THE MAYFAIR BIOGRAPHIES 
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 RUBINSTEIN 
 
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The 
 
 MAYFAIR BIOGRAPHIES 
 
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 LBW. No. 63 
 
USICIANS who have achieved celebrity in the two- 
 fold capacity of composer and executant are few and 
 far between, for once an artist has made his mark 
 in one special line he often finds it difficult also to 
 gain acceptance in another. Thus it is that in 
 certain instances the talent of the executant has 
 been eclipsed by that of the composer, whereas in 
 others the contrary has been the case. Exceptions to this rule may, of 
 course, be cited, and in this connection the names of Liszt and Rubinstein 
 irresistibly occur to the mind. Even here it is doubtful whether many 
 people do not think of these wonderful artists as pianists first and com- 
 posers afterwards. Unsurpassable in the first capacity, they dazzled 
 their contemporaries by their peerless executive skill, but they also 
 enriched their art with the fruits of their creative ability. So far as 
 Liszt is concerned, full justice has not yet been rendered to his genius 
 as a composer, although his great influence over the development of 
 music is gradually being realised. 
 
 Rubinstein, the unchallenged successor of Liszt as a pianist, was 
 also a composer of remarkable powers. He was not an innovator like 
 Liszt, and therefore cannot compare with him as a moving force in the 
 progress of music, but his productivity was enormous, and his work in 
 its ensemble practically embraces every branch of the art. During a 
 long and unexampled career as a virtuoso^ involving lengthy tours all 
 
 ivil44a50 
 
RUBINSTEIN 
 
 over the world, he found time to compose important works of every 
 description — operas, oratorios, symphonies, overtures, concertos, sonatas, 
 trios, quartets, quintets, besides quantities of songs and pianoforte 
 pieces. His fecundity was veritably prodigious, and seems still more 
 remarkable when we think that, in addition to his labours as pianist and 
 composer, he undertook at times further onerous duties, such as teaching 
 and conducting. 
 
 The Life 
 
 Anton Rubinstein was born on 28th November 1829, of Jewish 
 parents, who embraced the Christian religion soon after his birth, at 
 
 Wechwotynetz, a village in South Russia. 
 When he was still' quite a child his father 
 settled at Moscow as the proprietor of a 
 pencil manufactory. Little Anton's mother 
 was very fond of music, and soon noticed 
 how absorbed the boy became when she 
 was playing the piano, and with what 
 attention he listened. Realising that he 
 showed unmistakable aptitude for music, 
 she took him in hand and gave him his 
 first lessons on the piano. So rapidly did 
 he learn, that after four months it was found necessary to place him 
 under more experienced guidance, and he was confided to the care of 
 Professor Villoing, the leading pianoforte teacher in Moscow. 
 
 About a year and a half later the boy had made such immense pro- 
 gress that he was able to appear in public at a charity concert which took 
 place in the summer of 1839. He had not then completed his tenth year. 
 On this memorable occasion he played the allegro from a concerto by 
 Hummel, with orchestra, besides pieces by Thalberg, Liszt, Field, and 
 Henselt. His success was very great and was duly chronicled in the 
 local paper, the Moscow Galatea^ where it was stated that the boy had 
 the soul of an artist and a feeling for the beautiful. 
 
 Two years later young Rubinstein started on his first concert tour. 
 
 BUBINRTEIN, AGED 4 VKARS. 
 
RUBINSTEIN 7 
 
 accompanied by his master Villoing, and went to Paris, where he met 
 Chopin and Liszt. Soon after his arrival in the French capital he ap- 
 peared at a concert and played works by Bach, Beethoven, Hummel, 
 Chopin, and Liszt. The latter, who was present, was so delighted that 
 he embraced the child and hailed him as his successor. Liszt at that 
 time was at the height of his career as a virtuoso, and the boy was so 
 moved when he heard him play that he could not help bursting into 
 tears. In later years Rubinstein gave his impression of Liszt as a pianist 
 in the following words : ' Unattained and unattainable in piano-playing, 
 highly interesting in his virtuoso compositions, he shone the most brilliant 
 star in the musical firmament from the year 1830 until 1852, dazzling 
 the public of all Europe with his light. Appearing at the same time as 
 Thalberg, one need only look over the fantasias of both on themes from 
 Don Jiuin to become aware of the difference — wide as heaven — ^that dis- 
 tinguishes them. Thalberg, the bedizened, polished, insignificant, and 
 perfect man of society (in a musical sense) ; Liszt, the poetic, romantic, 
 interesting, highly musical, imposing individuality — with long shaggy 
 hair, with a Dante profile, with a captivating personality. His piano- 
 playing, words are far too poor to describe — incomparable in every way ; 
 culmination of everything that pianoforte rendering could require.' These 
 remarks are taken from the translation by Mrs. John P. Morgan of an 
 interesting little volume entitled A Conversation on Mime, written by 
 Rubinstein towards the end of his life. 
 
 While in Paris Rubinstein also visited Chopin and played to him, 
 and he had the delight of hearing the Polish master perform some of his 
 own mazourkas. Altogether, nothing could have been more auspicious 
 than this first visit to France. 
 
 After Paris, the boy and his master came over to London. Even 
 at so early an age his memory appears to have been extraordinary, for 
 in an article which appeared in the Examiner^ it was stated that he played 
 everything from memory, ' this faculty being apparently as fully de- 
 veloped in him as it is now and then, though rarely, in adults who have 
 perfected it by long practice.' This article also contained the following 
 remarks : ' We reconunend this prodigy — for such he is — not only to 
 
8 RUBINSTEIN 
 
 the amateur of music, but to physiologists or psychologists, who by their 
 inquiries may perhaps enlarge their knowledge of the human mind, and 
 throw some light on that obscure but interesting and too often melancholy 
 subject, premature genius, combined as it is in this instance with partial 
 premature strength.' 
 
 During this first concert tour, commenced in so brilliant a fashion, 
 Rubinstein and his master Villoing visited several European cities, the 
 precocity of the boy's genius everywhere arousing wonder and enthusiasm. 
 
 RUBINSTEIN AT HIS PIANO. 
 
 Soon after his return to Russia, his mother decided that it would 
 be advisable for him to study composition seriously. With this object 
 in view she took him to Berlin with his younger brother Nicholas, who 
 also showed great aptitude for music. Her intention was to consult 
 Meyerbeer with regard to the future of her two gifted children. The 
 composer of Tlie Huguenots received her very kindly, and recommended 
 her to place them under the care of Professor Dehn, whose pupils they 
 accordingly became during the next two years. 
 
