18: III. Moderato9:554Cello Sonata no. 2 in G major, op. 39: I. Allegro12:445Cello Sonata no. 2 in G major, op. 39: II. Allegretto7:516Cello Sonata no. 2 in G major, op. 39: III. Andante9:197Cello Sonata no. 2 in G major, op. 39: IV. Moderato12:082010 · studio album
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Tracklist · 18 tracks · 1:13:31
1Theme and Variations, Op. 88: Theme: Lento2:382Theme and Variations, Op. 88: Variation 1: Allegro1:513Theme and Variations, Op. 88: Variation 2: Andante Con Moto2:504Theme and Variations, Op. 88: Variation 3: Moderato Con Moto3:285Theme and Variations, Op. 88: Variation 4: Moderato2:516Theme and Variations, Op. 88: Variation 5: Moderato2:537Theme and Variations, Op. 88: Variation 6: Allegro Non Troppo2:198Theme and Variations, Op. 88: Variation 7: Moderato Assai2:499Theme and Variations, Op. 88: Variation 8: Moderato Assai5:0910Theme and Variations, Op. 88: Variation 9: Moderato4:2711Theme and Variations, Op. 88: Variation 10: Moderato3:0112Theme and Variations, Op. 88: Variation 11: Allegro2:2613Theme and Variations, Op. 88: Variation 12: Allegro Moderato10:1614Akrostichon No. 2, Op. 114: No. 1. Andante Con Moto6:1815Akrostichon No. 2, Op. 114: No. 2. Allegretto4:2916Akrostichon No. 2, Op. 114: No. 3. Tempo Di Mazurka5:5617Akrostichon No. 2, Op. 114: No. 4. Adagio4:1218Akrostichon No. 2, Op. 114: No. 5. Allegro Non Troppo5:382010 · studio album
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Tracklist · 16 tracks · 1:15:03
1Russian Serenade5:5922 Melodies, op. 3: Melody No. 1 in F major3:4532 Melodies, op. 3: Melody No. 2 in B major3:134Souvenir de Dresde, op. 118: No. 1, Simplicitas6:385Souvenir de Dresde, op. 118: No. 2, Appassionata7:136Souvenir de Dresde, op. 118: No. 3, Novellette6:477Souvenir de Dresde, op. 118: No. 4, Caprice3:188Souvenir de Dresde, op. 118: No. 5, Nocturne6:509Souvenir de Dresde, op. 118: No. 6, Polonaise6:29102 Pieces, op. 26: No. 1, Romance in F major3:10112 Pieces, op. 26: No. 2, Impromptu in A minor3:0412Akrostichon no. 1, op. 37: No. 1, L4:1513Akrostichon no. 1, op. 37: No. 2, A3:0914Akrostichon no. 1, op. 37: No. 3, U3:1915Akrostichon no. 1, op. 37: No. 4, R3:4916Akrostichon no. 1, op. 37: No. 5, A4:052012 · studio album
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Tracklist · 6 tracks · 1:09:49
1Piano Concerto no. 4 in D minor, op. 70: I. Moderato assai11:292Piano Concerto no. 4 in D minor, op. 70: II. Andante10:463Piano Concerto no. 4 in D minor, op. 70: III. Allegro8:524Piano Concerto no. 3 in D minor, op. 30: I. Allegro ma non tanto14:525Piano Concerto no. 3 in D minor, op. 30: II. Intermezzo. Adagio10:496Piano Concerto no. 3 in D minor, op. 30: III. Finale. Alla breve13:012013 · studio album
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Tracklist · 5 tracks · 1:03:25
1Symphony No. 6 in A Minor, Op. 111: I. Moderato con moto11:482Symphony No. 6 in A Minor, Op. 111: II. Moderato assai7:413Symphony No. 6 in A Minor, Op. 111: III. Allegro vivace9:174Symphony No. 6 in A Minor, Op. 111: IV. Moderato assai13:355Don Quixote, Op. 8721:042014 · studio album
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Tracklist · 18 tracks · 2:52:27
