Anton Rubinstein: A Life in Music
I recently finished reading Anton Rubinstein: A Life in Music, by Philip Taylor. I had been eager to become more familiar with the life of Anton Rubinstein (not the better known, more recent pianist, Artur Rubinstein). Rubinstein is today known as a gargantuan pianist from the latter half of the 19th century, a contemporary of Liszt, and epitome of the Grand Romantic Artist. Many people have compared my beloved Nyiregyhazi to Anton Rubinstein: the huge romantic gestures, passionate performances full of equal parts enthralling personality and wrong notes.
In the end, Taylor's biography focussed less on pianistic aspects of Rubinstein's career. In fact, more insight into his playing can be found in the occasional mention of his work in After the Golden Age. There was some insight into his general artistic vision, and his dedication to performing. Across many months in 1872 and 1873, he performed over 200 concerts in the USA, including one stop very close to my current home, performing in Toledo, Ohio (I want to see if there is any record of this event locally).
The book did emphasize his work as a composer, more than that of a performer. This was intriguing. I suppose I realized that he had written a lot of music, but I had only really heard his 4th piano concerto, and then, not in a professional setting.
In fact, Anton Rubinstein seemed to regard himself as more of a composer than performer (similar, again, to Nyiregyhazi). He wrote over a dozen operas, several symphonies, an abundance of chamber music, lieder and a tremendous amount of piano in the form of concertos, sonatas, variations and character pieces.
I've been looking at a lot of his music and listening to some. It seems fair that his output here has been forgotten some. It is rather conventional, and dare I say derivative of Beethoven, Mendelssohn and Schubert, with a few certain Russian touches. Not that there's a lot that is bad but given when he wrote, history was ready to give posterity to composers doing something more new.
Some of it is very beautiful. As I write this, I'm listening to his Ocean Symphony for the first time. There are many beautiful melodies and gorgeous climaxes. He seems to understand writing for the orchestra very well as all sections are utilized in turn, and he writes quite a bit of polyphony. He seems to use form well to create drama and arch. But none of this is anything Beethoven hadn't done.
I may learn a few piano pieces, perhaps to build a repertoire of encore pieces. I think it's most interesting to observe how much history can change our perception of artists. Perhaps if Anton Rubinstein had been alive during Beethoven's time, we'd speak of him as a giant, and Beethoven as a side character. Perhaps if Anton had been alive 20 years later and been recorded, biographies of his life would focus much more on his pianism. As it is, it's difficult to say a lot, other than report on reviews and accounts of his recitals.
I wonder what it would have been like to hear him play, but for now, we must focus simply on his legacy as heard through his student, Josef Hofmann.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act