Josef Hofmann plays Anton Rubinstein Piano Concerto No.4, Op.70 (Reiner 1937)
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- čas přidán 1. 07. 2024
- Josef Casimir Hofmann (1876- 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor.
Anton Rubinstein (1829- 94)
Piano Concerto No. 4, D minor, Op. 70
I. Moderato Assai (00:00)
II. Andante (12:15)
III. Allegro (22:37)
Fritz Reiner
The Curtis Insitute Student Orchestra
Recorded in 1937. Nov. 28
Metropolitan Opera House, New York City - Hudba
Rubinstein was Hofmann's piano teacher before the composer's death in 1894. In the 19th century, it was reported that Franz Lizet and Anton Rubinstein were the two best pianists in Europe/world. Even the king of violin, Fritz Kreisler, once remarked that he felt listening to Rubinstein and Joseph Joachim (considered by many the best violinist of the 19th century) playing Beethoven's sonata was worth more than five years of music education. Hofmann won lots of admiration throughout his concert career, and he often told his fans that he only wished they could have a chance to listen to "his master" play. In many expressive passages within this D minor concerto, one can easily detect Hofmann's enduring reverence and affection for his old master. When someone asked Rachmaninoff whom he considered the best pianist, his classic response was: "Well, there are Hofmann and me...". Thanks for sharing this piece of "lost art."
Just can't get enough of this. Despite having heard many wonderful versions, none comes close to the overall perfection of Hofmann, what phrasing and beauty! It's eternally thankful that Hofmann's rendition was recorded so that the tradition of Anton Rubinstein's playing has been preserved for the posterity.
Splendid beyond words
A priceless performance of historic importance.
Amazing performance, amazing recording, amazing composition
I consider myself blessed to have heard Rubinstein's piano grandson, Shura Cherkassky, play this concerto with the NYPhil. Cherkassky was a student of Hofman's at Curtis.
Beautiful! Thank you for posting!
Important historic recording. And I'm not afraid to say I really like the composition. It has earned its place in the repertoire and will still be around when a good chunk of contemporary stuff is gone with the wind.
It's an ok piece but it certainly hasn't earned its place in the repertoire.
@@remomazzetti8757 I'm surprised these pieces aren't making a comeback. I'm getting tired of hearing the overplayed concertos. When you think about it there are a ton of concertos out there that probably have never even been performed, why does everyone have to play the same old repertoire?
Thanks for uploading this!
My goodness. The last two minutes were absolutely breathtaking!!
The piano playing by Hoffman is as 'volcanic as the scoriac rivers that roll down Mount Yaanek' ... just the kind of diablerie that this concerto demands!
Epic piano playing !
Bravo bravo bravo brilliance grandiose genial fantastic music concerto
As someone who adores Rubinstein, I am grateful for this recording of Hofman's. I don't see how he was able to focus on his playing with so many from the audience hacking up a lung!
This concerto is a joy to play through. So much fun under the fingers.
wonderfull~
I have a recording of this great work on my iPhone performed by Larisa Shilovskaya and this performance is phenomenal and mind blowing. Bravo Mr. Hoffman. You are my inspiration as I work my way through this piece on the piano.
Ursprünglich widmete Tschaikowsky sein Klavierkonzert in b-Moll Anton Rubinstein, dem das Werk nicht gefiel und auf die Widmungsträgerschaft verzichtete. -Später, nach dem Riesenerfolg durch v. Bülow sah er seinen Irrtum ein. Bei der Spielzeit um 2.30... hören wir seine "Entschuldigung" durch das Zitat aus dem Konzert in b-Moll:-)
Es war Nikolai Rubinstein, nicht Anton Rubinstein.
Rachmaninov would have known this concerto very well. He was an infinitely greater composer than Rubinstein, but here are the seeds.
