# A Dictionary of Music and Musicians/Rubinstein, Anton

From volume 3 of the work.
​RUBINSTEIN, Anton Gregor, an eminent composer and one of the greatest pianists the world has ever seen, was born Nov. 30, 1829 [App. p.776 "1830"], of Jewish parents, at Wechwotynetz, near Jassy. He received his first musical instruction from his mother, and afterwards from a pianoforte-teacher in Moscow named Villoing. So early as 1839 he made his first concert-tour with his teacher, journeying to Paris, where he made the acquaintance of Liszt, who was then teaching in that city, and under whose advice he there pursued his studies. A year later he made a more extended tour, going to England (1842), and thence to Holland, Germany, and Sweden. In 1845 he went to study composition with Professor Dehn in Berlin. From 1846–8 he passed in Vienna and Pressburg, teaching on his own account. In 1848 he returned to Russia, where the Grand Duchess Helen nominated him Kammer-Virtuos. After studying diligently in St. Petersburg for eight years he appeared as a fully-fledged artist with piles of original compositions, first in Hamburg and then all over Germany, where he found enthusiastic audiences and willing publishers. From this time his fame as a pianist and composer spread rapidly over Europe and America. He again visited England in 1857, and made his first appearance at the hilharmonic on May 18. In 1858 he returned home again, gave brilliant concerts in St. Petersburg, Moscow, etc., and settled in the former city. At this period he was appointed Imperial Concert-director, with a life-pension. Thenceforward he worked in conjunction with his late friend Carl Schuberth, for the advancement of music in Russia, and had the merit of being the founder of the St. Petersburg Conservatoire in 1862, remaining its Principal until 1867. The Russian Musical Society, founded in 1861, was also his. On leaving Russia he made another triumphant tour through the greater part of Europe, which lasted till the spring of 1870. When in his native country, in 1869, the Emperor decorated him with the Vladimir Order, which raised him to noble rank. In 1870 he rested awhile, and expressed the intention of retiring from public life; but it was not likely that this desire could be fulfilled. He held the Directorship of the Philharmonic Concerts and Choral Society in Vienna for the next year or two, and this was followed by fresh concert tours. Every year the same threat of retirement is made, but the entreaties of the public, and, probably, the desire of providing for his wife and family, brings the gifted genius before us again and again. He has recently extended his tours as far as the south of Spain, from whence he hastened back for the funeral of his brother Nicolas. Of late years he has been threatened with the loss of his eyesight, a misfortune caused in some measure by his excessive application to composition; such a deprivation, however, would not prove an overwhelming catastrophe, as his memory is phenomenal.
Rubinstein's playing is not only remarkable for the absolute perfection of technique, in which he is the only rival Liszt ever had, but there is the fire and soul which only a true and genial composer can possess. He can play a simple piece of Haydn or Mozart so as to positively bring tears into the eyes of his hearers, but on the other hand, he will sometimes fall a prey to a strange excitement which causes him to play in the wildest fashion. An example (though hardly a commendable one) of his perfect mastery over tone is to be found in his performance of the Funeral March of Chopin's Sonata in B♭ minor. This well-known piece, regardless of the composer's intentions, he begins ppp', proceeding crescendo, with perfect gradation, up to the Trio, after which he recommences ff and with an equally long and subtle diminuendo ends as softly as he began. As an effect—the idea of a band passing—this is stale and unworthy of an artist, but as a tour de force it can only be justly appreciated by those who have heard it done and then sought to imitate it. It is an impossible feat.
