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Updated: June 7, 2025
The persecuted girl sings a beautiful prayer, at the close of which Vindex joins her in a love-duet, which will always remain as one of the most refined and noble products of Rubinstein's skill in harmony. The next number is one of almost equal beauty, a duet for Chrysa and Epicharis, the motive of which is a cradle song.
At the time of its first performance he refused the invitation to conduct it, and did not so much as think of going to Moscow to hear it played. He was in a very different mood from one of triumph; for there had come upon him the bitter grief of Nicholas Rubinstein's death. For two years the old man had faded, visibly.
For Hebrew poetry, like the poetry of many primitive peoples, utilized the natural pleasure which the ear takes in listening for and perceiving again an already uttered sound. Mendelssohn's 'Spring Song' and Rubinstein's 'Romance in E Flat' will occur at once as examples in which the stanzas are unmistakable." It assists the mind in grasping the sense-rhythm, the design of the piece as a whole.
MacDowell, whose fixed principle it was to permit her son to decide his affairs according to his lights, thereupon considered with him the merits of various European Conservatories of reputation. They thought of Moscow, because of Nicholas Rubinstein's connection with the Conservatory there.
Congress might safely have taken a nap, with the Hub Debating Club to handle its affairs, if Harry Rubinstein's big brother Jake had not interfered. He came out of the kitchen, where he had been stuffing the baby with peanuts, and stood in the doorway of the parlor and winked at the dignified chairman. The chairman turned his back on him, whereupon Jake pelted him with peanut shells.
It ends with Rubinstein's sign and seal, an arpeggio in sixths, which is as trite a musical finis as fiction's "They lived happily ever afterward, surrounded by a large circle of admiring friends." Three mazurkas constitute opus 125. They are closely modelled on Chopin, and naturally lack the first-handedness of these works, in which, almost alone, the Pole was witty.
I think I can say I appreciate good music and Ive often taken a great deal of pleasure from hearing a hotelband play Rubinstein's Melody in F, or like classical numbers, during mealtimes.
Yet under Rubinstein's fingers it swelled and diminished, and went singing into D, as if the instrument were an organ. I suspected the inaudible changing of fingers on the note or a sustaining pedal. It was wonderfully done. The next nocturne, op. 27, No. I, brings us before a masterpiece.
Good Heavens! Nicholas is turning into a fool!" All things considered, there was certainly a grain of truth in Anton Rubinstein's assertion. Still, foolish as Nicholas may have shown himself over the matter, what was his unwisdom compared to that of Ivan, the proposed hero of the forthcoming inevitable fiasco?
Serov was an enthusiastic imitator of Wagner, and even his own countrymen admit that his works have little musical value. Critics differ very much as to Rubinstein's merits as a composer, but as to the quality of his work for the stage there can hardly be two opinions. His music is essentially undramatic. None of his works, at any rate outside Russia, has achieved more than a passing success.
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