A. Rubinstein (November 28, 1829, Vykhvatinets, Podolsk province - November 20, 1894, Peterhof) - one of the central figures of Russian musical life second half of the 19th century He combined a brilliant pianist, a major organizer of musical life and a composer who worked in various genres and created a number of beautiful works that retain their meaning and value to this day. The place that Rubinstein’s activities and appearance occupied in Russian culture is evidenced by many sources and facts. His portraits were painted by V. Perov, I. Repin, I. Kramskoy, M. Vrubel. Many poems are dedicated to him - more than to any other musician of that era. He is mentioned in the correspondence of A. Herzen with N. Ogarev. L. Tolstoy and I. Turgenev spoke about him with admiration...

It is impossible to understand and appreciate Rubinstein the composer in isolation from other aspects of his activity and, no less, from the peculiarities of his biography. He began like many mid-century child prodigies, making a concert tour of major European cities with his teacher A. Villuan in 1840-43. However, very soon he acquired complete independence: due to the ruin and death of his father, his younger brother Nikolai and his mother left Berlin, where the boys studied the theory of composition with Z. Den, and returned to Moscow. Anton moved to Vienna and all his further career obliged solely to himself. The hard work, independence and strength of character developed in childhood and adolescence, proud artistic self-awareness, and the democracy of a professional musician for whom art is the only source of material existence - all these traits remained characteristic of the musician until the end of his days.

Rubinstein was the first Russian musician whose fame was truly worldwide: in different years He gave numerous concerts in all European countries and in the USA. And almost always he included his own piano pieces in the programs or conducted his own orchestral works. But even without that, Rubinstein’s music was heard a lot in European countries. Thus, F. Liszt conducted his opera “The Siberian Hunters” in Weimar in 1854, and a few years later there he conducted the oratorio “Paradise Lost”. But the main application of Rubinstein’s multifaceted talent and truly gigantic energy was, of course, found in Russia. He went down in the history of Russian culture as the initiator and one of the founders of the Russian Musical Society, a leading concert organization that contributed to the development of regular concert life and music education in Russian cities. On his initiative, the country's first St. Petersburg Conservatory was created - he became its director and professor. In the very first class of his students was P. Tchaikovsky. All types, all branches of Rubinstein's creative activity are united by the idea of ​​enlightenment. And the composer's too.

Rubinstein's creative legacy is enormous. He is probably the most prolific composer in the entire second half of the 19th century. He wrote 13 operas and 4 spiritual opera-oratorios, 6 symphonies and approx. 10 other works for orchestra, ca. 20 chamber instrumental ensembles. The number of piano pieces exceeds 200; approx. was created based on texts by Russian, German, Serbian and other poets. 180 romances and vocal ensembles... Most of these works retain a purely historical interest. “Polywriting” and the speed of the composing process were very detrimental to the quality and finishing of the works. Often an internal contradiction arose between the improvisational presentation of musical thoughts and the rather rigid schemes for their development.

But among hundreds of forgotten opuses, Anton Rubinstein’s legacy contains remarkable creations that reflect his richly gifted, powerful personality, sensitive ear, generous melodic gift, and compositional skill. The composer was especially successful in musical images of the East, which was, starting with M. Glinka, the indigenous tradition of Russian music. Artistic achievements in this area were recognized even by critics who had a sharply negative attitude towards Rubinstein’s work - and there were many very influential ones, such as C. Cui.

Among Rubinstein’s best oriental incarnations are the opera “Demon” and “Persian Songs” (and the unforgettable voice of Chaliapin, with restrained, quiet passion deducing “Oh, if only it were like this forever...”) In “Demon” the genre of Russian lyrical opera took shape, soon embodied in Eugene Onegin. Russian literature or portrait painting those years show that the desire to reflect the spiritual world and psychology of a contemporary was a property of all artistic culture. Rubinstein's music conveyed this through the intonation structure of the opera. Restless, dissatisfied, striving for happiness and unable to achieve it, the listener of those years identified Demon Rubinstein with himself, and such identification took place in Russian opera house, it seems, for the first time.

And, as happens in the history of art, having reflected and expressed its time, Rubinstein's best opera thereby retains exciting interest for us. Romances live and sound (“Night” - “My voice is both affectionate and gentle for you” - these poems by A. Pushkin were set by the composer to his early piano piece - “Romance” in F major), and Epithalamus from the opera “Nero”, and Fourth Concerto for Piano and Orchestra...

Anton Rubinstein made a significant contribution to the development of Russian musical culture. Works such as the etude "Ondine", the operas "Christ", "Dmitry Donskoy", "Demon", symphonic poems "Faust", "Ivan the Terrible" and many others, brought him worldwide recognition. It is he who is considered the founder in the development of pianism. Many compositions performed by him have enormous success even in our time.

Childhood story

Anton Grigorievich Rubinstein was a world-famous author, conductor and music teacher. His biography began on November 16, 1829 in the village of Vykhvatinets, Podolsk province, in a wealthy Jewish family. His Romanovich was a merchant for several generations. Mom, Karelia Khristoforovna, was a musician. The great musician also had two younger sisters and a brother. When Anton was about three years old, his family moved to Moscow.