The compositions of Rubinstein are not yet sufficiently mellowed by time for us to judge them fairly. Their style may be considered as the legitimate outcome of Mendelssohn; there is a fine broad vein of melody which is supported by true and natural harmony, and a thorough technical skill. But there is also the fatal gift of fluency, and the consequent lack of that self-criticism and self-restraint which alone make a composer great. Rubinstein has written in every department of music, but as yet his songs and chamber-music are all that can be called really popular, excepting always his 'Ocean Symphony,' which is known all over the world. This is undoubtedly one of his very best works, the ideas throughout being vivid and interesting, while the workmanship shows unusual care. From the composer's having added an extra Adagio and Scherzo after the first appearance of this Symphony we may presume he has a particular regard for it, though to risk wearying an audience by inordinate length is scarcely the way to recommend a work to their favour. The 'Dramatic' Symphony (op. 95) has been admired, but is not frequently performed, while of the other three symphonies the 1st and 5th have each only been performed once in England. His Pianoforte Concertos are very brilliant and effective, especially that in G (op. 45); they will perhaps in time take a permanent position. His Violin Concerto (op. 46) is a very fine work, though but little known. The Persian Songs (op. 34) are perhaps the most popular of his vocal works, but there are many very striking and successful specimens among his other songs—'Es blinkt der Thau' and 'Die Waldhexe' for instance—and the duets are full of beauty and passion. The numerous drawing-room pieces which he has written for the piano are far superior to most of their class, his writing for the instrument being invariably most brilliant, as is ​but natural in so great a pianist. His chamber-music is not yet much known in England, and he is apt to give the piano an undue prominence in it; the Quintet in F (op. 55) is almost a Pianoforte Concerto in disguise. His operas and oratorios have as yet met with but qualified success, seeming to lack dramatic force. This is in some measure due to his antagonism to the theories and practice of Wagner and the modern German school. He has a preference for sacred subjects, which are but ill fitted for the stage, but as these works are all amongst his most recent productions it is manifestly impossible to give any decided opinion as to their eventual success. The operas not included in the list of his works with opus-numbers are 'The Demon' (in rehearsal at Covent Garden, June 1881), 'Feramors' (Lalla Rookh), 'The Children of the Heath,' 'The Maccabees,' 'Dimitri Donskoi,' and 'Nero.' [App. p.776 "add 'Die sibirische Jäger,' 'Toms, der Narr,' 'Die Rache,' and 'Kalaschnikoff,' (1880), all to Russian words; 'Sulamith,' in 5 acts, Hamburg, Nov. 8, 1883, 'Unter Räubern,' comic opera in one act (produced, according to Riemann's 'Opernhandbuch,' on the same evening with 'Sulamith'), and 'Der Papagei,' comic opera in one act, Hamburg, Nov. 11, 1884. (The last three with German words.)"] There are also about a dozen songs, and as many fugitive pieces for piano without opus-number, besides some small works published during the composer's youthful days and reckoned separately as ops. 1–10.
The complete list of Rubinstein's numbered works is as follows:—
Op. 1. 6 little Songs In Low German dialect. Voice and PF. Schreiber. 2. 2 Fantasias on Russian themes. PF. solo. Schreiber. 3. 2 Melodies for PF. solo (F, B). Schreiber. 4. Mazourka-Fantaisie. PF. solo (G). Schreiber. 5. Polonaise, Cracovienne and Mazurka. PF. solo. Schreiber. 6. Tarentelle. PF. solo (B). Schreiber. 7. Impromptu-Caprice, 'Hommage à Jenny Lind.' PF. solo (A minor). Schreiber. 8. 6 Songs (words from the Russian). Voice and PF. Senff. 9. Octet in D for PF., V., Viola, Cello, Bass, Fl., Clar., and Horn. Peters. 10. Kamennoi-Ostrow. 24 Portraits for PF. Schott. 11. 3 Pieces for PF. and V.; 3 do. for PF. and Cello; 8 do. for PF. and Viola. Schuberth. 12. 1st Sonata for PF. solo (E). Peters. 13. 1st Sonata for PF. and V (G). Peters. 14. 'The Ball' Fantasia in 10 Nos. for PF. solo. B. B. 15. 2 Trios. PF., V., and Cello (F, G min.). Hofmeister. 16. Impromptu, Berceuse and Serenade. PF. solo. Hofmeister. 17. 3 String Quartets (G, C min., F). B. & H. 18. 1st Sonata for PF.and Cello (D). B. & H. 19. 2nd Sonata for PF. and V. (A min.). B. & H. 20. 2nd Sonata for PF. solo (C min.). B. & H. 21. 