At his death he was an almost legendary figure as a pianist, and the Rubinstein legend continued well into the 20 th century.
[PDF] - Cello, Piano - Romantic * License: Public Domain -. 2 Mélodies, Op.3 (Rubinstein, Anton) . Musikalisches Universum, No Moderato assai in F major (No.1) Notes, Title of edition: Melody in F for piano.
Balakirev was also a fine pianist, but there were few native. Russian instrumentalists and the orchestra of the Russian Musical Society consisted mainly of German musicians. By writing an article in the periodical Vek , No.
The nationalist composers were thus at daggers drawn with Rubinstein. Nevertheless, with the help of Anton, Nikolay Rubinstein founded the Moscow Conservatory, and by the end of the century Anton's vision of conservatories and opera houses all over Russia was to be realized, producing instrumentalists and singers of a higher quality than he could ever have foreseen.
This greatly enhanced the social status of musicians, and when Anton resumed the directorship of the St Petersburg Conservatory in he again became a pre-eminent figure in Russian musical education, whose far-reaching ideas were to be the basis of music as it is still taught in Russia. Tchaikovsky was one of his earliest students. However, Anton Rubinstein's principal claim to international fame was as a pianist. As a young man he had admired F. Liszt , studying carefully his mannerisms on the concert platform. This admiration continued throughout the older man's life, and like F.
Liszt 's, Rubinstein's recitals were tremendous occasions. He was always very nervous beforehand, and his interpretations were not totally preordained; there was always an element of surprise. Such was his magnetism that he held his audiences in thrall, and they in turn formed an integral part of his music-making.
Hanslick wrote ecstatically of Rubinstein's rendering of F. Chopin 's Sonata No. Even Balakirev wrote to Tchaikovsky that 'he played exquisitely a Beethoven sonata in C major [the Waldstein ] and pieces by F.
Anton Rubinstein's stamina was astonishing. On his tour of the USA with Wieniawski he gave no less than recitals between September 10, and May 24, ; the proceeds of the tour 'laid the foundations of my prosperity', he wrote in his autobiography. Work Anton Rubinstein composed assiduously during all periods of his life. He was able, and willing, to dash off for publication half a dozen songs or an album of piano pieces with all too fluent ease in the knowledge that his reputation would ensure a gratifying financial reward for the effort involved. But only the Melody in F , Op.
Some of the songs achieve a certain distinction, and in his chamber music a movement here or there such as the Scherzo from the String Quartet no. But bhere and in his numerous attempts at large-scale works, there are, too often, signs of haste. As Paderewski was later to remark, 'He had not the necessary concentration of patience for a composer'.
For example, good ideas in the Symphony no. Together with an uninhibited use of the diminished 7 th chord, these characteristics are lavishly displayed in all four piano sonatas. Only the second-movement Allegretto con moto, a charming little march-scherzo, from the Third Piano Sonata, Rubinstein's own favorite, is altogether free from padding and very considerable reliance upon Felix Mendelssohn and Robert Schumann ; an instance of F. Chopin 's influence is to be found in the scherzo of the Fourth Sonata, in which the rhythm is directly taken from the scherzo of F.
Chopin 's Bb minor sonata. His greatest success as a composer came in a brief middle period which started with the Fourth Piano Concerto in D minor and finished with the opera Demon 'The Demon', , first performed in January Between these works are sandwiched two important orchestral works, Don Quixote , which Tchaikovsky thought was 'very interesting and well done' although 'episodic' in construction, and Ivan IV Grozniy , 'a wonderful piece' in Tchaikovsky's opinion; Tchaikovsky arranged both works for piano duet.
There is nothing that is Mendelssohnian, nothing as he used to write formerly'. In this powerful, imaginative and perceptive evocation of Ivan's complicated personality, Rubinstein dexterously incorporates a number of contrasting themes into an atypically unconventional variant of sonata form, with a slow, magisterial, fully integrated introduction; the inevitable sequences and diminished 7ths are for once used effectively and convincingly.
Nor does he indulge in bombastic orchestration: If you use and like Free-scores. Do not see this window again for the duration of the session. Rubinstein, Anton - Instrumentation: Be the first to write down a comment. You are not connected, choose one of two options to submit your comment: Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist.
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