Disc 11Violin Sonata No. 1 in G Major, Op. 13: I. Moderato con moto14:332Violin Sonata No. 1 in G Major, Op. 13: II. Moderato2:263Violin Sonata No. 1 in G Major, Op. 13: I. Variation I. Allegro non troppo2:244Violin Sonata No. 1 in G Major, Op. 13: II. Variation II. Moderato assai8:245Violin Sonata No. 1 in G Major, Op. 13: III. Scherzo. Prestissimo7:136Violin Sonata No. 1 in G Major, Op. 13: IV. Finale. Adagio non troppo – Moderato con moto – Adagio non troppo – Tempo I11:107Three Salon Pieces, Op. 11: I. Allegro appassionato5:318Three Salon Pieces, Op. 11: II. Andante – Più mosso – Meno mosso – Tempo I10:419Three Salon Pieces, Op. 11: III. Allegro6:21Disc 21Violin Sonata No. 2 in A Minor, Op. 19: I. Allegro non troppo12:452Violin Sonata No. 2 in A Minor, Op. 19: II. Scherzo. Allegro assai7:003Violin Sonata No. 2 in A Minor, Op. 19: III. Adagio non troppo14:124Violin Sonata No. 2 in A Minor, Op. 19: IV. Allegro11:515Romance in E-Flat Major, Op. 44 No. 13:33Disc 31Violin Sonata No. 3 in B Minor, Op. 98: I. Lento – Allegro vivace20:082Violin Sonata No. 3 in B Minor, Op. 98: II. Moderato assai8:293Violin Sonata No. 3 in B Minor, Op. 98: III. Moderato assai12:364Violin Sonata No. 3 in B Minor, Op. 98: IV. Allegro moderato – Presto scherzando – Tempo I – Moderato assai – Allegro assai13:102014 · studio album
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Tracklist · 8 tracks · 1:16:25
1Piano Quartet in F major, op. 55bis: Allegro non troppo10:492Piano Quartet in F major, op. 55bis: Scherzo: Allegro assai6:423Piano Quartet in F major, op. 55bis: Andante con moto9:214Piano Quartet in F major, op. 55bis: Allegro appassionato10:185Piano Quartet in C major, op. 66: Allegro moderato13:176Piano Quartet in C major, op. 66: Allegro vivace5:077Piano Quartet in C major, op. 66: Andante assai11:018Piano Quartet in C major, op. 66: Allegro non troppo ma con fuoco9:50Stunden, Tage, Ewigkeiten: Heinrich Heine – Lieder
2016 · studio album
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Tracklist · 34 tracks · 1:13:05
1Gruss, op. 48 no. 11:0526 Lieder Von Heine, op. 32: In dem Walde1:0736 Lieder Von Heine, op. 32: Frühlingslied: Die blauen Frühlingsaugen1:2046 Lieder Von Heine, op. 32: Es war ein alter König3:0056 Lieder Von Heine, op. 32: Du bist wie eine Blume1:4566 Lieder Von Heine, op. 32: Der Asra2:0076 Lieder Von Heine, op. 32: Frühlingslied: Leise zieht durch mein Gemüt1:298Schwanengesang, Book 2, D. 957: Der Atlas2:119Schwanengesang, Book 2, D. 957: Ihr Bild3:1110Schwanengesang, Book 2, D. 957: Die Stadt2:4211Schwanengesang, Book 2, D. 957: Der Doppelgänger4:3512Gruss, op. 19a no. 51:1713Schwanenlied, op. 1 no. 12:5914Neue Liebe, op. 19a no. 42:0415Warum sind denn die Rosen so blass, op. 1 no. 32:1216Auf Flügeln des Gesanges, op. 34 no. 23:2817Belsazar, op. 575:1118Du bist wie eine Blume, op. 25 no. 241:5219Dichterliebe, op. 48: Im wunderschönen Monat Mai1:3720Dichterliebe, op. 48: Aus meinen Tränen spriessen0:5721Dichterliebe, op. 48: Die Rose, die Lilie, die Taube, die Sonne0:3022Dichterliebe, op. 48: Wenn ich in deine Augen seh1:5923Dichterliebe, op. 48: Ich will meine Seele