3 Caprices for PF. solo (F♯, D, E♭). B. & H. 22. 3 Serenades for PF. solo (F, G min., E♭). B. & H. 23. 6 Etudes for PF. solo. Peters. 24. 6 Preludes for PF. solo. Peters. 25. 1st PF. Concerto (E). Peters. 26. Romance and Impromptu. PF. solo (F, A minor). Schreiber. 27. 9 Songs (words from Russian). Voice and PF. Schreiber. 28. Nocturne (G♭) and Caprice (E♭) for PF. solo. Kistner. 29. 2 Funeral Marches. PF. solo. 1. For an Artist (F min.); 2. For a Hero (C min.). Kistner. 30. Barcarolle (F min.); All$^o$ Appass. (D min.) for PF. solo. Kistner. 31. 6 4-part Songs for Male Voices. Kistner. 32. 6 Songs from Heine. Voice and PF. Kistner. 33. 6 Songs. Voice and PF. Kistner. 34. 12 Persian Songs. V. and PF. Kistner. 35. 2nd PF. Concerto (F). Schreiber. 36. 12 Songs from the Russian. Voice and PF. Schreiber. 37. Akrostichon (Laura) for PF. solo. Schreiber. 38. Suite (10 Nos.) for PF. solo. Schott. 39. 2nd Sonata for PF. and Cello (G). B. & H. 40. 1st Symphony for Orchestra (F). Kahnt. 41. 3rd Sonata for PF. solo (F). B. & H. 42. 2nd Symphony, 'Ocean' (C). Senff. 43. Triumphal Overture for Orchestra ( ). Schott. 44. 'Soirées à St. Petersbourg,' for PF. solo (6 pieces) Kahnt. 45. 3rd PF. Concerto (G). B. B. 46. Concerto, Violin and Orch. (G). Peters. 47. 3 String Quartets (Nos. 4, 5, 6, E min., B♭, D min.). B. & H. 48. 12 Two-part Songs (from the Russian) with PF. Senff. 49. Sonata for PF. and Viola (F min.) B. & H. Op. 50. 6 'Charakter-Bilder.' PF. duet. Kahnt. 51. 6 Morceaux for PF. Senff. 52. 3rd Trio. PF. and Strings (B♭). Senff. 53. 6 Preludes and Fugues in free style. PF. solo. Peters. 54. 'Paradise Lost.' Sacred Opera after Milton, in 3 parts. Senff. 55. Quintet for PF. and Wind (F). Schuberth. 56. 3rd Symphony (A). Schuberth. 57. 6 Songs. Voice and PF. Senff. 58. Scena ed Aria, 'E dunque vero?' Sop. and Orch. Schott. 59. String Quintet (F). Senff. 60. Concert Overture in B♭. Senff. 61. 3 Part-songs for Male Voices. Schreiber. 62. 6 Part-songs for Mixed Voices. Schreiber. 63. 'Die Nixe.' Alto Solo, Female Chorus, and Orch. Senff. 64. 5 Fables by Kriloff. Voice and PF. Senff. 65. 1st Concerto for Cello and Orch. (A min.). Senff. 66. Quartet. PF. and Strings (C). Senff. 67. 6 Two-part Songs with PF. Senff. 68. 'Faust.' Musical portrait, for Orch. Siegel. 69. 5 Morceaux for PF. solo. Siegel. 70. 4th PF. Concerto (D min.). Senff. 71. 3 Morceaux. PF. solo. Siegel. 72. 6 Songs for a Low Voice and PF. Senff. 73. Fantaisie for 2 Pianos (F). Senff. 74. 'Der Morgen.' Cantata for Male Voices and Orch. (from the Russian). Senff. 76. 'Album de Peterhof.' 12 pieces. PF. solo. Senff. 76. 6 Songs for Voice and PF. Senff. 77. Fantaisie for PF. (E min.) Senff. 78. 12 Songs from the Russian. Voice and PF. Senff. 79. 'Ivan the Terrible.' Musical portrait for Orch. B. B. 80. 'The Tower of Babel.' Sacred opera in one act. Senff. Chappell. 81. 6 Etudes for PF. solo. B. B. 82. Album of National Dances (6) for PF. solo. B. B. 83. 10 Songs. Voice and PF. B. B. 84. Fantasia for PF. and Orch. (C). Senff. 85. 4th Trio. PF. and Strings (A). Lewy. 86. Romance and Caprice for Violin and Orch. Senff. 87. 'Don Quixote.' Musical portrait. Humoreske for Orch. Senff. 88. Theme and Variations for PF. solo (G). Senff. 89. Sonata for PF. duet (D). Senff. 90. 2 String Quartets (Nos. 7, 8, G min., E min.). Senff. 91. Songs and Requiem for Mignon (from Goethe's 'Wilhelm Melster') for Solos, Chorus, and PF. Senff. 92. 2 Scenas for Contralto and Orchestra. No. 1. 'Hecuba'; No. 2. 'Hagar in the desert.' Senff. 98. 9 Books of Miscellaneous Pieces (12) for PF. solo. Senff. 94. 5th PF. Concerto (E♭). Senff. 95. 4th Symphony, 'Dramatic' (D min.). Senff. 96. 2nd Concerto. Cello and Orch. Senff. 97. Sextuor for Strings (D). Senff. 98. 3rd Sonata. PF. and V. (B min.). Senff. 99. Quintet. PF. and Strings (G min.). Senff. 100. 4th Sonata for PF. solo (A min.). Senff. 101. 12 Songs. Voice and PF. Senff. 102. Caprice Russe. PF. and Orch. Senff. 103. Bal costumé. Set of characteristic pieces (20) for PF. 4 hands. B. B. 104. Elegie; Variations; Etude. PF. solo. B. B. 105. A series of Russian songs. Voice and PF. B. B. 106. 2 String Quartets (Nos. 9, 10, A♭, F min.) 107. 5th Symphony (G min.) In memory of the Grandduchess Hélene Paulowna. Senff. [App. p.776 "add to list of works the following: Op. 108. Trio for PF. and Strings in C minor. 109. Soirées Musicales. 9 PF. pieces. 110. Eroica. Fantasia for PF. and Orchestra. 111. 6th Symphony (A minor). 112. 'Moses,' a Biblical opera in 8 tableaux. Part I. containing four tableaux (Bilder), was published by Senff, 1888."]
