, 1872-12-08
REVIEW OF ADJUSTMENTS,
MUSIC.

Those who have heard Rubinstein may well re-
joice at the fact, for it is now his avowed deter
mination, after his American contract is finish
ed, to give up piano-playing, and devote himself
to composition. In this direction, he has an
ambition to produce some great work, which will
give him lasting fame, based upon Scriptural
events. Those, therefore, who have heard
Rubinstein have good cause for congratulation.
Even if he should not retire, his visit to this
country has not been an entirely satisfactory
one to him, and there is no hope that he will
ever come here again. His season in this city
has been marked by many notifying incidents
in the conduct Of some portions Of the audience
which we're anything but respectful to the ar
fists. In this connection, ne give place to the
following communication:
10 the Editor Of The Chicago Tribune:
SIR: must confess to very considerable apprecia-
ton Of what Messrs. Aiken / Lawlor have been doing
foE us IN tho way Of good music and good dramatic
performances since the Inauguration Of the Aiken
Theatre and nm Go to see TINT al the good effects
lost in very unworthy way, and which the least
care might have prevented There scarcely Of
tho audience assembled on Monday evening last, and
certainly who were drawn thither by love Of
music who was not interrupted in its enjoyment by
noise; and III one instance, Rubinsten obliged to
suspend his performance until party Of unru1y hack
paraded with their heavy boots the unc1ad floor
Of the gallery stairs. Nor is this all, windows were
opened 1nQ ClQSEQ NlLQOuL care. unu aLLGLQ-
ants in the employ Of tho management shuhed about
with perfect sang roid or gossiped and gigg1ed with
the most perfect indifference to the enjoyment Of
others. Such state Of affairs precludes the possi-
bility Of intelligent hearing Of the music, and
trely prevents those in the gallery from enjoying it.
Now attended the concert on Monday evening for
the purpose Of herring the music and supposed that
proper provision would be made TINT might do SO
unmolested. lwcnt to the gallery because I could
not afford the price asked for other tickets, and also
because prefer that part OF the house being tho
acoustic focus Of the saw there great many
musicians who no doubt came for similar reasons,
and feel that the Claims Of respectable audience
deserve some recognition. FALcosEn.
The point which our correspondent makes is
we'll taken. It was O gross breach of the simple
respect which such artists as Rubinstein and
Wieniawski 1nerited at the hands Of IN audi
dienco whom they served so faithfully. These
two artists were not only giving their hearers
the best music We have ever had but in point
Of quantity Rubinstein's numbers in each
programme would have fitted out other
piauists for three or four con-
ccrts. It is only fair to say, however, that
these boorish demonstrations were invariably
Missed down by the major part Of the audience.
It is an inBcrutable mystery to us why such peo-
p1e, who care nothing for music, take the trouble
to 20 to concerts.
HIS COMPOSITIONS.
Much has been said and written Of Rubin
STEMS playing little OF nothing Of his compo-
sitions, and We, therefore, present few facts
touching them, which will be Of special interest
to musicians. His works, although numerous
and important, are not likely to be found upon
the counters Of our dealers in sheet music, and 8
short resume of his compositions for the benefit
of those who may be desirous to make them
selves acquainted with them, will therefore be
acceptable. The first of his more important
writings is an octet, op. 8, for piano, string and
wind instruments, then four trios for piano, vio-
lin and cello, several string quartets, of which
op: II and op. 90 are particularly fine, and
quintet for piano and wind Instruments Among
lis duets for piano and violin, tho Sonata op. ~
and duo which he composed with Eleu1tempB
n1e the best, and among his violin Concertos
op. 46 and op. Sc. His compositions for piano
and cello are quite numerous, Us Rubinstein,
like Mendelsshon and Gluck, is mdsterly per-
former on that instrument. Among tho easier
pieces for this combination are op. II, the
Alegretto of op. 49, and the Andante and Allegro
of op. 80. Els Concerto for cello, op. g. taxes
and is only to be attacked BY players Of the first
rank. In this class of chamber music belongs
also Sonata for viola and piano op. 40, dedi-
Gated to Vienztemps. His compositions for
the piano alone comprise m 40 100 hodGf dr.
The first important one is his op. IA. ''Le Bal"
collection of ten characteristic pieces, and the
next, op. 80, "Album de Danse, mainly trans-
eriptops Of national dSnces, Of which No. IL !;
No. 6, sTalse," Ire the best. His Etudes, Pre-
ludcs and Fugues ought to be in the hands Of
every pianist who intends to make thorough
study Of his instrument. OF his four Sonatas,
the last, op. &c. for four hands, and op. 20, for
two hands, with variations, are the most impor-
tant. His Barcaroles, which have been repub-
ished in this country are very popular. Of his
four piano forte Concortos, tile Third and Fourth
and q Fantasia, op. 81, are the most effective,
fo fna fsa5eey paos sss deaatea hi f. p'ntss h
brother Nicolaus. Rnbinstein's songs, mostly
for soprano OF tenor, number over one hundred
For one voice, we mention only ops. 50, 78, and
So; for two voices, op. 48; for male chorus, ops.
81, 61, and "a. ''The Morning II is larger work,
male voices, he wrote tide Nike Of his Ope-
ras and Oratorios, the best known are ssFera-
mora" 'sDie Kinder der Haide," "Paradise
Los" (after A1ilton), and 'The Building of the
for orchestra are 's Faust" overture to "Dimitri
Donskoi," overture to ''Ivan L., ''Don Quix-
ote" and three Symphonies, the most popular Of
which is the Ocean Symphony, tho Andante
of which was played during the recent Thomas
season, while their movement and finale were
performed at the Humboldt Festival, two years.
ago, under the direction Of DR.. Julius Fuchs. :.
NOTABLE PLANO. /
Now that the Rubinstein concerts have closed,
and have furnished such d remarkable musical
entertainment, it is but simple justice to award
portion Of the credit Of their success to the
superb piano upon which Rubinstein has played,
the admirable construction OF which has enabled
him to produce effects which might otherwise
have been utterly lost. We do not remember al
instance where piano has been put to n aeverer
test and come out more triumphantly. It was q.
Steinway concert grand of extra size, furnished
with the duplex attachment, which greatly in
creases the volume andintensity OF tone. If ever
q piano needs such an aid, it Is when Rubin,
stein plays it, and in this instance it not only
answered all his demands, but evidently
had reserve force OF tone still
in waiting. 1t must be remembered that Rubin
STEMS power Of wrist is simply amazing. As5
compared with other players, it is that of agiant,
and yet in his most impetuous and tortissinao
Passages, the quality OF tone was clear, full and
rich, and never exhausted. Another remarkable
feature OF the piano is, that SO powerful an in.
st1nment, in the hands Of so powerful player,
richness, purity, and brilliancy Of tone. The
instrument certainly deserves this much Of
credit for the share it had in the concerts. Any
piano which can fulfil Rubinstein's demands
upon it is certainly q notable one.
THE OUTLOOK.
With the closing Of the Rubinstein season,
We are obliged to fall back upon home music un-