tauchen1:0324Dichterliebe, op. 48: Im Rhein, im heiligen Strome2:2725Dichterliebe, op. 48: Ich grolle nicht1:4326Dichterliebe, op. 48: Und wüssten’s die Blumen1:2027Dichterliebe, op. 48: Das ist ein Flöten und Geigen1:2428Dichterliebe, op. 48: Hör ich das Liedchen klingen?2:1329Dichterliebe, op. 48: Ein Jüngling liebt ein Mädchen1:0130Dichterliebe, op. 48: Am leuchtenden Sommermorgen2:2931Dichterliebe, op. 48: Ich hab im Traum geweinet2:2632Dichterliebe, op. 48: Allnächtlich im Traume1:2333Dichterliebe, op. 48: Aus alten Märchen winkt es2:3034Dichterliebe, op. 48: Die alten bösen Lieder4:352018 · studio album
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Tracklist · 6 tracks · 1:12:12
1Piano Concerto no. 3 in G major, op. 45: I. Moderato assai11:192Piano Concerto no. 3 in G major, op. 45: II. Andante6:043Piano Concerto no. 3 in G major, op. 45: III. Allegro12:254Piano Concerto no. 5 in E-flat major, op. 94: I. Allegro moderato19:325Piano Concerto no. 5 in E-flat major, op. 94: II. Andante7:596Piano Concerto no. 5 in E-flat major, op. 94: III. Allegro14:53Piano Sonatas nos. 1 and 2 / Three Serenades
2020 · studio album
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Tracklist · 10 tracks · 1:18:26
1Piano Sonata no. 1 in E minor, op. 12: I. Allegro appassionato8:452Piano Sonata no. 1 in E minor, op. 12: II. Andante largamente7:083Piano Sonata no. 1 in E minor, op. 12: III. Moderato4:404Piano Sonata no. 1 in E minor, op. 12: IV. Moderato con fuoco8:1753 Serenades, op. 22: No. 1. Andante con moto5:2063 Serenades, op. 22: No. 2. Moderato6:4473 Serenades, op. 22: No. 3. Allegretto con moto7:598Piano Sonata no. 2 in C minor, op. 20: I. Allegro con moto7:519Piano Sonata no. 2 in C minor, op. 20: II. Theme & Variations12:0110Piano Sonata no. 2 in C minor, op. 20: III. Vivace9:412020 · studio album
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Tracklist · 17 tracks · 1:27:44
1Le bal, op. 14: No. 1, Impatience6:292Le bal, op. 14: No. 2, Polonaise8:163Le bal, op. 14: No. 3a, Contredanse. Introduction1:334Le bal, op. 14: No. 3b, Contredanse. Tempo I1:495Le bal, op. 14: No. 3c, Contredanse. Allegretto non troppo2:376Le bal, op. 14: No. 3d, Contredanse. Allegretto2:367Le bal, op. 14: No. 3e, Contredanse. Allegretto vivace2:208Le bal, op. 14: No. 3f, Contredanse. Allegro non troppo2:079Le bal, op. 14: No. 3g, Contredanse. Allegro molto4:0510Le bal, op. 14: No. 4, Valse10:1011Le bal, op. 14: No. 5, Intermezzo2:3312Le bal, op. 14: No. 6, Polka6:4813Le bal, op. 14: No. 7, Polka‐Mazurka5:3714Le bal, op. 14: No. 8, Mazurka7:3715Le bal, op. 14: No. 9, Galop8:1116Le bal, op. 14: No. 10, Le rêve9:07172 Pieces, op. 30: No. 2, Allegro appassionato5:49String Quartets, op. 47 nos. 1 & 3
2021 · studio album
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Tracklist · 8 tracks · 1:00:02
1String Quartet, op. 47 no. 1 in E minor: I. Moderato con moto8:382String Quartet, op. 47 no. 1 in E minor: II. Allegro non troppo4:223String Quartet, op. 47 no. 1 in E minor: III. Andante con moto7:044String Quartet, op. 47 no. 1 in E minor: IV. Allegro assai7:505String Quartet no. 6, op. 47 no. 3 in D minor: I. Adagio molto – Allegro8:426String Quartet no. 6, op. 47 no. 3 in D minor: II. Moderato con moto3:127String Quartet no. 6, op. 47 no. 3 in D minor: III. Adagio molto9:248String Quartet no. 6, op. 47 no. 3 in D minor: IV. Moderato10:502021 · studio album