The lineage is as follows: Anton Rubinstein was Tchaikovsky's composition teacher, and likewise Tchaikovsky taught Rachmaninov. Listen to the Tchaikovsky Fifth Symphony and then go back to the second Rachmaninov concerto
@@ricbenricben Tchaikovsky did not directly teach Rachmaninoff, Arensky did. But Rachmaninoff admired Tchaikovsky, and his early style resembles Tchaikovsky’s very much, this is true.
Isn't it a bit much to claim Rachmaninov an, "Infinitely greater composer"? Many do not rank Rachmaninov among the truly great composers at all.
@@LazlosPlane LOL, you misread my comment! I only remarked that Rachmaninov (IMO of course) was an "infinitely greater composer than Rubinstein". There is certainly a reason why Rubinstein's vast oeuvre has almost completely dropped from the Western repertoire, yet virtually all of Rachmaninov's mature works remain in the repertoire. Do I think he is a greater composer than, say, Tchaikovsky, Mahler, or even Liszt? Not at all. Cheers!
I don't know what makes a 'great' composer but I do know what I like and what I'm sick of hearing. I enjoy Anton Rubinstein's symphonies and piano conncertos as much as anything I've heard in 44 years of orchestral concerts. It's easy to dismiss a little-known composer whose music is rarely played in today's concert halls. It's safe to throw stones when everyone is throwing them.
I don't know if I now dislike Beethoven's music and find it metallic and find the 'emotion' an imitation of the real thing or if I'm just sick of hearing the same pieces over and over. And Mozart I have always found trite and formulaic. I have heard that one's appreciation for Mozart would grow as one aged. At 66, I don't think it's going to happen. I find Haydn's music more original and elegant.
The Classical Masterpiece channel in Music Choice has opened up a parallel universe of composers and pieces completely unknown to me. Most of what is played there is not standard repertoire which I find exhilarating. I am up to 50 new (to me) composers whose music I am excited to be exploring.
Haydn, yes, but if you think Mozart's music is trite and formulaic you aren't hearing Mozart! Don't let the surface fool you, the genius is subtle and deep.
Couldn't have said it better. Aside, mozart is good, but Haydn is the true classical era composer, the legitimate father of a tradition that Mozart coul only aspire to practice at the level of consistency and originality that's characteristic of Haydn.
The piano concertos of Mozart are just incredible, especially the late ones from no. 17. Makle sure you listen to a good pianist: I like Geza Anda. In my opinion there is no one in the music industry today who can play Mozart like that.Tchaikovsky has some pretty melodies, but I find his compositions problematic. His best work is said to be Symphony 6, and I have to agree. Rachmaninoff has the same problems for me as Tchaikovsky. Basically they become a stitched up melody of tunes arbitrarily chosen. Composition is very hard that's for sure. Haydn is great, but Mozart is a miraculous cut above it. The only composer in my mind who eclipses that is Bach.
A. Rubinstein wasn´t a great composer but here the combination of his great disciple Hofman + the Genius of Fritz Reiner make us believe he was. In the 2. mov. he seems to be inspired by Brahms 1. concert in the same key. Without being comparable to the latter it could be among the best that Rubinstein wrote. The other Rubinstein concerts seem to me a wastage of time (and effort on the side of pianist).
What makes you say he wasn't a great composer? I love Rubinstein's works dearly... Have you heard his string quartets?
It's kind of a circular argument to say that the concerto only seems great because of Hofmann's genius. After all, didn't Hofmann see something in it in the first place in projecting that greatness? In my opinion, the explanation is that Rubinstein was not a great composer, but like many other minor composers he had his moments of greatness. And this most surely is one.
FrankZito29 you're missing out! Listen to Brahms second string quintet right now!!!
I am performing his Cello Concerto No. 2 in two weeks and I can say that it is one of the great 19th century cello concertos!!
The following is a response to an intrusive critical remark, completely incorrect and while generally those are best ignored, the historical facts of the response will possibly interest those who accord value to Hofman's interpretation of his beloved teacher's work.
