Japanese Love Song (J.S. Zamecnik)
Moment Musicaux #6 (Schubert) (2:26)
Hush Ye, My Bairnie (Scottish Folk) (12:19)
Spring Song (Mendelssohn) (15:15)
Etude #26 (Chopin ) (18:13)
Claire de Lune (Debussy) (21:01)
Handel's Largo (transcription) (26:05)
Fur Elise (Beethoven) (32:14)
At Your Feet (Grieg) (26:24)
Bethena Waltz (Scott Joplin) (40:27)
Waltz in #15 A Flat (Brahms) (47:55)
Waltz #2 (Brahms) (50:14)
Entrance Theme For Emperor (Improv on ancient theme) (52:54)
Intermezzo E Flat (Brahms) (55:00)
Intermezzo in A Minor, Op. 116 #2 (Brahms) (1:02:22)
Intermezzo Op. 76 #7 (Brahms) (1:06:05)
Intermezzo In A Op. 118 #3 (Brahms) (1:10:08)
Intermezzo Op. 119 #2 (Brahms) (1:17:22)
Romanze (Brahms) :1:25:00)
Sonata 10, 2nd Movement (Beethoven) (1:29:33)
Nocturne #2 (Chopin) (1:38:49)
Nocturne #16 (Chopin) (1:44:15)
Nocturne #18 (Chopin) (1:49:38)
Prelude #17 (Chopin) (1:56:17)
Prelude #23 (Chopin) (2:00:09)
Bach: Fugue #1 (WTC Book I) (2:01:15)
The Swan (St. Saens) (2:04:17)
Waltz #3 (Chopin) (2:06:34)
Waltz #9 (Chopin) (2:13:43)
Prelude #4 (Chopin) (2:18:21)
Gladiolus Rag (Scott Joplin) (2:20:54)
Bink's Waltz (Soctt Joplin) (2:25:27)
Arabesque #1 (Debussy) :2:30:07)
Deep River (Samuel Taylor Coleridge Arr.) (2:35:42)
Illusion (Grieg) (2:44:57)
Gymnopodie #1 (My own composition) (2:49:41)
Gymnopodie #3 (My own composition) (2:53:12)
Gymnopodie #5 (My own composition) (2:55:52)
Gymnopodie #6 (My own composition) (2:57:19)
Sarabande in D Minor (Handel) (2:59:39)
The Last Rose of Summer (Von Flowtow) (3:00:57)
'Moonlight Sonata', First Movement (Beethoven) (3:03:20)
Nocturne #10 (Chopin) (3:09:45)
Nocturne #19 (Chopin) (3:15:28)
Nocturne #14 (Chopin) (3:20:12)
Pathetique Sonata, Second Movement (Beethoven) (3:28:47)
Vanished Days (Grieg) (3:33:43)
Gade (Grieg) (3:40:47)
Peace of the Woods (Grieg) (3:45:23)
Prelude #15 ('Raindrop Prelude'; Chopin) (3:52:00)
Impromptu #3 (Schubert) (3:57:06)
Sarabande with Variations (Handel) (4:04:35)
Solace (Scott Joplin) (4:06:40)
Summer's Eve (Grieg) (4:14:52)
Waltz #10 (Chopin) (4:17:50)
Londonderry Air (Irish Folk) (4:20:55)
Waltz in F Major (Original Composition) (4:23:22)
Oh My Beloved (Folk Song) (4:25:43)
Orientale (Granados) (4:28:31)
Reverie Improv (Original Composition) (4:35:29)
Searchlight Rag (Scott Joplin) (4:39:18)
Sometime I Feel Like A Motherless Child (STC Arr.) (4:46:13)
Sunflower Slow Drag (Scott Joplin & Scott Hayden) (4:52:18)
The Cat's Fugue (Scarlatti) (4:56:54)
Waltz-Gymnopodie (Original Composition) (5:00:19)
Wall Street Rag (Scott Joplin) (5:03:13)
Pine Apple Rag (Scott Joplin) (5:08:41)
Etude #26 (Slower Version) (5:13:14)
Indian Love Song (J.S. Zamecnik) (5:17:08)
Fur Elise (With ornamentations; Beethpven) (5:19:58)

I have decided to upload this recording. Which I think outshines the others.

I. Moderato Assai - 00:00
II. Andante - 11:31
III. Allegro - 22:18

Anton Rubinstein was a towering figure of Russian musical life, and one of the 19th century's most charismatic musical figures. Rivalled at the keyboard only by Liszt, he was near the last in line of pianist-composers that reached a climax with Liszt, Busoni, and Rachmaninov. Like them Rubinstein's reputation as a composer in his day was more controversial than his reputation as a performer, but unlike them, his vast compositional output, much of it containing music of beauty and originality, still remains relatively unexplored territory. Rubinstein wrote his eight works for piano and orchestra over the last 44 years of his life, with the five concertos dating from 1850-1874. Two earlier unpublished piano concertos, now lost, were written in 1849, and a third "concerto" was revised and published as the Octet, Op. 9. The concertos were enormously popular in the later 19th and early 20th centuries and were not only performed by the composer himself, but by such stellar artists as Hans von Bülow, Ferruccio Busoni, Anna Esipova, and the composer's own brother, Nikolay. Josef Lhévinne chose to make his United States début in 1919 with the Fifth Concerto, and Josef Hofmann, himself a pupil of Rubinstein's, continued to perform frequently both the Third and Fourth Concertos well into the 1940's. The Fourth was at one time in the repertoires of both Rachmaninov and Paderewski. Rubinstein's Third and Fourth Concertos, like Rubinstein the performer, are grand in scope, and seething with passion, brilliance and poetry. In spite of occasional excesses, the listener is never in doubt of Romantic intensity on a huge scale. Both of these works were undeniable influences on Tchaikovsky's later written first two piano concertos.

The Fourth Concerto, with its near ideal balance between the piano and orchestra, has proved the most popular of Rubinstein's concertos, and is the one on which the composer lavished the most care. First written in 1864, after two further published versions Rubinstein finally published a last revision in 1872. The first movement opens with an orchestral statement of the main theme, then leads into an explosive opening cadenza for the piano. The piano then restates the main theme, now clothed in massive fortissimo chords which in the hands of the composer must have overpowered any orchestral sound of the day. After progressing in fairly traditional sonata-form, Rubinstein adds a massive piano cadenza (which was undoubtedly an obvious pattern to parts of Tchaikovsky's later first movement cadenza to his concerto in B flat minor), then rounds off the movement by another massive statement of the main theme and a breathless coda. The second movement is primarily in F major, yet starts in D minor as a tonal link to the preceeding movement. The principal theme is first given by the piano, then is eventually returned for two further embellished and modified statements. Overall this movement contains some of Rubinstein's most serene and lovely writing. Although the last movement has a wild, Russian dance-like character, it nonetheless is closer in character to the krakowiak, which is actually a dance of Polish origin. The opening main theme, first presented by the piano, contains imitations of characteristic shouts and stamping of feet, as would be found in a similar Russian folk dance. The 19th-century Russian composer and Rubinstein's contemporary, César Cui, felt this movement to be "something like those wild dances that Gluck and Righini wrote ... somthing like the alla Turca one finds in Mozart". The breathless dance-like pace, occasionally relaxed with more lyrical passages, continues headlong to a frenzied coda that ends the concerto with an avalanche of virtuosity for the piano.

[yt]www.youtube.com/watch?v=IPbuy1_H46w[/yt]