This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1915 edition. Excerpt: ...in other respects rank far below him. I agree that his mind has certain affinities with the German mind; but he is far from letting himself be absorbed by it. His own personality remains alert and strong, and whatever one may say of it, this personality of his is such that, if you look at his music ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1915 edition. Excerpt: ...in other respects rank far below him. I agree that his mind has certain affinities with the German mind; but he is far from letting himself be absorbed by it. His own personality remains alert and strong, and whatever one may say of it, this personality of his is such that, if you look at his music from the point of view of character and style, you could never, in my opinion, confuse it with German music. If this reflection applies to Rubinstein's symphonic music, it also applies, and perhaps to a still greater degree, to his chamber and pianoforte music. Amongst the chamber music, the works deserving special mention are the quartet for pianoforte and wind instruments, op. 55; the string quartets, op. 17, 66, and 90; the pianoforte trios, op. I 5, 52, and 85; the sonatas for pianoforte and violin, op. 13 and 19 (the latter being a masterpiece), for pianoforte and violoncello, op. 18 and 39 (the former of which in D is well known both in Russia and Germany), and for pianoforte and viola, op. 49. Then there is a class to itself of instrumental concertos with orchestra, of which there are five for pianoforte (the fourth in D being a superb composition), two for violin, and two for violoncello, the latter dedicated respectively to Alfred Piatti and Charles Davidov. All this instrumental music is marked by freedom of character, by vigorous rhythms, and generally by exuberant energy. It is essentially original, and even if one can point to certain faults and can sometimes reproach the composer for being too longwinded (this was Rubinstein's besetting sin), one cannot deny the brilliancy of the writing and its nobility. As for the music for pianoforte solo, which comprises as many as two hundred and thirtyeight pieces, it undoubtedly...
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