 The career of Nicholas Rubinstein was naturally overshadowed by 
 that of his famous brother. He, nevertheless, became a very distinguished 
 artist, and obtained a great reputation in Russia as pianist, conductor. 
 
RUBINSTEIN ^ 
 
 and teacher, also as the founder and director of the Moscow Conservatoire. 
 He died at the comparatively early age of forty-six in 1881. 
 
 The course of the two talented boys' studies with Professor Dehn 
 was suddenly interrupted by the death of their father, when it was realised 
 that the family had been left in somewhat straitened circumstances. 
 Anton therefore found himself, at the age of sixteen, obliged to earn his 
 own living. In order to do this he went to Vienna, where for two years 
 he subsisted as best he could by giving lessons. Apparently he did not 
 find the outlook here sufficiently promising, for he decided to try his luck 
 in Berlin, where, however, matters did not improve ; so in 1848 he finally 
 returned to Russia and settled in St. Petersburg. Here he laboured 
 with renewed ardour, giving lessons, composing, and occasionally appear- 
 ing at concerts. His name was gradually becoming known, and it was 
 prominently brought to the notice of the public in 1852 by the pro- 
 duction in St. Petersburg of the yoimg composer's first opera Dimitri 
 Donskoz, which met with the most encouraging success. 
 
 The appearance of this opera may be taken as the turning-point 
 in Rubinstein's career, for it attracted the attention of the Grand Duchess 
 Helene, a woman of high intelligence and noble aspirations. Desiring 
 to do all she could to foster the young artist's budding genius, this kind- 
 hearted lady placed one of her palaces at his disposal in order that he 
 might have the opportunity of working in peace and comfort, undisturbed 
 by material or other cares. So rare a piece of good fortune savours 
 rather of fairy lore than of real life. Rubinstein needed no pressing, but 
 was only too glad to abandon the existence of drudgery which he had 
 been leading. In the summer of 1852 he therefore took up his abode 
 in the Grand Duchess's palace of Kamenoi Ostrow, situated on a beautiful 
 island in the Neva,_a veritably ideal spot for a musician. Once settled 
 in this paradise, he did not abandon himself to a life of leisure, but, on 
 the contrary, set to work in right earnest, and composed in rapid suc- 
 cession no fewer than three operas, respectively entitled Thomas the Fool, 
 Vengeance, and The Siberian Hunter, all founded on Russian subjects. 
 Of these, the first was produced with a certain amount of success in 
 St. Petersburg, the second remained unperformed, and the third was given 
 
10 RUBINSTEIN 
 
 by Liszt at Weimar in 1854, the German version being written by Peter 
 Cornelius, the composer of the Barber of Bagdad. 
 
 In addition to these operas, Rubinstein wrote quite a large number 
 of other works of various kinds and dimensions, among these being the 
 famous melody in F major, which has been played on every piano, and 
 has greatly contributed to popularise its author's name. 
 
 If Rubinstein had been building up a reputation as a composer in 
 his native land, he was about to dazzle the European continent by his 
 
 A SILHOUETTE SKETCH HADE IN ST. PETERSBURG IN 188G. 
 
 prowess as a pianist, and to fulfil the expectations which had been aroused 
 by his juvenile achievements. The time was ripe for him to appear in 
 this capacity, Liszt, his only possible rival, having forsaken the career of 
 virtuoso in order to devote himself to composition and the duties of 
 capellmeister at Weimar. A grand concert tour_ he undertook in J. 854, 
 during which, the Crimean war being in progress, he did not visit Eng- 
 land, proved immensely successful, and from this time onwards his career 
 as an executant resolved itself into a series of triumphs. 
 
 London welcomed Rubinstein, for the first time since his appearance 
 
RUBINSTEIN 1^ 
 
 as a child, in 1857, when he played his own Concerto in G at a Philharmonic 
 concert. The following year he was back in London, and again appeared 
 at a Philharmonic concert, when he was heard in the Concertstiick of 
 Weber. During subsequent years he frequently returned to England, 
 where his admirers were legion. He was honoured in the triple capacity 
 of pianist, composer, and conductor at one of the famous Crystal Palace 
 Saturday concerts, on 21st April 1877, when the programme was entirely 
 devoted to his works, and included the ' Ocean ' Symphony, the Concerto 
 in F, No. 2, Op. 35, and the overture to Dimitri Donskdi. 
 
 In the midst of his wanderings, and in spite of the fatigues these 
 must have entailed, Rubinstein was ever composing and adding to the 
 already lengthy list of his works. An oratorio entitled Paradise Lost, 
 had been given by Liszt at Weimar in 1855, and three years later he 
 completed his opera Bie Kinder der Haide, which was produced in Vienna 
 in 1861. 
 /^ The following year was signalised by an event of peculiar importance 
 1 to the great artist, and still more so to the Russian people — the founding 
 of the St. Petersburg Conservatoire. This vast undertaking owed its 
 i existence mainly to the untiring energy and perseverance of Rubinstein, 
 < who worked unceasingly to bring it to a successful issue. To found, 
 organise, and direct such an establishment necessarily involved much 
 thought and labour, but Rubinstein did not shrink from this. He suc- 
 ceeded in grouping aroimd him a staff of professors including musicians 
 such as Henri Wieniawski, Davidoff, Dreyschock, Leopold Auer, and 
 Leschetitzky, and thus practically inaugurated a fresh era in Russian 
 musical history. 
 ^ In 1863 an opera of his entitled Fer amors, founded on Moore's Lalla 
 
 Rookh, was successfully produced at Dresden. 
 
 Rubinstein was now at the zenith of his powers, and occupied a 
 unique position both as composer and pianist. Besides the compositions 
 already mentioned, he had ^vritten symphonies, much chamber music, 
 and various other works. 
 
 His manifold labours did not, however, engross him to such an 
 extent as to prevent him from falling in love, and in 1865 he married a 
 
12 RUBINSTEIN 
 
 young Russian lady, Mdlle. Vera Tschekouanov, who accompanied him 
 that same year on another great concert tour. 
 
