THE NEW YORK TIMES, WEDNESDAY, APRIL 9, 1969

52 L Music: Szell and Rubinstein Together

Pianist and Conductor It’s 50th Anniversary Join at Philharmonic of a Symphony Debut

By HAROLD C. SCHONBERG power and passion of the EORGE SZELL has been score. Mr. Rubinstein’s in­ G active in New York for terpretation was that of a many years, and Artur Ru­ controlled romanticism, with binstein first stooped to purling scales, subtle dynam­ conquer over the piano at ics, plenty of pedal and a Carnegie Hall in 1906 (1906!), warm approach. The only but somehow this city had solecism, and that of course never seen those two great is a matter of opinion, would musicians in collaboration. be the G minor section of the Last night in Philharmonic slow movement, played by Hall the pair made up the Mr. Rubinstein in a murmur­ omission. It was the New ing manner, á la Schumann. York Philharmonic’s Pension • Fund concert, and a full The Schumann was a joy house paid $42,000 for the to hear. Both musicians em­ privilege. Mr. Szell, after ployed a big line and a poetic warming up himself and the rather than a slambang ro­ Philharmonic with Strauss’s manticism. It was, on Mr. “Don Juan,” joined forces Artur Rubinstein Rubinstein’s part, a rather with Mr. Rubinstein in the reflective performance, strong Mozart’s D minor Piano enough in the climaxes, but Concerto and the Schumann The Program informed throughout with a A minor. NEW YORK PHILHARMONIC, conducted quiet elegance. That fine by George Szell, with Artur Rubin­ • stein, pianist. Benefit concert for th« rhythm of his kept the con­ Pension Fund. At Philharmonic Hall. Another statistic involved Don Juan ...... Richard Strauss certo moving smoothly along, Mr. Rubinstein. It Was the Piano Concerto In D minor (K.466) Mozart and those big hands of his Piano Concerto in A minor 50th anniversary of his or­ (Op. St) ...... Schumann can still eat up the keyboard. chestral New York debut, In the opening “Don Juan” which took place in 1919 of Richard Strauss, Mr. Szell with the New York Sym­ his style. What he still has, was the old master, authori­ phony. Later, in 1928, this and what nobody else can tatively shaping the old sym­ orchestra was amalgamated duplicate, is that unique man­ phonic poem into a strong with the New York Philhar­ ner of singing out of melodic and assured structure. The monic. line. That gorgeous tone is Philharmonic played beauti­ Mr. Rubinstein bounded on as rich as ever, and just as fully for him, as it plays for stage, his usual ebullient self, controlled. any conductor it respects. the spryest octogenarian since Pianist and conductor But the evening belonged to Methuselah. Age has made worked together for an excep­ that grand veteran, Artur very few inroads. He did tionally large-scale perform­ Rubinstein, and at the end of drop a few notes, deliver a ance of the Mozart D minor. the Schumann Piano Con­ few flumed passages, but he Mr. Szell used a fairly large certo there were great oceans always has been doing that. orchestra, wide dynamics, of love washed from the au­ It can be considered part of and was out to stress the dience into his lap.