By Philip S. Taylor
The 1st glossy biography in English of Russian composer-pianist Anton Rubinstein, this e-book locations Rubinstein in the context of Russian and western ecu musical tradition throughout the past due nineteenth century, exploring his upward thrust to overseas repute from humble origins in Bessarabia, in addition to his next quick decline and marginalization in later musical tradition. Taylor offers a balanced account of Rubinstein’s existence and his occupation as a piano virtuoso, conductor, composer, and because the founding father of Russia’s first conservatory. broadly thought of the virtuosic inheritor to Liszt, and famous the world over as an an identical cultural icon, he played with so much best musicians of the day, together with Liszt himself, Joachim, Clara Schumann, Vieuxtemps, Wieniawski, Saint-Saens, and Ysaÿe.
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Additional info for Anton Rubinstein: A Life in Music (Russian Music Studies)
Kaleriya Khristoforovna had concluded that the aristocratic patrons of the arts in Russia would only acknowledge the musical gifts of her sons if they had studied under respected foreign maestros. Her resolve was strengthened after Liszt’s visit to Moscow in the spring of 1843, when the Hungarian virtuoso was favorably impressed by Nikolay’s playing of one of Moscheles’s fantasies and repeated his earlier advice: the need for a solid grounding in the theory of music. With the death of Gebel, Villoing took charge of Nikolay’s piano lessons until the latter’s departure for Berlin.
3 vols. Moscow: Muzïka, 1983–86. Alexander M’Arthur [Lillian McArthur]. Anton Rubinstein: A Biographical Sketch. Edinburgh: Adam and Charles Black, 1889. A. A. Neustroyev. “Aleksandr Villoing i pervoye kontsertnoye puteshestviye po Evropye A. G. Rubinshteyna, 1840–1842” [Alexander Villoing and A. G. Rubinstein’s ¤rst European concert tour, 1840–1842). Russkaya starina 65, no. 1 (January 1890). Lev Aronovich Barenboym. Nikolay Grigor’yevich Rubinshteyn: Istoriya zhizni i deyatel’nosti [Nikolay Grigoryevich Rubinstein: The history of his life and work].
As Anton later recalled, Liszt’s “opinions and directives were sacred and absolute,” but they did not quite square with Villoing’s way of seeing things. 32 The moral dilemma which Liszt sought to resolve in his art was of less immediate concern to Chopin, who had become increasingly reclusive as a concert artist. He now only appeared before audiences made up of the aristocracy and his adoring pupils and friends. It was therefore a somewhat extraordinary event when, on 26 April 1841, he was persuaded to make a rare public appearance at 12 Anton Rubinstein the Salle Pleyel.
Anton Rubinstein: A Life in Music (Russian Music Studies) by Philip S. Taylor