 The successes Rubinstein had achieved in Europe were repeated 
 when he crossed the Atlantic in 1872. He gave no fewer than two hundred 
 and fifteen concerts at this time in the United States, in company with 
 the violinist Henri Wieniawski, constantly appearing in two cities during 
 the same day. Such a life might well have exhausted the strength of any 
 man not endowed with an iron constitution. On one occasion, at a 
 concert in New Orleans, a groundless alarm of fire was raised, but Rubin- 
 stein, with great presence of mind, remained calmly seated at the piano, 
 thus allaying the fears of the audience and preventing any danger which 
 might have arisen through panic. His success in the United States was 
 immense ; but although the financial results of the tour were enormous, 
 he did not relish the life at high pressure he was forcibly obliged to lead, 
 concerning which he is said to have made the following remark : ' One 
 grows into an automaton, simply performing mechanical work ; no 
 dignity remains to the artist — he is lost.' 
 
 On his return to Russia, in 1873, after his American tour, Rubinstein 
 lost no time in setting to work again, and was soon deeply engrossed in 
 the composition of his opera The Maccabees and his Dramatic Symphony, 
 No. 4, while the following year he was off once more on a tour in Italy. 
 
 The year 1875 witnessed the production of two new operas from the 
 pen of the indefatigable artist : The Demon, founded on a legend by 
 Lermontoff, and produced in St. Petersburg on 25th January; and The 
 Maccabees, to a German text by Mosenthal, given for the first time in 
 Berlin on 17th April. Both works proved successful. 
 
 The Demon, among all the operas of Rubinstein, is perhaps the one 
 which has obtained the most lasting popularity. When it was produced 
 in London, at Covent Garden in 1881, it only achieved a succes d^estime, 
 although it was admirably performed under the composer's direction, 
 with Mmes. Albani and Trebelli, the baritone Lassalle, the tenor INIarini, 
 and the bass Edouard de Reszke in the principal parts. The weird story 
 of this opera tells of the love of a demon for a beautiful young Circassian 
 girl named Tamara, whom he pursues with his unwelcome attentions 
 
RUBINSTEIN 
 
 13 
 
 throughout the course of the drama. Tamara's fianc6 is killed in the 
 first act by the demon, and she thereupon determines to go into a convent. 
 Here, however, the irrepressible demon pursues her and ardently presses 
 his suit. Finally she drops down dead, and just as her tormentor is about 
 to seize her, there appears an angel, by whom she is carried aloft. The 
 characteristic ballet music and the impassioned duet in the last act are 
 two of the most prominent features of this opera. 
 
 Rubinstein's house at pbterhof^ on the shores of the gulf of Finland. 
 
 Rubinstein was particularly partial to The Maccabees, and tried hard, 
 though without successs, to have this work played in Paris. He also 
 desired greatly that his Nero should be given in the French capital, but 
 here again he was imsuccessful, and there is no doubt that his failure to 
 secure a performance for any opera of his in Paris caused him bitter 
 disappointment. No doubt he must have thought it strange that he, 
 the spoiled child of two continents, should experience any difficulty in 
 
14 RUBINSTEIN 
 
 having a work of his performed wherever he chose. IVIany were the com- 
 pensations vouchsafed to him, however, during the course of his career 
 for any chance disappointment. The production of Nero, for instance, 
 at Hamburg, in 1879, aroused the utmost enthusiasm, and the composer 
 was obhged to appear fourteen times before the curtain at the close of 
 the performance. Although so successful at the outset^ this work has 
 nevertheless failed to keep the stage. Yet its production at Hamburg 
 created a certain stir in the musical world and drew attention to the work 
 in question. Some five years later Nero was produced in St. Petersburg, 
 while later on it was given in a French translation at Antwerp in 1885, 
 and at Rouen in 1894. 
 
 Merchant Kalascknikojf, the composer's next opera, is a work the fame 
 of which has not crossed the Russian frontier. . 
 
 Rubinstein had for many years held views on the advisability of 
 writing sacred operas on subjects taken from the Old and New Testaments. 
 In a letter written to the Leipzig Signale, in 1882, he explained his ideas 
 on the matter at length, saying that the oratorio was an art form against 
 which he had always been moved to protest, that the best-known master- 
 pieces in this form invariably left him cold, that to see and to hear gentle- 
 men dressed in black coats, with white neckties, yellow gloves, and ladies 
 in the most modern, often most extravagant toilettes, singing the parts 
 of the grand figures of the Old and New Testaments upset him so much 
 that he was never able to attain to pure enjoyment, and that he felt how 
 much grander, more impressive, better and truer what he had heard in 
 the concert-room would be if represented on the stage with costumes, 
 decorations, and full action. 
 
 With these ideas in his mind, he had given the title of ' sacred opera ' 
 to two of his compositions — Paradise Lost and The Tower of Babel — both 
 of which were originally designed for the stage, and had to be remodelled 
 for concert production. His opera The Maccabees, to which allusion has 
 already been made, had further illustrated his theories, and he now 
 pursued his pet idea by devoting his attention to the Song of Solomon, 
 upon which is founded his opera Sulamiih, produced at Hamburg on 
 8th November 1883. It must have been by way of relaxation that he 
 
RUBINSTEIN ^^ 
 
 wrote the one-act comic opera entitled The Parrot, successfully given the 
 following year on the same stage. 
 
 During all these labours Rubinstein was spending himself in a variety 
 of ways, leading the feverish existence of a virtuoso, conducting here and 
 there, and composing works of every kind. In 1885 he was working at 
 his sixth symphony, and during that same year was preparing the pro- 
 grammes of the memorable historical concerts he was to give in Berlin, 
 Vienna, St. Petersburg, Moscow, Paris, and London. 
 
 These concerts, consisting of seven recitals, were designed to give a 
 comprehensive idea of the main features of pianoforte literature. The 
 first recital was devoted to older masters, and consisted of pieces by Byrd, 
 J. Bull, Couperin, Rameau, Domenico Scarlatti, J. S. Bach, Handel, 
 Ph. E. Bach, Haydn, and Mozart. At the second recital, this wonderful 
 artist accomplished the herculean task of playing no fewer than eight 
 sonatas by Beethoven. Schubert, Weber, and Mendelssohn furnished 
 the material for the third recital, the fourth being entirely devoted to 
 Schumann, and the sixth to Chopin, while pieces by Field, Moscheles, 
 Henselt, Thalberg, and Liszt made up the programme of the fifth. 
 Chopin reappeared at the last recital, which concluded with examples of 
 Glinka, Balakireff, Tschaikowsky, and Nicholas Rubinstein. It will be 
 noticed that the composer-pianist did not include a single work of his 
 own in the programmes of this astonishing series of concerts, which 
 terminated in London in June 1886. 
 