You really show your ignorance in your irreverent sarcasm regarding Anton Rubinstein's ''mutilation of the 1st Tchaikovsky piano concerto. Your facts are completely wrong. Anton Rubinstein was Tchaikovsky's Conservatoire composition teacher. Taking the magnificent overall repertoire Tchaikovsky produced, particularly string works and including the ballets and operas, the idiosyncrasies of the piano writing in the 1st piano concerto in relation to more pianistic concerti, are a long-accepted minor part of an acknowledged great and beautiful work. They stem from the fact that Tchaikovsky was not a pianist. Similarly, critics point at the monotonous orchestration of the two Chopin concerti. So what! the works are still loved 150 years later. Nothing is perfect in nature unless you accept the imperfections.
All that aside, Anton Rubinstein had NOTHING to do with the Tchaikovsky concerto which he had originally written for and dedicated to NICHOLAS Rubinstein, Anton's elder brother, who initially slated it and refused to play it. Tchaikovsky did revise sections and then dedicated it to Hans von Bulow who premièred it in the USA to great acclaim, after which Nicholas Rubinstein suddenly adored it. Despite his lack of pianism, Tchaikovsky was Rachmaninov's composition teacher.
Of the Anton Rubinstein concerti, Josef Hofman was his pupil. Connections between teachers and pupils at that level are always great; never more so than in the Russian school. Nicholas Rubinstein was admired by Tchaikovsky and on hearing of the former's death, Tchaikovsky commenced one of his deepest and tragic chamber works, the Piano Trio in A minor which he dedicated to his late friend.
As my own teacher would respond to pathetic irrelevant comments on accepted great works: "Easier to criticise than create!"
It should go without saying, the standard works of the Western classical repertoire have stood the test of time and survived due to the joy they continue to offer universally. Don''t address them with flippant callous remarks; someone will occasionally take the trouble to stand up for them and teach you to shut your trap and stay within your little cage!
Tchaikovsky was not Rachmaninoff's teacher, that was Arensky. Very annoying to have this inaccuracy repeated.
Try to listen to Oscar Levant
Mitropolous conducting !
I so hoped i would find more interesting works of Rubinstein .The cello concerto all 5 piano concerto and i think a violi concerto were not intresting .Imoved onto some of he famous piano ieces Jorge Bolet in the octave etude and oths in ocean and a few others nothing with charm or interest as that simple Melody in F.If you hear Oscar Levant ou wont recognize this music at all and it loses its spell. As a kid of ten I bught this one xmas with mu hundred dollars allspent on recordings of Lhevinne ,Bauer everyone i had read about .I knew little abut greatt taste or great music making at ten but had worked enough at a piano to recognize a pedal s use, special phrasing and often a n atack ,tone or touch I knew instantly Hofmann and Lhevinne were special.Godowsky left a poorer impression buthis Schubert transcriptions even as an ignorant 10 year old I recognized a sound unlike any I had ever heard and a merging and blend of tonal resource I have rarely heard even with today's much better trained and moretastefulplayers.The myth of superlative players of 1920-40 has gained much earplay . Truly trained pianists will know Yves Nat does not compare to a Geiseking and aGieeking willnever compare to a Radu Lupu or Murray Perahia an Adelina Lara wouldnt even raduate from a junior college .Arrau is remarkable but his Mozart and Schubrt are bettr not heard while Ingrid Haebler ,Pires ,Uchida are miracles .Haebler plays Mozart with more finesse , sensitivity and technical know how than an entire page of Rachmaninoff cannot summon .People are so easily fooled . The slow movement here will ever soud this fine . Music comes from the soul and personality technique does not make great music . Hear Harold Bauer if you want to hear a thinking musician from the pre-WorldWar II days .Many of the others r simpy a collectionof bad habits and tasteless schools . Schnabel will always amaz no matter how unstellar his hands are the knowledge , coomon sense and taste he reveals in Beethoven are estimable,. His Brahms 2nd concrto does not recommend itself !