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Tracklist · 6 tracks · 1:11:52
1Piano Concerto no. 4: Moderato assai12:292Piano Concerto no. 4: Andante10:303Piano Concerto no. 4: Allegro10:264Piano Concerto no. 2: Allegro vivace assai risoluto con fuoco18:235Piano Concerto no. 2: Adagio non troppo9:456Piano Concerto no. 2: Moderato10:192022 · studio album
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Tracklist · 14 tracks · 1:12:21
1Three Pieces, op. 16: No. 1. Impromptu4:092Three Pieces, op. 16: No. 2. Berceuse5:293Three Pieces, op. 16: No. 3. Serenade6:154Three Caprices, op. 21: No. 1. Allegretto scherzando2:395Three Caprices, op. 21: No. 2. Allegro5:406Three Caprices, op. 21: No. 3. Allegro risoluto - Andante - Tempo I4:437Two Pieces, op. 28: No. 1. Nocturne5:218Two Pieces, op. 28: No. 2. Caprice7:599Six Pieces, op. 51: No. 1. Mélancolie5:3610Six Pieces, op. 51: No. 2. Enjouement5:0711Six Pieces, op. 51: No. 3. Rêverie5:5412Six Pieces, op. 51: No. 4. Caprice3:2313Six Pieces, op. 51: No. 5. Passion5:3014Six Pieces, op. 51: No. 6. Coquetterie4:362023 · studio album
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Tracklist · 14 tracks · 1:27:37
1Six Preludes, op. 24: No. 1 in A-flat major – Moderato con moto6:052Six Preludes, op. 24: No. 2 in F minor – Allegro molto3:593Six Preludes, op. 24: No. 3 in E major – Allegretto con moto6:374Six Preludes, op. 24: No. 4 in B minor – Moderato5:545Six Preludes, op. 24: No. 5 in G major – Allegro non troppo5:536Six Preludes, op. 24: No. 6 in C minor – Grave6:317Six Études, op. 81: No. 1 in F minor – Moderato con moto7:088Six Études, op. 81: No. 2 in A major – Allegro moderato7:509Six Études, op. 81: No. 3 in G minor – Allegro appassionato7:1510Six Études, op. 81: No. 4 in E major – Allegro non troppo6:2611Six Études, op. 81: No. 5 in D minor – Andante con moto10:0812Six Études, op. 81: No. 6 in E-flat major – Allegretto6:5813Ondine, Étude, op. 12:0914Piano Étude in C major – Allegro moderato4:442023 · studio album
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Tracklist · 16 tracks · 1:26:19
16 Preludes and Fugues in Free Style, op. 53: Prelude no. 1 in A-flat major3:0326 Preludes and Fugues in Free Style, op. 53: Fugue no. 1 in A-flat major6:5336 Preludes and Fugues in Free Style, op. 53: Prelude no. 2 in F minor3:0346 Preludes and Fugues in Free Style, op. 53: Fugue no. 2 in F minor6:3256 Preludes and Fugues in Free Style, op. 53: Prelude no. 3 in E major2:2966 Preludes and Fugues in Free Style, op. 53: Fugue no. 3 in E major6:3776 Preludes and Fugues in Free Style, op. 53: Prelude no. 4 in B minor3:5286 Preludes and Fugues in Free Style, op. 53: Fugue no. 4 in B minor7:3096 Preludes and Fugues in Free Style, op. 53: Prelude no. 5 in G major2:37106 Preludes and Fugues in Free Style, op. 53: Fugue no. 5 in G major7:36116 Preludes and Fugues in Free Style, op. 53: Prelude no. 6 in C minor2:23126 Preludes and Fugues in Free Style, op. 53: Fugue no. 6 in C minor7:16133 Pieces, op. 71: No. 1. Nocturne in A-flat major5:52143 Pieces, op. 71: No. 2. Mazurka in F minor6:38153 Pieces, op. 71: No. 3. Scherzo in D-flat major5:5516Concert Étude in C major "On False Notes"8:03String Quartets, op. 17 no. 2 & 3