 In the summer of that year he reverted to composition and com- 
 menced another sacred opera, Moses, and in the following winter he 
 added to his labours by undertaking the conductorship of the Symphony 
 concerts in St. Petersburg. As if he had not enough to do, he also resume^ 
 the direction of the Conservatoire in 1887, and threw himself heart and 
 soul into the work of tuition and supervision entailed by this post. Moses 
 was produced at Riga in March 1894. 
 
 In the midst of all these activities, and without warning, the great 
 
 musician suddenly passed away on 20th November of the above year. 
 
 The news of his sudden and unexpected death was received with painful 
 
 surprise all over the world. He had finally given up the fatiguing life 
 
 B 
 
16 RUBINSTEIN 
 
 of the travelling virtuoso, and there seemed to be no reason why he should 
 not have been spared for many more years. 
 
 Rubinstein left behind him the score of yet another sacred opera, 
 ChristuSy the production of which took place on the stage of the municipal 
 theatre of Bremen on 25th May 1895, with great pomp and solemnity, 
 the auditorium being thoroughly transformed and decorated with sombre 
 draperies in keeping with the serious nature of the subject. 
 
 MKOLAI RUBINSTKIN. 
 
 This important work consists of a Prologue and seven parts, and 
 deals with some of the most prominent episodes of the life of Christ. 
 Notwithstanding the most elaborate preparations and every endeavour 
 to do justice to a work of such magnitude, Rubinstein's musical illustration 
 of the sublime theme only partially realised the expectations which had 
 been aroused. 
 
 The Composer 
 The foregoing sketch of this great artist's life will have given an idea 
 of the strenuousness of his career, and cannot but increase one's surprise 
 
RUBINSTEIN 17 
 
 that it should have been possible for him to achieve so vast an amount 
 of creative work. The fame of the executant now belongs to the past, 
 and the younger generation of the present day only knows Rubinstein 
 through his music, though it can scarcely be said that many opportunities 
 are now offered of hearing any but his smaller compositions. 
 
 Strange indeed has been the fate of Ids operas. Several of these 
 have been received with enthusiasm at the outset, but they have not 
 maintained their hold over the public, unless it be in Russia. Yet they 
 are by no means unworthy of attention. This, however, can be said of 
 many operas by other composers which have also failed to prove lastingly 
 attractive. Towards the end of his life Rubinstein wrote that he con- 
 sidered the opera altogether a subordinate branch of music. This from 
 the composer of a dozen or more operas and sacred dramas ! Is it not 
 probable that disappointment at their want of permanent success may 
 have caused the great artist to have made this remark ? 
 
 Rubinstein composed an enormous amount of music and did not 
 apparently exercise too much self-criticism, with the result that his work 
 as a whole is somewhat unequal in quality. Invariably well written and 
 musicianly, it is not always inspired, and often savours of improvisation. 
 In considering his operas and larger works one is driven to the conclusion 
 that, in spite of many admirable features, these suffer from the conditions 
 under which the composer was often obliged to work, conditions which 
 must inevitably have prevented him from obtaining the necessary amount 
 of quiet for the due concentration of thought requisite to build up musical 
 structures of enduring strength. It is also probable that his operas, in 
 common with many others belonging to the same epoch, suffered through 
 competition with the great Wagnerian music dramas. 
 
 Rubinstein, thoroughly honest and sincere as he was, was no ex- 
 tremist in his musical methods. Nevertheless, it would be incorrect to 
 look upon him precisely as a reactionary in music. His point of view, as 
 regards operatic construction, differed from that of Wagner, and in this 
 respect he was not alone. He thought the employment of the leit motiv 
 a ' naive proceeding that leads to the comic rather than appeals to earnest 
 thought.' He considered the exclusion of arias and ensembles from an 
 
18 
 
 EUBINSTEIN 
 
 opera as ' psychologically incorrect,' the aria in an opera being * the same 
 as a monologue in drama — the state of mind of a character before or after 
 certain events,' and the ensemble ' the expression of the emotions of 
 several characters.' 
 
 Acting upon these ideas, he adhered more or less in his operas to the 
 recognised forms, which he manipulated with perfect ease and resource, 
 always endeavouring to render his music suitable to the dramatic 
 situations. 
 
 ANTON RUBINSTEIN, A HEAD IN LOW RELIEF 
 
 Royer Collard, the famous French statesman and philosopher, once 
 remarked to Victor Hugo : * I do not blame those who have acted differ- 
 ently from me. Every one has his conscience, and in political matters 
 there are several ways of being honest. Each one has the honesty which 
 results from the light which is in him.' These words apply not only to 
 politics, liecause Wagner adopted certain methods with success in his 
 dramatic works, this is no reason why all other composers should do 
 likewise. And, after all, was Wagner himself always true to his own 
 theories ? Assuredly not. To give only one instance, he strongly advo- 
 
EUBINSTEIN 19 
 
 cated the legend as suitable material for operatic treatment, and yet one 
 of his greatest works, the admirable Meister singer, is founded upon a non- 
 legendary subject ! Rubinstein, on the other hand, thought just the 
 reverse. ' The legend,' he wrote, ' is always a cold expression of art ; 
 it may be an interesting and poetical play, but never a drama, for we 
 cannot sympathise with a supernatural being.' Yet the hero of his 
 most successful opera. The Demon, is precisely a supernatural being ! 
 All this only proves that it does not do to attach too much importance 
 to theories. 
 J^^^*'^^^-^^^ A Russian by birth, a German by education, Rubinstein in his music 
 ^'^ reproduced some of the characteristics of each nation. A certain partiality 
 for Oriental rhythms and for the fascinating Eastern scale — felicitously 
 employed in The Demon, The Tower of Babel, and the Persian songs among 
 other works — at times lends colour to his music, while the broad, massive 
 solidity of his choral writing testifies to Teutonic influences. In a letter 
 to a friend he once wrote : ' The Jews look upon me as a Christian, the 
 Christians as a Jew, the classics as a Wagnerian, the Wagnerians as a 
 classic, the Russians as a German, the Germans as a Russian.' These ^KJ 
 words, probably written in a spirit of sarcasm, are not far from the 
 truth. 
 
