Argerich has recorded earlier duo-piano discs on Teldec with Rabinovitch
(Brhams Haydn Variations, etc., Rachmaninoff Symphonic Dances, a disc of
Rabinovitch's own compositions.  Here's a bio (in non-native English) from
the Megadisc website:

   Alexandre RABINOVITCH

   Alexandre Rabinovitch, born in Bakou in 1945, studied to become a
   composer at the Moscow Conservatory with D.Kabalevski and A.Pirumov.
   From his early oeuvres onwards, Rabinovitch distances himself from
   the official standards and opts for three cantatas of texts written
   by early 20th century avant-garde poets, viz.  the symbolist Andrej
   Biely, the futurist Vledimir Khlebnikov and Leonid Andrejev, as
   pessimistic metaphysician who was sometimes referred to as the Russian
   Maeterlinck.  As an excellent pianist he plays Schubert, Brahms and
   Scriabine, as well as Messiaen and Stockhausen.  In the sixties the
   Soviet Republic is increasingly infiltrated by western modernism, in
   particular by the serial movement because he believes the tonal
   tradition should be innovated and reformed, rather than discarded.
   Rabinovitch also ventures making collages, but, as was the case with
   Arvo Part, this wil turn out to be a transitional phase.  In 1970 he
   sees his colleague and friend Alexei Lubimov reading a score entitled
   In C, written by a young Californian composer called Terry Riley.
   A single sheet of paper contains 53 modules made up of short melodic
   fragments.  Each consecutive module may be repeated by each musician
   as often as he chooses.  This way of writing emphasises two dimensions
   that have hardly been explored in western music.  On the one hand,
   the repetition of one particular musical element (a chord or a melody)
   entails subtle changes in the way it is perceived by the auditor (In
   the sixties La Monte Young had already given a concert during which
   he had repeated one single sound or chord a hundred times over:
   Admittedly, this was in the middle of the psychedelic period).  On
   the other hand, the aleatoric process of the superposition of different
   performers results in a harmonic polyphony that slowly metamorphoses
   into something else.  These ideas, taken over by Steve Reich, Philip
   Glass and John Adams (with composers such as Michael Nyman and Louis
   Andriessen for the European branch) are the fundamentals of the
   minimalist movement that is wellknown today.  In C has the effect of
   love at first sight on Alexandre Rabinovitch.  It pushes him towards
   compositions that develop into repetitive fragments, at the beginning
   of simple musical cells.  This time around however, they are inspired
   by earlier compositions (viz.  by Schubert, Brahms or Wagner), that
   are inextricably connected with our musical consciousness.  Thanks
   to its mystical nature, derived from the eastern mantras, the esoteric
   cabbala or the gnosis, this new orientation was not easily accepted
   in Soviet musical life during the reign of Brejnev, who was always
   pleased to see dissident artists such as J.  Brodski, A.  Volkonski,
   A.  Solchenitchine or M.  Rostropovitch leaving the country.
   Rabinovitch follows their example in 1974.

   However, his exile causes him some disenchantment as there seems to
   be little room in Paris for this aesthetic orientations.  They are
   too different from the dogmatism imposed by a small group of people,
   who exclude other artists in the name of modernity.  This setback
   will inspire the slightly ironic piece for the piano which he writes
   in 1976.  It is called Motif optimiste suive de sa demystification
   et ainsi de suite (optimistic motif followed by its demystification
   etceteras), which ironically opposes the euphoria (in major) of
   leaving the USSR to the depression (in minor) of finding out that
   censorship had followed him to Paris.  Still, Rabinovitch manages
   to make a name for himself thanks to his successful recitals and
   his association with Martha Argerich.  Requiem pour une maree noire
   (requiem for a black sea), written in 1978, is a philosophical rather
   than a ecological protest, as it is based on a few verses by Fiodor
   Tioutchev (1803-1873), a philosophical poet who successfully described
   how anything related to mankind (symbolised in this case by the black
   sea) is the exact opposite of the durability of the mind and the
   dream, of sky and stars.  Committing his engagements to paper, the
   titles chosen by Rabinovitch - Pourquoi je suis si sentimental (why
   I am so sentimental), Discours de la compassion (exposition of
   compassion), Musique triste, parfois tragique (sad music, sometimes
   tragic), etc.  - were not completely without provocation to a musical
   environment where complex language, the posh obscurity of titles
   (Arnarchipel, Explosante-Fixe, Partiels/Derives) and wise comments
   incessantly repeated that there was no room for simple, beautiful or
   sentimental music.  In 1980 Rabinovitch liberates himself from Paris
   and leaves for Geneva.  In 1982 he composes the Discours sur la
   deliverance (exposition on deliverance) for cello and piano. The
   melodic modules are repeated according to the specific indications
   of a score that uses the numeric symbolism inspired by esoteric
   traditions.  Instead of being made up of volatile passages that are
   often misheard by the listener, music becomes a mysterious trajectory.
   We are not dealing with the contemplative reveries of the 'floating'
   kind that have become so popular.  The rhythmic structures are firm
   and sometimes as violent as a destructive trance.  This is beautifully
   illustrated by oeuvres such as Musique populaire (popular music),
   which is a genuine reflection on violence and things sacred and was
   also inspired by the works of anthropologist Rene Girard on this
   subject.  Alexandre Rabinovitch' singular sonorous universe is
   therefore situated outside the contemporary or even minimalist
   movement.  The search for his individuality is the key to his music.
   His own comments confirm this statement: "Most of my inspiration
   comes from doctrines of the past such as Gnosis, Cabbale, Pythagoras
   ...  My music is a study on the development of the conscience and its
   metamorphoses and of the learning process towards finding serenity.
   The repetition of the motifs are necessary in order to create the
   appropriate mysterious atmosphere for an exposition based on the
   logic of the perceptible adn inspired by the eye of the heart." The
   repetition of a theme is frequently used for mystical constructions
   be it in oriental music and prayers or in western religious
   architecture.  In this case, Rabinovitch lends his composition a
   musical expression that borders on obsession.  Before penetrating in
   these labyrinths of the inner self, the auditor should realise that
   the adhesion of his personal sensitivity will be his only guiding
   principle.

(I warned you about the demi-English)
LA