This was the last of Rubinstein's three recordings of Tchaikovsky's warhorse, and is the product of fifty years of experience playing and thinking about the piece. This performance is the antithesis of his first recording with Barbirolli (Volume 1 of the Rubinstein Collection). The earlier version, though undeniably exciting, was played rather sloppily and suffered from poor sound. These problems were a factor in RCA's decision to supersede the Rubinstein/Barbirolli version with the Horowitz/Toscanini recording made in 1941. Rubinstein was furious at RCA's move, and roundly criticized the latter performance as being artistically deficient and technically defective. (He was right on the second count: Side 6 of the 8 sided 78-RPM set was markedly off pitch with the rest of the concerto.) For the liner notes of this recording of the Tchaikovsky, Rubinstein remarked about his change in approach, claiming that he wanted to "reestablish what a beautiful, beautiful piece it is." He also criticized the way certain pianists performed the piece as a virtuoso warhorse, and those who knew Rubinstein's history with his rival knew that his verbal barbs were aimed squarely at Horowitz.
Rubinstein's 1963 performance is one of the more lyrical interpretations of Tchaikovsky's well-worn warhorse. The pianist certainly lets virtuoso fireworks burst from the keyboard when the music calls for it. But, phrasing, tempo, and dynamics bespeak of a kinder, gentler Tchaikovsky First. Erich Leinsdorf and the Boston Symphony Orchestra do a fine job of accompaniment. RCA's remastered sound is well balanced and smooth.