Rubinstein's appearance is remarkable. His head is of a very Russian type, massive and noble, without beard or moustache, but with a thick shock of dark brown hair which as yet shows no gray. In general look his face resembles the ideal Beethoven of the sculptors. He is well read, and his very wide travels have given him much knowledge of men and things. His manner is simple and genial, and he has the true modesty of genius.
We have said that Rubinstein's first visit to London was in 1842. He was then only just 12. Mendelssohn and Thalberg were both here, and the Philharmonic was thus naturally already occupied. No doubt he played in public; but the periodicals are silent about him, and the only printed mention of him to be found is in Moscheles's diary for 1842 ('Leben,' ii. 90), where he is spoken of by that genial master as 'a rival to Thalberg … a Russian boy whose fingers are as light as feathers, and yet as strong as a man's.' [App. p.776 "omit the sentence beginning No doubt he played in public, etc., and add that an account of his performance will be found in the 'Musical and Dramatic Review' for 1842."] He did not return to this country till 1857, when ​he appeared at the Philharmonic on May 18, playing his own Concerto in G. He came back in the following year, played again at the Philharmonic on June 7, and at the Musical Union May 11. In 1869 he came a fourth time, and played at the Musical Union only (May 18, June 1). In 1876 he made his fifth visit, played at the Philharmonic May 1, and gave four Recitals in St. James's Hall. In 1877 he had again recitals, and also conducted his 'Ocean' Symphony (6 movements) [App. p.776 "'Dramatic'"], and played Beethoven's Concerto in G, at the Crystal Palace on June 4. In 1881 he has given another series of Recitals at St. James's Hall, his opera 'The Demon' was brought out in Italian at Covent Garden on June 21, and his 'Tower of Babel,' with other music, at the Crystal Palace on June 11. [App. p.776 "add that he gave a set of seven historical recitals in S. James's Hall, in May and June 1887. (Died Nov. 20, 1894.)"]
Of his Symphonies four have been heard here, the last (op. 107) at the Crystal Palace, May 1881. The third Symphony, in A, has not yet been played in England. Of his PF. Concertos four out of five have been heard, that in G three times; the first alone has not yet been played. Of his Overtures that in B♭ (op. 60), that in C (op. 43), and that to 'Dimitri Donskoi' have all been played at the Crystal Palace, as well as the Ballet music of 'Feramors' and 'The Demon,' and 'Don Quixote.' Of his chamber-music the favourite pieces at the Monday Popular Concerts are, Cello Sonata in D (6 times), three pieces for PF. and cello (op. 11, 4 times), B♭ Trio (4 times), and PF. Quintet (op. 99, twice).
Nicholas, his younger brother, who settled in Moscow, was also a fine pianist and no mean composer, though overshadowed by the fame of his great brother. He studied under Kullak and Dehn in Berlin during 1845 and 6. In 1859 he founded at Moscow the Russian Musical Society, which gives twenty concerts each year; and in 1864 the Conservatoire, and was head of both till his death. In 1861 he visited England, and played twice at the Musical Union (June 4, 18). In 1878 he gave four orchestral concerts of Russian music in the Trocadéro at Paris with great success. He died of consumption in Paris, Mar. 23, 1881, on his way to Nice for his health, widely and deeply lamented. His latest published work is op. 17—'Scène du Bal, Polonaise.'
* ↑ First performed in London by Musical Art Union (Klindworth) May 31, 1861; with extra movements, Crystal Palace, April 12, 1877; Philharmonic, June 11, 1879.
* ↑ B. B.=Bote & Bock.
* ↑ B. & H.=Breitkopf & Härtel.