Scan 18
Musical Courier 1894-03-14: Vol 28 Iss 731, 1894
41 lines. Read by computer on 19 September 2026. Printed page 19. See the scan on archive.org.
1Rubinstein in Paris.
2FEBRUARY 23.
3ON Sunday week last, looking younger and more interesting than ever, Rubinstein arrived in Paris, en route for Rouen to attend the first representation of his "Nero."
4An unfortunate influenza prevented my joining the large party that left here on Wednesday week with Rubinstein, but those more fortunate than I tell me that Rubinstein had at Rouen a veritable triumph.
5With his historical concerts, the greatest pianistic feat ever attempted, Rubinstein closed his virtuosic career. Since then he has not appeared in public except for charity and has withstood so far all the blandishments and seduction that the most famous of our wily impresari could bring to bear on him.
6After Rubinstein had visited every town of importance in Europe, and taken leave of an adoring public, with his colossal program of the historic literature of the piano (seven concerts), he became director of the St. Petersburg Conservatoire, and after a period of four years, when he considered he had sufficiently drilled that institution in the way it ought to go, he left St. Petersburg and settled more or less at Dresden, whither he has now returned.
7At present except for a few lessons given to talented pupils, the most notable of whom is young Josef Hoffman, Rubinstein devotes himself entirely to his compositions, and the conducting of his own works.
8Up till now the composer Rubinstein has been overshadowed by the great pianist, and the creative side of Rubinstein's genius has been done scant justice to by the crowd. The music world, however, is already waking up to the fact, and a few years hence, when the most marvellous piano playing ever remembered, has become a legend to the younger generation, Rubinstein will be given the honored place that should now be his.
9It is a curious fact that the most advanced musical centre in France should be at Rouen. "Lohengrin" was first given there, also "Samson et Dalila," and Reyer was first brought into notice by the gray headed director of the Opera there, Mr. d'Albert, whose latest achievement is now Rubinstein's "Nero."
10Rubinstein returned here from Rouen in the best of humors, and there is nothing can put Rubinstein in humor like a good representation of his works. I have never seen him looking better, nor found him so satisfied with things. He attended the Opera one night, hearing "Samson et Dalila," and came away delighted. In fact, he talked about "Samson et Dalila" and its beauties unceasingly. He also saw "Antigone" at the Comédie Francaise, and would have liked nothing better than to make the round of the various theatres, but he was forced to accept all kinds of invitations, and after dinner, if cards are brought out, Rubinstein won't stir, till the small hours of the morning.
11There is a very general rumor current about Rubinstein, that he is an inveterate gambler—the stupidest canard ever invented. Rubinstein is an inveterate card player, but he never plays above kopecks or sous, consequently, one evening while he was here he played for four hours, and at the end, after winning consecutively, came out the gainer of 10 francs. Such is the awful gambler which I have heard knowing ones bemoan!
12I was fortunate enough the Sunday before he left to have him during the morning hours almost to myself, when he told me of his plans and intentions.
13The last of the great sacred operas he has been working on for years, "Christus," is now finished, and he believes it will be his last.
14"I do not intend to compose any more," he said gravely, "next year I shall go to Peterhof," (where he has built himself a beautiful villa) and when it is finished I shall not leave it I die."
15"Are you sure, Anton Gregoriewitch?" I asked, laughing, and Rubinstein laughed also.
16"I think," he replied quickly; but it sounded dubious to me, especially as I know Rubinstein to be entirely a man of action and changeable as a woman. He never seems able to stand more than a few years of any one place. When he first—for the second time, to be very accurate—became director of the Conservatoire at St. Petersburg, he announced his intention of never leaving that city. Later on when he began to find it wearisome, he commenced plans of forming a conservatoire at Odessa for voice cultivation; then he left St. Petersburg, vowing he would never return, and settled in Dresden, apparently for good, and now he has had enough of Dresden and wants Peterhof.
17Rubinstein is playing more marvellously than ever. While here he played at some of his friends' houses and cast his own irresistible spell over his listeners. After all, there are many great artists to-day, but there is still but one Rubinstein. It is something in the touch, in the conception, in the charm, that leaves him unrivalled.