2023 · studio album
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Tracklist · 8 tracks · 55:14
1String Quartet in F major, op. 17 no. 3: Allegro moderato9:062String Quartet in F major, op. 17 no. 3: Allegro4:373String Quartet in F major, op. 17 no. 3: Andante7:174String Quartet in F major, op. 17 no. 3: Allegro assai7:505String Quartet in C minor, op. 17 no. 2: Moderato10:516String Quartet in C minor, op. 17 no. 2: Allegro molto vivace4:217String Quartet in C minor, op. 17 no. 2: Andante3:508String Quartet in C minor, op. 17 no. 2: Moderato7:22Piano Concertos Nos. 1 & 2 / Pièces caractéristiques
2023 · studio album
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Tracklist · 8 tracks · 1:14:56
1Piano Concerto no. 1 in E minor, op. 25: I. Moderato15:402Piano Concerto no. 1 in E minor, op. 25: II. Andante con moto6:203Piano Concerto no. 1 in E minor, op. 25: III. Con moto11:1546 Pièces caractéristiques, op. 50 (arr. for orchestra by Arkady Leytush): No. 3, Barcarole2:3856 Pièces caractéristiques, op. 50 (arr. for orchestra by Arkady Leytush) : No. 5, Berceuse4:236Piano Concerto no. 2 in F major, op. 35: I. Allegro vivace assai risoluto con fuoco16:417Piano Concerto no. 2 in F major, op. 35: II. Adagio non troppo8:128Piano Concerto no. 2 in F major, op. 35: III. Moderato9:472026 · studio album
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Tracklist · 8 tracks · 1:11:32
1Piano Sonata no. 3 in F major, op. 41: I. Allegro risoluto e con fuoco8:372Piano Sonata no. 3 in F major, op. 41: II. Allegretto con moto4:033Piano Sonata no. 3 in F major, op. 41: III. Andante7:064Piano Sonata no. 3 in F major, op. 41: IV. Allegro vivace7:445Piano Sonata no. 4 in A minor, op. 100: I. Moderato con moto16:456Piano Sonata no. 4 in A minor, op. 100: II. Allegro vivace7:017Piano Sonata no. 4 in A minor, op. 100: III. Andante11:428Piano Sonata no. 4 in A minor, op. 100: IV. Allegro assai8:34— · studio album
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Tracklist · 10 tracks · 1:00:58
1Le Bal, op. 14: Impatience4:252Le Bal, op. 14: Polonaise6:503Le Bal, op. 14: Contredanse13:294Le Bal, op. 14: Valse7:375Le Bal, op. 14: Intermezzo1:396Le Bal, op. 14: Polka4:537Le Bal, op. 14: Polka-Mazurka3:568Le Bal, op. 14: Mazurka5:179Le Bal, op. 14: Galop5:3810Le Bal, op. 14: Le Rêve7:14Rubinstein Symphonies nos. 3 and 5
— · studio album
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Tracklist · 8 tracks · 1:18:25
1Symphony no. 3 in A Major, op. 56: I. Allegro risoluto11:222Symphony no. 3 in A Major, op. 56: II. Adagio - Moderato7:403Symphony no. 3 in A Major, op. 56: III. Scherzo. Allegro vivace assai6:344Symphony no. 3 in A Major, op. 56: IV. Finale. Allegro maestoso11:355Symphony no. 5 in G Minor, op. 107: I. Moderato assai11:546Symphony no. 5 in G Minor, op. 107: II. Allegro non troppo - Moderato assai7:417Symphony no. 5 in G Minor, op. 107: III. Andante9:388Symphony no. 5 in G Minor, op. 107: IV. Allegro vivace12:01
