Rubinstein Chamber Music

[john_boyer]

I have taken the liberty of listening to the Edlian's performances of the five Rubinstein trios to create the appended chart.  I have noted the cuts in each movement.  The notation may be read as follows:

"IV:  23-III-4" means "Fourth movement, page 23, third system, fourth bar".  Each reference is to the appropriate score available from the IMSLP, for the convenience of the members. 


I apologize for the impossible formatting.  Nothing I could do could fix it once I reached the preview stage.  The 21st Century and I are no friends.


Trio #1 in F, Op. 15, #1

II:            24-III-1   through   24-IV-8   16 bars
         31-I-1   through   31-III-9   22 bars
                             --------
                       Total      38 bars
****************************************

Trio #2 in G minor, Op. 15, #2

I:         16-II-2   through    17-I-2        8 bars
            18-II-3    through    18-III-1     2 bars
            19-II-1    through    19-II-2       2 bars
                                                                 --------
                                               Subtotal    12 bars

II:         27-III-1   through    27-III-6     6 bars
                                                                  --------
                                               Subtotal     6 bars

III:   28-I-2   through   30-III-4   135 bars
             36-III-5   through   36-IV-4    7 bars
              37-II-2    through    37-III-3     8 bars
                                                                   --------
                                               Subtotal 150 bars

IV:   48-IV-2   through   49-I-3         7 bars
                                                                    --------
                                     Subtotal      7 bars
                                                                   --------
                                                Total        175 bars
***************************************

Trio #3 in B-flat, Op. 52

I:   17-I-5   through   17-III-2    12 bars                                       --------
                                 Subtotal    12 bars

IV:    48-IV-2   through   51-I-2    82 bars
                     --------
                                   Subtotal    82 bars
              ---------
                                   Total         94 bars
***************************************

Trio #4 in A minor, Op. 85

III:   54-II-3    through    55-I-5    16 bars
                                ---------
                                               Subtotal    16 bars

IV:   65-I-1    through   65-I-4     4 bars
              66-I-1   through   67-IV-5     33 bars
              80-I-1     through   82-II-4      32 bars
                   ---------
                          Subtotal    69 bars
                    ---------
                                   Total     85 bars
***************************************

Trio #5 in C minor, Op. 108

       No cuts

[mbhaub]

That's depressing. Back in the early LP era cuts were so common, and I would have thought that performers would have gotten over themselves and present the music AS WRITTEN. Too bad they did this. I'll probably get the set anyway, but dang it! why did they do that?

[eschiss1]

That's depressing. Back in the early LP era cuts were so common, and I would have thought that performers would have gotten over themselves and present the music AS WRITTEN. Too bad they did this. I'll probably get the set anyway, but dang it! why did they do that?

Can think of at least two CD recordings besides this which also without mention cut/mangled the scores - Fellegi's of Medtner's sonata tragica on Marco Polo, and, I'm told, a recording by Toradze of Mussorgski's Pictures.  I'd add the Koch recording of Liszt's St. Elizabeth but I don't know if that is a CD recording or a remaster of an LP recording; it's pretty seriously cut too (quite possibly cuts authorized by the composer, this is Liszt, after all. A little depressing, still, especially since the performance and recording are really so good in other ways and there's only a few other recordings of this rare and very lovely oratorio.)
Eric

[Peter1953]

This is very shocking indeed. It’s almost a musical crime. The only positive thing is that in No. 5 there are no cuts. But… while listening I try to forget this knowledge and… I still enjoy very much of what I hear.