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Updated: June 7, 2025
Its distinguishing characteristic is an interval, which contains three semitones: The interval occurring twice in this scale is enclosed in brackets. Its characteristic effect is most obvious when the scale is played downward. A beautiful instance of its artistic use is in Rubinstein's song "Der Asra."
But when he had reached the signature, he leaped to his feet and broke into one of those torrents of profanity which, rare as they were, unfailingly betokened some vigorous action to follow. By the time Rubinstein's immediate rage was spent, Ivan had regained his own self-possession, save for the gnawing pain that was to lie at his heart throughout many a long week and month.
He had finished breakfast next morning and was thinking of strolling round to Melky Rubinstein's lodgings, to hear if any news had come from Lauriston, when a waiter brought him Ayscough's card, saying that its presenter was waiting for him in the smoking-room. Purdie went there at once: the detective, who looked unusually grave and thoughtful, drew him aside into a quiet part of the room.
Next morning, before Ivan had risen from his protracted sleep, Rubinstein's pupils at the Conservatoire were undergoing three hours of remarkable instruction.
But the extra twinkle in Rubinstein's gay eyes, and the joyous grin on the flushed face of Laroche, disappeared when, lighting a candle to guide them through the darkened antechamber, they entered the living-room to find Ivan supine on the divan, sunk into a heavy slumber, the mottled white and red of his stained cheeks betraying a secret never afterwards referred to by his kindly discoverers.
The same is true of many of Rubinstein's pianoforte works the Bal Masqué, for instance, which always has such an electric effect on Mr. Theodore Thomas's audiences. Not so with Chopin. Liszt remarks, somewhere, that Chopin might have easily written for orchestra, because his compositions can be so readily arranged for it. I venture to differ from this opinion. Theodore Thomas. Mr.
In the letter he enclosed an address that of Rubinstein's Moscow apartment; where, even should it not be his own abode, communications at least would always reach him. And if his excellency would but send some word, however brief, Ivan would gladly come to see him not as a son, necessarily, but as one to whom Prince Gregoriev's welfare could not but be a matter of supreme interest and concern.
Rubinstein's friendly face took on an expression of slow bewilderment, which began presently to soften into a concern whereat, once more, his companion uttered his mirthless laugh. "Oh, I'm not mad, Nicholas Nikolaitch! You remember my old symphony, and Litoritch's criticism when I sent it up to him? Well, I was fool enough then not to understand: to go on believing that I could write music!"
One can always find time for composition, even while teaching. But practice knocks any possibility of other work on the head at once." There was a pause. Ivan, at the end of his suggestions, began to feel puzzled at Rubinstein's coming to him with such questions at all.
But by March such discussions had long since been dropped: and Rubinstein's whole anxiety now was to note in the youth the first signs of inevitable breakdown, that his illness might be taken in time. Only Ivan himself, of all their little group, was satisfied with his own condition.
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