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Updated: June 3, 2025
At a trial performance of it, his friend and former master, Nicholas Rubinstein, to whom it was dedicated, and who had promised to play the piano part, began to criticize it unmercifully and ended by saying it was quite unplayable, and unsuited to the piano. No one could blame the composer for being offended and hurt.
She has been compared to Rubinstein, inasmuch as her remarkable musical temperament and irresistible impulsiveness carry her at times almost beyond the limits of her instrument, but these are the very qualities by which she captivates and carries away her hearers.
This fondness for exactness and detail, when, applied to piano study, led me to question many things; to wonder why I was told to do thus and so, when other people seemed to do other ways; in fact I began to discover that every one who played the piano played it in a different fashion. Why was there not one way? One memorable night I was taken to hear Anton Rubinstein.
Or, like Mendelssohn, they tried to adapt themselves to the alien atmosphere of Teutonic romance, and produced a musical jargon that resembles nothing in the world so much as Yiddish. Or, with Rubinstein, they gloved themselves in a pretty salon style in order to conceal all vestiges of the flesh, or tried, with Gustav Mahler, to intone "Ave Maria."
Multenius was found dead in his back-parlour yesterday afternoon, about five-thirty, by this young man, Mr. Lauriston, who happened to look in there, and I myself was on the spot a few minutes later. Your book for it's certainly the same was lying on the table in the parlour. Now, this other young man, Mr. Rubinstein, is a relation of Mr. Multenius's from enquiries he's made, Mr.
His attention was suddenly arrested by Melky Rubinstein, who, after much uneasiness and fidgeting, rose from his seat and made his way to the foot of the table, manifestly desiring to speak. "What is it?" asked the Coroner. "Who are you? Oh! the witness who identified the body. Yes?" "Mr. Coroner!" said Melky, in his most solemn tones. "This here inquest ain't being conducted right, sir!
She amazed me by the impertinent outburst of laughter with which she accompanied the performance of one of the Baron's compositions. On the other hand, she assumed a more serious air when she informed me that she was engaged to Hans von Bronsart. Rubinstein, with whom I exchanged friendly visits, behaved very creditably, although, as I had expected, he felt himself somewhat injured by me.
Meanwhile her composition was not neglected; beginning by publishing three études, a tarantelle, and a nocturne for piano, she continued with sonatas, fugues, and songs. She won the interest of the musical circles, including Rubinstein, and through Von Martinoff she became the pet of the Russian aristocracy.
"Technic, in the case of the more advanced violinist, should not have a place in the foreground of his consciousness. I heard Rubinstein play when a boy what did his false notes amount to compared with his wonderful manner of disclosing the spirit of the things he played! Planté, the Parisian pianist, a kind of keyboard cyclone, once expressed the idea admirably to an English society lady.
The audience realizes this instantly, and will even sometimes forgive technical imperfections if the performance is inspired. Rubinstein was technically marvelous, and yet he admitted making mistakes. Nevertheless, for every possible mistake he may have made, he gave, in return, ideas and musical tone pictures that would have made up for a million mistakes.
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