The Bach/Busoni and the Franck were recorded in 1970 and are characteristic of Rubinstein's strongly disciplined way with large-scale forms. The approach in the Franck is quite classical and closely argued. The Chaconne may lack some largesse, but the emphasis on clarity and control allows the music to emerge unscathed by bombastic effects. Even by today's standards the Liszt Sonata has superb technical finish. The music is interpreted from a highly self-confident premise with the heavier episodes being a little brusque. Perhaps a too comfortable view of Liszt, Rubinstein's reading has a thoroughness that makes its own impact.
After a slightly awkward start to Schumann's Kreisleriana, he soon settles into the poetic language of the music and his handling of the intimate sections is of great beauty. The virtuosic elements have solidity, rather than energy or urgency. I prefer the Fantasia, in which the noble essence of the music comes over with power, and yet there is no hurrying. The middle movement could have been more dynamic, but Rubinstein sees Schumann primarily as poet; not manic-depressive. The first CD features perfectly acceptable, if slightly dry, sound, whereas in the Schumann the piano is somewhat clattery in the fortes of Kreisleriana (it was recorded in 1964). In the Fantasia there is real bloom to the piano tone.'