18On every occasion when playing here Rubinstein gave his own compositions, and it struck me that the only bait that would land him in New York would be the offer of some impresario for a concert tour where Rubinstein's own compositions, orchestral and piano strings, &c., would make up the program. Unfortunately he has a horror of the sea, and for years I have been trying to impress on him the fact that it is now almost half a century since he crossed the Atlantic, and that the mode of travelling has been vastly improved; but his remembrance of the horrors he endured is still vivid.
19On Sunday last a few people breakfasted with Rubinstein, and I was lucky enough to be included in the number. The composer was in splendid humor and talked brilliantly, and I could not help remarking that, apart from his genius as pianist and composer, or in one word, musician, he is otherwise a remarkable man,—in every intellectual sense of the word, a giant.
20We are all Wagnerians to-day, but Rubinstein still remains as ever anti-Wagnerian. Yet it was more than interesting to hear him stand up for his views, many of which were most original.
21Speaking on music in general he commented on the remarkable phenomena of to-day, the epidemic, as it were, of prodigies in every branch of the art.
22"I have ceased to wonder at them now," he said seriously; "every other day in Dresden they bring me some wunderkind that is really remarkable. I cannot understand it, but it may promise much for art, it may be a sign of coming events. I am inclined to think so. At all events, it is rather curious that most of them seem to crop up in Eastern Europe."
23Regarding the translation of operas into foreign tongues Rubinstein spoke long on the fact of the difficulty that exists for the translator, and the impossibility of an opera being so well sung in the translated language as in the original.
24"It is a pity, but true, that no translated opera ever is as good as the original," said Rubinstein.
25"There is a possibility that 'Maccabier' may be given here this spring. Rubinstein, in fact, is busy making corrections in the translation, and if so Rubinstein will return here. At present he has to visit Berlin, Breslau, Stuttgart and Vienna, in every place to conduct or be present at his own works, and in the latter town he plays for some charity.
26Rather an amusing incident happened at his departure. We were a group of six who went to see him off, and as the morning was bitterly cold Rubinstein sat as long as possible in the waiting room, so that when we went to find him a seat most of the places were taken. At last we got to an apparently empty carriage, and on Rubinstein inquiring of the guard if there was room there for him the latter eyed the composer's battered hat and shabby overcoat—Rubinstein has a thorough contempt of self adornment, and wears his clothes till some kind friend literally tears them from him—and said in tones of doubting amusement:
27"Have you got a first-class ticket?"
28Rubinstein nodded his head.
29"Ah!" said the guard suspiciously. Whereupon Rubinstein with a laugh pulled out his ticket, showed it, and with a bow he was shown in.
30We all laughed, including Rubinstein himself; and the director of the Maison Erard, Mr. Albert Blondel, said:
31"Ah, cher maître, c'est votre chapeau anarchiste," and indeed the head gear which Rubinstein is now traveling over Europe in is a caution, as the Irish say. And the fun of it is that the more battered and disreputable it is the fonder he seems to grow of it.
32Our au revoirs to the great Russian master were sincere, and hearty as the train steamed off, and if wishing will do it he will soon be among us again. Unfortunately there is a great deal of favoritism and intrigue here in the music world, and the French composers and musicians are not fond of seeing foreigners take their place. However, Rubinstein has friends, and little wonder, for there never has been a more charming, genial fellow than our own dear Anton Gregoriewitch. Great in everything, in nothing is he greater than in his simplicity, and it is this utter absence of all pose in his personality that constitutes one of his most marked characteristics and at the same time one of the most charming.
33While here he received the news that a fourth theatre in St. Petersburg was about to represent his "Demon." So after all he is not one of those prophets whom his country neglects to honor.
34* * * *
35There is lots of interest going on here in the music world, and concerts are as thick as leaves in Vallambrosa. Saraste is here playing exquisitely, and so also is Hollman the violoncellist. Mrs. Dory Burmeister Petersen has given two excellent concerts, and Harold Bauer, a young pupil of Paderewski's, has had a big success at the Salle Erard.
36At the Châtelet, Cirque d'Été and Conservatoire the Sunday concerts go on merrily, and Lamoureux has essayed to give us "Parsifal."
37The "Thais" rehearsals have commenced at the Opera, and Massenet is worrying himself not less than composers do on such occasions.
38Paderewski is now in Naples, but returns next month to give three concerts.
39Alex. McArthur.
40"La Havaneise."—Saint-Saëns' "La Havaneise," for violin, was recently played at one of the Colonne concerts, Paris, by Mr. Marsick, and was enthusiastically received.
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