There's something wrong with your grammar but your message comes through in perfect shape. It's heart warming to me!
The same Rubinstein made tjaikofsky mutilate his first piano concerto.
Are you sure it was this Rubinstein?
Really showing your ignorance in your irreverent sarcasm. Your facts are completely wrong. Anton Rubinstein was Tchaikovsky's Conservatoire composition teacher. Taking the magnificent overall repertoire Tchaik produced, particularly string works and including the ballets and operas, the idiosyncrasies of the piano writing in the 1st piano concerto in relation to more pianistic concerti, are part of an acknowledged great work. They stem from the fact that Tchaikovsky was not a pianist. Similarly, critics point at the monotonous orchestration of the two Chopin concerti. So what! the works are still loved 150 years later. Nothing is perfect in nature unless you accept the imperfections.
All that aside, Anton Rubinstein had NOTHING to do with the Tchaik concerto which he had originally written for and dedicated to NICHOLAS, Anton's elder brother, who slated it and refused to play it. Tchaikovsky did revise sections and then dedicated it to Hans von Bulow who premièred it in the USA to great acclaim, after which Nicholas Rubinstein suddenly adored it. Despite his lack of pianism, Tchaikovsky was Rachmaninov's composition teacher.
Of the Anton Rubinstein concerti, Josef Hoffman was his pupil. Connections between teachers and pupils at that level are always great; never more so than in the Russian school. Nicholas Rubinstein was admired by Tchaikovsky and on hearing of the former's death, Tchaikovsky commenced one of his greatest chamber works, the Piano Trio in A minor which he dedicated to his late friend.
As my own teacher would respond to pathetic irrelevant comments on accepted great works: "Easier to criticise than create!"
It should go without saying, the standard works of the Western classical repertoire have stood the test of time and survived due to the joy they continue to bring to universally. Don''t address them with flippant callous remarks; someone will occasionally take the trouble to stand up for them and teach you to shut your trap!
Pretty good Kertis's students Orchestra & Josef Hoffman was distinguished Pianist of his time, Anton Rubinstein pupil for 2 year's Unique gift! Thanks for RARITET
@@ricbenricben Repetition of inaccuracy; Arensky was Rachmaninoff's composition teacher, not Tchaikovsky.
SO annoying to hear applause between movements. it's disruptive.
I think the audience made an exception for Hofmann.
Annoying applause between movements. I vomit in disgust
It's a live performance. The convention before World War II or so was to applaud at the end of every movement. That's just the way things were.
We should bring that back ;)
Any performer will tell you that the audience is part of the performance. I’m glad this convention is returning to concert life, now, applause between movements. I hate it when “restorers“ of classic recordings remove audience noise and applause!
@@arthurkrieck1 i find ,it disrupts the atmosphere created by the music. Yes, audience IS a part of the performance. listen first. When the piece is over then applaud. UNless ,it's an historical performance , I am more likeley to purchase a studio recording than live one with a disruptive audience.
@@lunchmind A little applause after movements, especially such large ones as in this concerto, disrupts nothing, unless the movements segue into one another with musical bridges, and in fact allows the audience to express its liking and arguably be more relaxed and attentive to the contrasting following movement. The brilliant and dramatic ending of the 1st movement of this concerto pretty much calls out for applause, for example. And, hell, through the first few decades of the 19th century other works were often even interspersed between the movements of concerti. Present-day concert decorum is not what many works of the past were written for.
Dreadful piece of music-
"Gewitter im Kartoffelacker" (Franz Liszt to his pupils)
Arthur Rubenstein said that he was better than his great namesake in the respect that he had the good sense not to publish any music he composed.
@@WolfgangWeller Liszt is known to have remarked that he 'couldn't hear that one again" to a pupil in the Weimar masterclasses, but the potato field comment made when he did hear a pupil play part of it could just have easily been about that pianist's playing. Anyway, Liszt and Rubinstein were friends and mutual admirers.