The record-union., 1895-05-25
RUBINSTEIN AND WAGNER.

The Former Thought the Latter Sent
Music ''to the Devil and to Chaos.''
His veneration for the classics was al
most fanatical, and for him the last word
had been said in music when Chopin laid
down his pen. In the genius OF his con-
temporarles he had absolutely no belief.
The compositions of Berlioz he consid-
cred Wild and unsatisfactory; Wagner he
dislikeG; LsZt composer had no
| place in his respect, and he looked as
kance at Tschaikowsky.
| Remembering Rubinstein's position as
a composer, at first glance a certain Sc
QueDce OF ideas would lead one to suspect
that the inevitable jealousy commonly
supposed to exist between two of a
trade' was at the bottom OF this. But any
such suspicion wrongs Rubinstein. He
was not man OF that sort. For four
years | studied his modes of thought and
character mlnutely. l saw him in many
trying positions, and was often surprised
to find how little outside things, especi-
ally personal crosses, disturbed the Sc
renlty OF his convictions, and how free he
was from those petty jealOusies and
weaknesses too often found in the char
acter of artists. great or small.
In his lncapabiIity to appreciate the
compositions of his contemporaries Ru-
binsten was absolutely sincere. The
capability actually shows the honesty of
his character and convictions, since it was
brave thing for man of his position to
Hy in the face of the acknowledged and
cherished ideas of his contemporaries, if
Tor no other reason than for fear of ridi-
Guile; and Rubinstein was not a man to
brave ridicule If he could by any means
honoraDly escape 1t.
Rublnsteln himself was sometimes
H0. "a oil,
his antlpathy to the music of his contem-
pOrarles; and once, when discussing this
question, he said to me: II cannot I'M
derstand 1t or myself. l can seemingly
explain it only by supposing 1 was born
too soon or too late"
The real explanation lies, however. in
the tact that Rubinstein's genius was es-
sentlally lyrical and subjective. He never
tried to paint the human emotions in
tone-colors, as Wagner did. He invaria-
ably sang about them. and of them, with
out ever thinking of creating their musi-
cal prototypes. With him it was song
first and song last and song always.
Therefore he differed from Wagner. and
failed to understand him.
1t WAS subject Rubinstein's intimate
friends frequently discussed with him
and many were the battles fought in the
cause. On one occasion he grew positively
angry, and cried out, with his usual inn
patient toss of the head:
~ ou find it good; | do not, WAGNER
has sent music to the devil and to chaos.
He has been original at the expense of
true art, and all who follow hin-since
not one in thousand will have his clev-
erness-will find themselves in the end
only doomed to wander in wilderness of
barrenness and darkness. Their labors
will produce nothing that can live, AS
for this motive business you all rave
over, what is it? Where is it's beauty?
Can one call it art? Must a singer come
on the boards with his photograph pinned
on his breast in the shape of a motive?
No, and again no. 1t is false, and so /
can only regard it,"
When 1t comes to matter of opinion
emphatically expressed by great man.
all argument must cease, since of ali
things great mans rooted opinion is
most difficult to remove; themore one
works at 1t the closer it seems to stick
This was certainly SO in Rubinstein's
case. He disliked Wagner intensely.
and was sincere in his dislike. 1t was
positive pain for him to see his pupils or
those who surrounded him become Wag-
ner enthusiasts: and enthusiasts all who
admire Wagner are bound to become.
have many times seen him sit at the SYM
phony concerts in perplexed wonder,
listening to the laundering applause that
followed Wagner number. He seemed
unable to grasp the reason, and surely
there was absolutely no sham in his dis
like; it came from his very soul.
1t must, however, be remem bered that
against Wagner tho man and Wag-
ner the composer even when half
Europe was abusing him-Rubinstein
never uttered word. He was utterly
above this. He was one of the few artists
whose personal dislike was limited. 1t
was against Wagner the innovator and
teacher that he spoke.-Alexander Nc
Arthur in the Century.