Single · 1
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1944 | Saint‐Saëns: The Swan / Rubinstein: Melody in FSearch SpotifySearch YouTube MusicTracklist · 2 tracksAThe Swan BMelody in F | February 1944 |
Album · 4
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1989 | Melody in FSearch SpotifySearch YouTube MusicTracklist · 21 tracks · 1:08:081Rustle of Spring, op. 32 no. 62:10 2Novelette in F Major, op. 21 no. 15:02 3Songs Without Words, E major, op. 19 no. 13:18 4Songs Without Words, F-sharp minor, op. 30 no. 62:46 5Songs Without Words, Duetto in F major, op. 38 no. 63:26 6Songs Without Words, G major, op. 62 no. 12:00 7Songs Without Words, Spring Song in A major, op. 62 no. 62:28 8Intermezzo in A major, op. 76 no. 63:30 9Intermezzo in A minor, op. 76 no. 73:02 10Intermezzo in A major, op. 118 no. 25:30 11Intermezzo in E-flat minor, op. 118 no. 64:24 12Lyric Pieces op. 12 no. 1: Arietta1:10 13Lyric Pieces op. 12 no. 5: Folkevise1:17 14Lyric Pieces op. 43 no. 1: Butterfly1:46 15Lyric Pieces op. 43 no. 6: To Spring2:25 16Lyric Pieces op. 54 no. 6 Notturno3:22 17Lyric Pieces op. 65 no. 6: Bryllupsdag pa Troldhaugen5:50 18Les Saisons op. 37b no. 6: Juin “Barcarolle”5:14 19Chant sans paroles, op. 2 no. 32:53 20Melody in F, op. 3 no. 13:52 21Humoresque in G-flat major, op. 101 no. 72:43 | Compilation | 1989 | |
| 1996 | Complete Piano SonatasSearch SpotifySearch YouTube MusicTracklist · 15 tracks · 2:02:30Disc 1 1Piano Sonata no. 1 in E minor, op. 12: I. Allegro appassionato6:43 2Piano Sonata no. 1 in E minor, op. 12: II. Andante largamente6:29 3Piano Sonata no. 1 in E minor, op. 12: III. Moderato4:25 4Piano Sonata no. 1 in E minor, op. 12: IV. Moderato con fuoco7:11 5Piano Sonata no. 2 in C minor, op. 20: I. Allegro con moto7:34 6Piano Sonata no. 2 in C minor, op. 20: II. Tema con variazioni8:11 7Piano Sonata no. 2 in C minor, op. 20: III. Vivace9:32 Disc 21Piano Sonata no. 3 in F major, op. 41: I. Allegro risoluto e con fuoco9:16 2Piano Sonata no. 3 in F major, op. 41: II. Allegretto con moto6:04 3Piano Sonata no. 3 in F major, op. 41: III. Andante7:48 4Piano Sonata no. 3 in F major, op. 41: IV. Allegro vivace7:51 5Piano Sonata no. 4 in A minor, op. 100: I. Moderato con moto15:23 6Piano Sonata no. 4 in A minor, op. 100: II. Allegro vivace6:57 7Piano Sonata no. 4 in A minor, op. 100: III. Andante10:48 8Piano Sonata no. 4 in A minor, op. 100: IV. Allegro assai8:18 | Compilation | September 1996 | |
| 2018 | Piano Concerto no. 4 / Caprice RusseSearch SpotifySearch YouTube MusicTracklist · 4 tracks · 50:231Piano Concerto no. 4 in D minor, op. 70: I. Moderato assai11:53 2Piano Concerto no. 4 in D minor, op. 70: II. Andante10:29 3Piano Concerto no. 4 in D minor, op. 70: III. Allegro9:50 4Caprice russe, op. 10218:11 | Live | 2018 | |