 Here, for instance, is the opinion of Cesar Cui, one of the pioneers 
 of the modern Russian musical movement : ' It would be a great error 
 to consider Rubinstein as a Russian composer ; he is simply a Russian 
 who is a composer ; his music rather bears an affinity with German music, 
 and even when he wishes to treat Russian themes the national spirit and 
 genius fail him.* 
 
 Yet it is certainly in Russia that Rubinstein's music has remained 
 most popular. Tschaikowsky, whose music also bears traces of German 
 influence, is, however, more typically Russian. These two composers, 
 who have done so much to advance the cause of music in their country, 
 and who have been instrumental in making Russia known to the rest 
 of Europe as a musical nation, are both regarded there as represent- 
 ing the development of Russian music on more cosmopolitan lines 
 than the five composers who inaugurated the new and more essentially 
 
20 
 
 RUBINSTEIN 
 
 Russian musical movement — Balakireff, Borodino, Moussorgsky, Rimsky- 
 Korsakoff, and Cesar Cui. 
 
 A further quotation from Cesar Cui, who besides being a gifted 
 composer is also a critic of great discrimination, may not prove unin- 
 teresting : * Rubinstein,' he writes, ' has an extremely abundant melodic 
 flow, but he contents himself too often with the first idea that strikes 
 him, distinguished or banal, rich or poor. At the commencement of his 
 career his musical ideas reflected those of INIendelssohn ; it is only later 
 that they have acquired a more marked individuality. Rubinstein is 
 an experienced harmonist, full of natural feeling ; but he does not seem 
 to search particularly for novelty in this direction. Similarly, very 
 ingenious in the manipulation of forms, and especially of symphonic 
 
 A JUBILEE MEDAI.. 
 
 forms, he shows himself but little desirous of innovating in the opera; 
 he illustrates the scenic situations to the best of his ability, without wishing 
 to employ other means than those of his predecessors. In dramatic music 
 he has neither gone back nor advanced, and seems to have taken for 
 his motto " the middle course." ' 
 
 It is curious, by the side of the above appreciation, to read the opinion 
 of a famous English critic, the late Mr. Joseph Bennett, on The Demons 
 written when this opera was given at Covent Garden in 1881 : ' Excep- 
 tions apart — we gladly recognise a considerable number — M. Rubinstein 
 seems to set his face like a flint against pleasing melody and simple har- 
 
RUBINSTEIN 21 
 
 mony.' Thus writes Mr. Bennett, and he further states that the char- 
 acters ' do not sing, as far as the bulk of the dialogue is concerned, because 
 the phrases do not lend themselves to vocal effect.' He considers the 
 result as being ' a stream of harsh and unlovely sounds,' and discovers 
 ' all manner of ungainly progressions ' in the work, finally concluding 
 that ' all this indicates a dread of being thought commonplace, or an 
 overpowering desire to attain originality, no matter what the cost.' 
 
 To attempt to reconcile opinions so diametrically opposite would 
 be a difficult and unprofitable task. The operatic point of view has 
 changed considerably since the above-mentioned English critic chided 
 Rubinstein for indulging in harsh and unlovely sounds and in ungainly 
 progressions. Nowadays this is not the sort of blame the composer 
 would be likely to incur, and, honestly, it is difficult to understand how 
 it could ever have appeared deserved ! 
 
 The Demon, which has remained popular in Russia, is one of Rubin- 
 stein's most characteristic works. The dramatic situations are effectively 
 treated, and the composer's knowledge of choral writing stands him in 
 good stead, while the peculiar romanticism of the story is quite adequately 
 realised. 
 
 Saint-Saens, who was a friend and great admirer of Rubinstein, 
 gives his preference to Fer amors over the composer's other operas. He 
 expresses his surprise that this work should have been allowed to fall 
 into neglect, and praises the ' delicate Oriental colour, the intoxicating 
 perfume of essence of roses, the freshness of this luminous score.' 
 
 The other operas of Rubinstein all contain certain salient features, 
 although these have not sufficed to insure their vitality. Whether any 
 of them will ever be revived and become better known it is of course 
 impossible to say, the trend of the pubHc in matters operatic being 
 difficult to divine. 
 
 Rubinstein wrote five symphonies, of which the second, the ' Ocean,' 
 is the best known. Although prefixed by a title and dedicated to Franz 
 Liszt, this work can scarcely be considered as belonging to the category 
 of programme music. Rubinstein has stated that, contrary to Liszt, he 
 did not believe in a given programme for a composition. He considered 
 
22 RUBINSTEIN 
 
 that a composer ' sometimes gives his composition a general name that 
 is a guide for interpreter and hearer ; and more than this is not necessary, 
 for a detailed programme of emotion is not to be reproduced in words.' 
 The ' Ocean ' symphony is more or less constructed upon classical models. 
 It originally consisted of four movements, to which, for some reason best 
 known to himself, the composer subsequently added two more, an adagio 
 and a scherzo, with the effect of lengthening the symphony without 
 greatly adding to its value. It is a pity that this fresh and spontaneous 
 work, so instinct with youthful virility, should have been allowed to fall 
 into neglect, as it is one of the most remarkable of post-Beethovenian 
 symphonies, and exhibits the composer's powers to great advantage in 
 the matter of construction and imagination. Two other symphonies, 
 the ' Dramatic,' No. 4, and the ' Russian,' No. 5, might also be placed 
 in the concert repertoire. 
 
 Rubinstein wrote a good deal of chamber music which deserves to 
 survive, and doubtless will : works such as the quintet for piano and 
 wind instruments, the three excellent violin sonatas, also the violoncello 
 sonatas, one of which was at one time so great a favourite. Then, again, 
 his five pianoforte concertos are not likely to be entirely forgotten by 
 pianists if only on account of their brilliant qualities, and because they 
 afford such splendid opportunities for technical display. Many of his 
 smaller piano pieces have long since attained universal popularity, and 
 have given pleasure to thousands. 
 
 As a song-writer Rubinstein particularly distinguished himself. His 
 Persian melodies are impregnated with a delicate Oriental perfume and 
 possess a savour all their own. One of these, ' Gelb rollt mir zu Fiissen,' 
 is a veritable gem. Amongst many other ' lieder ' may be mentioned 
 the lovely ' Es blinkt der Thau,' at the end of which the composer intro- 
 duces the same entrancing melody which he employs in the above-men- 
 tioned Persian song, the words at the close of each being almost similar. 
 Even if Rubinstein's larger and more ambitious compositions should be 
 forgotten, these songs will be sufficient to keep his memory green, and 
 they will prove an incessant joy to all who have ears to hear and a heart 
 to feel. 
 
RUBINSTEIN 
 
 23 
 
 The Pianist 
 
 Whatever opinions may be entertained concerning Rubinstein the 
 composer, there can only be one as regards Rubinstein the pianist. 
 Supreme in every respect, a master of technique, powerful or tender at 
 will, when seated at the keyboard he seemed to evoke the very spirit of 
 music. He could rage and thunder with veritable Jovian power, and 
 he could also conjure up the gentlest emotions by the exquisite delicacy 
 of his touch. There was nothing stereotyped in his interpretations. 
 Absolutely governed by the emotions of the moment, he seemed to be 
 living in another world. As an interpreter of Beethoven he was un- 
 
 A SIGNED AITTOGRAPH SCORE BY RUBINSTEIN. 
 
 equalled, and his performance of the ' Appassionata ' sonata was truly 
 Titanic in its grandeur and terrifying in its force. He was equally perfect 
 in Chopin, investing the Nocturnes with peculiar tenderness and romantic 
 feeling, displaying to perfection the beautifully-wrought filigree work of the 
 Berceuse, or evoking the patriotic feeling of the Polonaises. Essentially 
 a man of moods, he never played a piece twice in the same manner. 
 Occasionally, in the wild exuberance of the moment, he alighted on a 
 wrong note, a fact which troubled him as httle as it did his listeners, 
 spellbound under the magic of his sway. 
 
 His recitals at the old St. James's Hall were thronged with eager and 
 enthusiastic amateurs, many of whom gladly paid for the mere privilege 
 
24 RUBINSTEIN 
 
 of standing throughout the duration of the programme. No one ever 
 thought of leaving before the end. On the contrary, when the great 
 artist had finished there were loud cries for more, and people seemed as if 
 they could go on listening for ever to his playing. 
 
 Apropos of these recitals, an amusing story is told which may or 
 may not be true, but is at any rate worth repeating. It is said that at one 
 of his recitals the famous artist was accosted at the entrance of the hall 
 by a lady who told him that she had vainly tried to purchase a ticket 
 and wondered whether he could let her have one. To this query Rubin- 
 stein replied politely, ' Madam, I have but one seat at my disposal, but 
 you are quite welcome to it if you care to take it.' The lady was of course 
 delighted, and thanking him profusely, inquired where it was. ' At the 
 piano. Madam,' was the answer. 
 
 On one occasion a curious incident took place. As Rubinstein was 
 playing Chopin's Funeral March, the shrill tones of a coach-horn from 
 outside penetrated the hall. The discordant sound naturally produced 
 the most disturbing effect. Rubinstein stopped at once, and for a moment 
 seemed dazed, as if suddenly awakened from a dream. He then angrily 
 striKik the unoffending keys of the instrument, after the manner of a 
 spoiled child, and appeared uncertain as to what he should do next. 
 The thunders of applause which followed a somewhat awkward pause 
 had the effect of assuaging his irate feelings, and after a moment of re- 
 flection he recommenced the piece. His interpretation of this familiar 
 work was altogether individual and striking. Commencing as pianissimo 
 as possible, he proceeded up to the trio by a very gradual crescendo until 
 he attained the fullest dynamic force. The seraphic melody of the trio 
 he played with the utmost tenderness, as if he wished to suggest the 
 presence of angels taking charge of the departing soul, after which he 
 recommenced fortissimo, and, reversing the procedure of the beginning, 
 brought the piece to a close by a long and graduated decrescendo. The 
 idea, of course, was to suggest the arrival and departure of a funeral 
 procession. In some quarters this interpretation was criticised as being 
 sensational and not altogether artistic. There could, however, be no 
 denying the veritably extraordinary effect it produced. 
 
EUBINSTEIN 
 
 25 
 
 Since the days of Rubinstein many admirable pianists have shone 
 in the musical firmament, but the effulgence of their rays has not dimmed 
 the recollection of this master musician's playing. 
 
 The Man 
 Rubinstein's appearance was very striking. He was rather above 
 the medium height, and his massive head surmounted by a leonine mane 
 
 
 
 zrri^-^v— — 
 
 
 
 AN AUTOGRAPH LETTER FROU RUBINSTEIN TO HIS PUBLISHER. 
 
 conveyed the impression of great power. His strong likeness to the 
 portraits of Beethoven caused Liszt to nickname him Van ii. He once 
 humorously described himself as ' much hair and little nose.' Although 
 he could scarcely have been termed handsome in the ordinary acceptation 
 of the word, there was something particularly impressive in his coim- 
 tenance, something at once suggestive of strength, intellect, and imagina- 
 tion, something which seemed to differentiate him from others and mark 
 him as one of nature's favoured children. 
 
26 RUBINSTEIN 
 
 A vivid and interesting impression of Rubinstein's personality is 
 furnished by Tschaikowsky, who was his pupil and great admirer, in a 
 letter reproduced by Mrs. Newmarchin her admirable volume on the 
 composer of the Pathetic Symphony. ' Tschaikowsky entered the St. Peters- 
 bur<T Conservatoire in 1862, the very year of its foundation, and remained 
 there for three and a half years, during which time he studied form and 
 instrumentation with Rubinstein, whom he saw daily. ' In him,' he 
 w'^ites, ' I adored not only a great pianist and composer, but a man of 
 rare nobility, frank, loyal, generous, incapable of petty and vulgar senti- 
 ments, clear and right-minded, of infinite goodness — in fact, a man who 
 towered far above the common herd. As a teacher he was of incomparable 
 value. He went to work simply, without grand phrases or long disser- 
 tations ; but always taking his duty seriously?"^ 
 
 Relations begun in such a fashion might well have developed into 
 an intimate friendship between two artists so fitted to understand one 
 another. Tschaikowsky ardently desired this, but seems to have felt that 
 a great gulf lay between them. ' When I left the Conservatoire,' he 
 writes, * I hoped that by working courageously, and gradually making 
 my way, I might look forward to the happiness of seeing this gulf bridged 
 over. I dared to aspire to the honour of becoming the friend of Rubin- 
 stein. It was not to be. Nearly thirty years have passed since then, 
 but the gulf is deeper and wider than before.' The reserved attitude of 
 Rubinstein towards his younger colleague must evidently have troubled 
 the latter greatly. He endeavours to account for it in the following 
 manner : ' The most probable explanation of this mortifying lukewarmness 
 is that Rubinstein does not care for my music, that my musical tem- 
 perament is antipathetic to him.' Whether this conclusion was alto- 
 gether justified no one can tell, but it is worthy of note that Rubinstein 
 included no fewer than four pieces by Tschaikowsky in the last progranmie 
 of his great historical recitals. 
 