| — | Superéxitos ClásicosSearch SpotifySearch YouTube MusicTracklist · 26 tracks · 2:21:461Bolero: I. Tempo di bolero, moderato assai15:25 2Carmen Suite no. 1: I. Prélude1:22 3Carmen Suite no. 1: II. Aragonaise2:10 4Carmen Suite no. 1: III. Intermezzo2:39 5Carmen Suite no. 1: IV. Seguidilla1:49 6Carmen Suite no. 1: V. The Dragons of Alcala1:33 7Carmen Suite no. 1: VI. The Toreadors2:13 8Carmen Suite no. 2: I. March of the Smugglers3:54 9Carmen Suite no. 2: II. Habanera2:07 10Carmen Suite no. 2: III. Nocturne4:07 11Carmen Suite no. 2: IV. Song of the Toreador2:37 12Carmen Suite no. 2: Changing of the Guard3:48 13Carmen Suite no. 2: Bohemian Dance4:29 14L'Arlésienne Suite no. 1, op. 23: I. Ouverture6:40 15L'Arlésienne Suite no. 1, op. 23: II. Menuet2:42 16L'Arlésienne Suite no. 1, op. 23: III. Adagietto2:48 17L'Arlésienne Suite no. 1, op. 23: IV. Carillon4:44 18L'Arlésienne Suite no. 2, op. 23: I. Pastorale5:10 19L'Arlésienne Suite no. 2, op. 23: II. Intermezzo3:38 20L'Arlésienne Suite no. 2, op. 23: III. Minuet3:55 21Symphony no. 3 in C major, op. 78: I. Maestoso7:15 22Grand Polonaise Brilliant, op. 2212:20 23Piano concerto no. 3 in E flat major, op. 75: III. Allegro brillante14:16 24Concert, op. 46: Allegro12:56 25Piano concerto no. 4 in D minor, op. 70: V. Allegro9:03 26Gypsy Melodies no. 1, op. 208:06 | Compilation | — |
Stats & PK
Percentile within all 23,672 published artists.Put Anton Rubinstein head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 58 | 97.6th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 58 | 95.3th |
| Studio albums | 53 | 99.4th |
| Awards recorded | 3 | 95.4th |
| Timeline events | 55 | 99.1th |
| Recording span (years) | -50 | 6.5th |
| Genres | 8 | 94.5th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| 1876 | Royal Philharmonic Society Gold Medal | won | |
| — | Pour le Mérite | won | |
| — | Pour le Mérite for Sciences and Arts order | won |
Line-up
| Name | From | To | Role |
|---|---|---|---|
| Russian Musical Society(band) | — | present | original |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Anton_Rubinstein_by_J_Ganz.pngaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/0f4d7f2c-69e9-4795-90f8-024b29a67cbediscography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/0f4d7f2c-69e9-4795-90f8-024b29a67cbecore—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q87567genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q87567seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Anton_Rubinsteinbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Anton_Rubinsteinbiography—wikipedia-ru · CC BY-SA 4.0 · retrieved 10 October 2026
https://ru.wikipedia.org/wiki/%D0%A0%D1%83%D0%B1%D0%B8%D0%BD%D1%88%D1%82%D0%B5%D0%B9%D0%BD%2C_%D0%90%D0%BD%D1%82%D0%BE%D0%BD_%D0%93%D1%80%D0%B8%D0%B3%D0%BE%D1%80%D1%8C%D0%B5%D0%B2%D0%B8%D1%87
Why this artist is in the database
- List of composers by name
Tier rule: historic figure (58 language versions, career ended)
Image: J Ganz, Brussels · Public domain · Wikimedia Commons
Wikidata: Q87567 · MusicBrainz: 0f4d7f2c-69e9-4795-90f8-024b29a67cbe
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2 shared genre tags · debut 1948
21 wikis
Andria Balanchivadze
Russian Empire · Person
symphony · opera
2 shared genre tags · from Russian Empire
15 wikis
Paul Hindemith
Germany · Person
symphony · opera
2 shared genre tags
57 wikis
Aaron Copland
United States · Person
symphony · opera
2 shared genre tags
61 wikis