 If Tschaikowsky never succeeded in overcoming Rubinstein's reserve 
 towards him, Saint-Saens was more successful, and has related in the 
 following words the manner in which his friendship with the great pianist- 
 composer commenced, at the time when the latter was gaining the suffrages 
 
EUBINSTEIN 27 
 
 of the Parisian musical public : ' The concerts succeeded each other and 
 I did not miss one. I was offered an introduction to the triumphant 
 artist ; but, notwithstanding his youth — he was then only twenty-eight 
 years old — notwithstanding his reputation for amiability, he inspired me 
 with a horrible fear ; the idea of seeing him close, of speaking to him, 
 ^ ^' positively terrified me. It was only the following year, on the occasion 
 of his second appearance in Paris, that I dared to face his presence. The 
 ^ ice between us was very soon broken ; I won his friendship by reading at 
 sight on the piano the orchestral score of his " Ocean " symphony.' The 
 friendship of these two great musicians, begun in so pleasant a fashion, 
 went on increasing, and was further cemented by their joint appearances 
 at various concerts. Rubinstein wishing to appear as conductor at one 
 of these, Saint-Saens wrote expressly for the occasion, and in an incredibly 
 short time, his now well-known piano concerto in G minor. No. 2, in 
 which he himself undertook the solo part, while the baton was wielded by 
 his Russian colleague. Saint-Saens likens Liszt to an eagle and Rubin- 
 stein to a lion, and terms them ' living incarnations of art.' 
 
 Rubinstein, like every one else, had his own peculiarities. He was 
 very superstitious, and would never begin a journey on a Friday or a 
 Monday. A great smoker, he invariably profited by every interval 
 during his recitals to light a cigarette and indulge in a few whiffs. His 
 four favourite composers were Beethoven, Schubert, Chopin, and Glinka, 
 whose busts figured prominently on the walls of his music-room. 
 
 Mr. Alexander M'Arthur, in an interesting little volume on the com- 
 poser, states that Rubinstein was ' extremely well read on all subjects, 
 speaking French, German, Russian, and English fluently, and under- 
 standing Spanish and Italian'; that his favourite reading was history and 
 poetry, and that Zola was his favourite novelist. He also remarks that 
 he possessed a profoundly sensitive and nervous temperament, which 
 sent him one day * into the heights of ecstasy,' and the next ' into the 
 depths of despair'; that in social life he was what one describes as a good 
 fellow, while in public life he was ' simple and unaffected, very courteous, 
 and always at his ease, although self-conscious, ready at any time to be 
 of use, and a little old-fashioned in his attention to trifles.' 
 
28 RUBINSTEIN 
 
 This richly endowed man was of a generous disposition, and was not 
 indifferent to the appeals of those less fortunate than himself, a proof 
 that he added to his great gifts the possession of a kind heart. 
 
 In conclusion, mention may be made of the competitions which bear 
 
 his name, and are open to young men of any nationality between the ages 
 
 of twenty and twenty-six. These competitions take place every five 
 
 years, alternately in St. Petersburg, Berlin, Vienna, and Paris. Two 
 
 prizes of 5000 francs (£200) each are offered, one for composition and one 
 
 for piano-playing, the two branches of musical art imperishably associated 
 
 with the name of Anton Rubinstein. 
 
 Arthur Hervey. 
 
 i.OWB tl kiK-iOOl*L t'BlMiKK* i.TU. VVlLLtHtUKM JUNkTI*M. M.W. iU. 
 
THE CONCERT EDITION of 
 
 STANDARD AND TRADITIONAL 
 
 BRITISH SONGS 
 
 REVISED WITH 
 
 New Accompaniments by G. H. Clutsam. 
 
 THESE wonderful old Songs, with their magic appeal and priceless fount of melody, are the choicest gems in the nationa] 
 heritage of art. Their fragrant beauty has been enhanced by the scholarly accompaniments written by 
 Mr. G. H. Clutsam. These accompaniments are modern in spirit, and varied according to the character of tke 
 words, and yet are written with due reverence for the traditions surrounding each song. 
 
 beautiful engraving, beautiful printing on superfine paper, make this edition one to be prized and cherished. Invaluable 
 for leaching, an aid to interpretation, and a treasury unmatched in the annals of music publishing. 
 
 In Tivo Keys— -HIGH and LOW Voices — 2/- each net. 
 
 3. 
 
 4. 
 
 5. 
 
 6. 
 
 7. 
 
 8. 
 
 9. 
 10. 
 11. 
 12. 
 13. 
 14. 
 15. 
 16. 
 17. 
 18. 
 19. 
 20. 
 21. 
 22. 
 i 23. 
 K 24. 
 
 FIRST SERIES 
 
 The Banks of Allan Water 
 
 Sally in our AHey 
 
 The Bonnie Banks of Loch Lomond 
 
 The Bailiffs Daughter of Islington 
 
 Ye Banks and Braes 
 
 Drink to me only with thine eyes 
 
 Caller Herrin' 
 
 Robin Adair 
 
 Jock o' Hazeldean 
 
 Comin' thro' the Rye 
 
 Come, lasses and lads 
 
 The Lass of Richmond Hill 
 
 Barba.-a Allen 
 
 The Minstrel Boy 
 
 Oh, the Oak and the Ash 
 
 Silent, Oh Moyle 
 
 Within a Mile of Edinboro' Town 
 
 Tom Bowling 
 
 Down among the Dead Men 
 
 Here's to the Maiden of Bashful Fifteen 
 
 The Meeting of the Waters 
 
 Charlie is my Darling 
 
 The Leather Bottel 
 
 Annie Laurie 
 
 Here's a Health unto His Majesty 
 
 SECOND SERIES 
 
 26. Kelvin Grove 
 
 27. The Harp that once 
 
 28. Home, Sweet Home 
 
 29. Green grow the Rashes, O f 
 
 30. The pretty girl milking her cow 
 
 31. Brien the brave 
 
 32. The three ravens 
 
 33. Oft in the stilly night 
 
 34. Mary Morison 
 
 35. The Bonny Brier Bush 
 
 36. Land o' the Leal 
 
 37. Shule Agra 
 
 38. John Anderson, ray Joe 
 
 39. Mary of Argyle 
 
 40. Afton Water 
 
 41. Kathleen O'More 
 
 42. Turn ye to me 
 
 43. Bay of Biscay 
 
 44. Believe me, if all those endearing youi4 chBnas 
 
 45. The Young May Moon 
 
 46. The Auld House 
 
 47. The Cruiskecn Lawn 
 
 48. Blue Bonnets 
 
 49. The Vicar of Bray 
 
 50. Fine old English Gentleman 
 
 A FEW OPINIONS. 
 
 SIR HENnv J. WOOO.^"Thoy ai^ really ex. 
 eeHent, and wero aadly needed. I «hall oertalnly 
 teaoh them to my pupila " 
 
 THE SPECTA TOR. — " In concert rooms we frequently 
 sufler from the clumsy chordal accompaniments which some 
 pianists fit to old songs, and Mr. Clutsam's settings will be 
 welcomed as satisfymg a long-felt want. 
 
 His accompaniments are simple and cnusicianly, and 
 although written specially for the concert room, they will 
 present no difficulties to at) ordinary piapist." 
 
 THE MUSICAL TIMES.— "The charm of these old 
 songs is njamtained intact by Mr. Clutsam's discriminative 
 welding of tune and accompaniment. He has done this 
 with great economy of means, and has avoided monotony 
 by skilfully varying his setting of different verses, and yet 
 preserving their simplicity." 
 
 MUSICAL OP/N/O.V.—" Taken as a whole, the collec- 
 tion forms a golden treasury of song such .as the competent 
 vocalist cannot afford to ignore. It is seldom that we find 
 instruction and pleasure so agreeably blended." 
 
 MURDOCH, MURDOCH & Co., London, W.l. 
 
THE MAYFAIR CLASSICS 
 
 
 PIANOFORTE PIECES. 
 
 Annotated and fingered by 
 
 Annotated and fingered by 
 
 
 F. CORDER. F.R.A.M. 
 
 FELIX SWIN STEAD. F.R.AJH. 
 
 t. 
 
 ARENSKY Basso Ostinato, Op. 5, No. 5. 
 
 28. PARADIES. Toccata 
 
 2. 
 
 Etude, Op. 41. No. 2. 
 
 29. RACHMANINOFF. S. Prelude in C4 minor. 
 
 Op. 3. No. 2. 
 
 3. 
 
 BACH, P. E. Solfegietto 
 
 30. RAFF, J. La Fileuse, Op. 157, No. 2. 
 
 4. 
 
 BEETHOVEN. Andante in F 
 
 31. „ Polka de la Reine, Op. 95. 
 
 5. 
 
 Two Sonatinas (F & G) 
 
 32. „ Fabliau. Op. 75, No 2. 
 
 6. 
 
 BEN DEL, F. Spinning Wheel 
 
 33. RUBINSTEIN, A. Romance in E flat. 
 
 7. 
 
 CHOPIN, F. Valse in D flat, Op. 64, No. 1 
 
 Op. 44, No. 1. 
 
 8. 
 
 Nocturne in E flat. Op. 9, No 2. 
 
 34. ., Melody in F, Op. 3, No. 1. 
 
 9. 
 
 „ Berceuse in D flat. Op. 57. 
 
 35. „ Romance in F, Op. 26. No. 1. 
 
 JO. 
 
 Etude in G flat. Op. 10, No. 5. 
 
 36. „ Valse Caprice 
 
 li. 
 
 DAQUIN. Le Coucou 
 
 37. SCARLATTI (Tausig). Pastorale 
 
 i t2. 
 
 GADE. N. W. Ring- Dance 
 
 38. ., Capriccio 
 
 13. 
 
 HENSELT. A. Si Oiseau j'etais 
 
 39. SCHUBERT, F. Impromptu in G, 
 
 14. 
 
 „ Song of Love 
 
 Op. 90. No. 3. 
 
 15. 
 
 JENSEN, A. TheMill 
 
 40-. „ Impromptu in A flat. 
 
 16. 
 
 » Berceuse 
 
 Op. 90. Na 4. 
 
 17. 
 
 „ Elfin Dance & Barcarolle 
 
 41. „ Impromptu in A flat. 
 
 18. 
 19. 
 
 KJERULF, H. Lullaby. Op. 4, No. 3. 
 LISZT, F. Love-dream in A flat 
 
 Op. 142. No. 2. 
 42. „ Impromptu in & flat. 
 
 Op. 142. No. 3. 
 
 20. 
 
 „ La Campanella 
 
 43. SCHUMANN. R. V/hims, Op. 12, No. 4. 
 
 21. 
 
 „ Consolation in D flat 
 
 44. „ " Dreaming," and " Why ?" 
 
 22.. 
 
 „ Etude de Concert in D flat. No. 3 
 
 Op. 15, No. 7. Op. 12. No. 3. 
 
 23. 
 
 „ Devotion (Schumann) 
 
 45. TSCHAIKOWSKY. P. Barcarolle. Op. 37, No. 6. 
 
 24. 
 
 Evening Star (Wagner) 
 
 46. „ Chant Sans Paroles. 
 
 25. 
 
 MAYER. C. La Grace 
 
 Op. 2, Na 3. 
 
 26. 
 
 MENDELSSOHN. Spring Song 
 
 47 „ Chanson Triste. 
 
 27. 
 
 „ Andante & Rondo ) 
 Capriccioso, Op. 14. j 
 
 Op. 40. No. 2. 
 
 
 48. WEBER, C. M. Invitation a la Valse, Op. 55. 
 
 51. 
 
 LISZT. Rose Softly Blooming (Spohr) 
 
 49. ., Moto Perpetuo, Op. 34. 
 
 52. 
 
 BEETHOVEN. Adagio (Sonate Pathetique) 
 
 50. „ Polacca Brillante. Op. 72. 
 
 63. 
 
 MENDELSSOHN. Duetto (Songs without 
 
 words No. 18) 
 
 56. RUBINSTEIN. 3rd Barcarolle in G minor 
 
 54. 
 
 „ Scherzo in E minor. 
 
 Op. 16, No. 2. 
 
 57. „ Staccato Study in C. 
 
 Op. 23. No. 2. 
 
 55. 
 
 „ Prelude in E minor. 
 
 58. SCHUBERT. Minuet (in B minor) from 
 
 
 Op. 35, No. 1. 
 
 Sonata Op. 78. 
 
 60. 
 
 SCHUMANN. Nocturne in F. Op. 23. No. 4. 
 
 59. .. Moment Musical. Op. 94. No. 3. 
 
 «1. 
 
 „ Soaring (Aufschwung) 
 
 63. TSCHAIKOWSKY. EnTraineau. Op.37. No.Il. 
 
 62. 
 
 Novelette in E, Op. 21, No. 7 
 
 64. ,. Romance in F minor. Op. 5. 
 
 Price 21- each net cash. 
 
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 Youth [Clifford Bax) 
 
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 Rann of Wandering 
 
 ARRANGEMENTS OF OLD 
 
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