The beginning of creative activity

The hero of our story was introduced to the original origins of musical art by his mother. At the age of seven, Anton Rubinstein took lessons from A.I. Villuan, thanks to which he learned to play the piano. His first performance at the age of ten paved the way for him to fame. Immediately after a successful performance, he goes, accompanied by his mentor, on a concert tour around Europe.

A few years later, Rubinstein's family moved to Berlin. There he continued to study music, but now the famous Siegfried Dehn became his teacher. It was here that the young musician met the outstanding Felix Mendelssohn and Giacomo Meyerbeer.

When Anton was seventeen years old, after the death of his father, his mother and younger brother returned to Moscow, and Rubinstein went to live in Vienna. In order to somehow live, he gives individual lessons music for children from rich families.

Three years after the move, he comes to Russia again. Having settled in Rubinstein, he began conducting. In addition, he gives private concerts at the royal court, which are a huge success. Also at this time, his creative activity intertwined with famous composers and cellists such as M.I. Glinka, A.S. Dargomyzhsky, M.Yu. Vielgorsky, K.B. Schubert.

Works

In 1850, a concert performance takes place, where the hero of our story makes his debut as a conductor. And two years later he wrote one of the greatest operas - “Dmitry Donskoy”. Soon after his first experience as a composer, Rubinstein Anton created three one-act works: “Revenge”, “Siberian Hunters” and “Fomka the Fool”. Also at this time, he takes his first unsuccessful steps to create a musical institution in St. Petersburg.

In 1854, Rubinstein decides to move to the German town of Weimar, where he meets F. Liszt, who helps him stage an opera. In the winter of 1854, the composer gives a concert in Gewandhaus, which ends in great triumph. After this success, he goes on another concert tour to major cities such as Vienna, Munich, Hamburg, Nice.

Homecoming

A few years later, upon his arrival in Russia, Anton Rubinstein directs all his efforts to opening the Russian Musical Society. It is here that, while performing works, he acts as an orchestra conductor. In addition, the composer does not stop touring abroad. After the opening of classes, the Society was reorganized into the First Russian Conservatory. The famous pianist Rubinstein was not just one of its first leaders, but also the conductor of the orchestra and choir, and a professor of piano and arranging.

In 1867, due to disagreements related to the role of the music school he opened, which arose with equally famous musical figures of that time, he left the post of director.

Great work

A few years later Anton Rubinstein writes greatest work- "Daemon". It was this that the censors did not allow through for another four years. Meanwhile, the composer is the director of concerts for the Society of Friends of Music in Vienna.

In 1873, he went on a tour of America together with Henryk Wieniawski (violinist). Returning after a year to Peterhof, the composer wrote the Fourth and Fifth symphonies for “The Maccabees” and “Merchant Kalashnikov”.

In 1885-1886, a number of significant historical concerts took place in the cities of central Europe, where almost all solo works for piano were performed. A year later, Rubinstein was again appointed to a leadership position at the conservatory.

On November 8, 1894, while in Peterhof, Anton Grigorievich Rubinstein died. He was buried in the Necropolis, in the cemetery of masters of art.

Success

Undoubtedly, Anton Rubinstein made a huge contribution to the creation of the first music school in Russia. The biography of this outstanding man indicates that all his life he was an ideological fighter for the cultural enlightenment of the people. Therefore, he is also considered the founder of music education. His students were such famous people as P.I. Tchaikovsky, I. Hoffman, G.A. Laroche.

Almost everything covers the creative heritage of Anton Rubinstein. The masterpieces he wrote became shining examples of Russian lyric opera.

Thus, throughout his life he wrote a large number of works, including 13 operas, 6 symphonies, 5 oratorios and concertos for piano and orchestra, more than 120 romances and songs, over 200 works for piano.

Also successful were his attempts as the author of some books, such as “Autobiographical Stories”, “Music and Its Representatives”, “The Box of Thoughts”. In them, the author openly described his views on the life, musical and creative activities of many famous composers past and present.

Thus, we can say with confidence that Anton Rubinstein made an invaluable contribution to musical culture. The biography of this great man shows that with his works he opened the way for the creation of great creations.

For his professional activities, he was awarded the Order of Merit in the Field of Arts and Sciences.

Rubinstein Anton Grigorievich

(1829-1894) Russian pianist, composer, conductor, teacher

Rubinshtein Nikolay Grigorievich

(1835-1881) Russian pianist, conductor, teacher

The name of the Rubinstein brothers is associated with the development of the musical art of Russia in the 19th century and all subsequent times. They founded the St. Petersburg and Moscow Conservatories and trained a whole generation of talented musicians, composers and performers.

Anton and Nikolai, two brothers - the elder and the younger, knew from childhood that they would be musicians, because music was constantly playing in their house. They began to master musical literacy almost before they learned to read and write.

At first, their mother studied music with them, then the brothers honed their skills under the guidance of pianist-teacher A. I. Villuan and music theorist E. Dan.

Older brother Anton began giving concerts at the age of ten. At the same time, he made his first concert tour of Europe, which took place with great success. He spent several years abroad, where he improved his skills and studied the theory of composition.

In 1849, at the age of 20, Anton returned to his homeland, but after 5 years he left abroad again and performed concerts there from 1854 to 1858. Anton Rubinstein was engaged in concert activities for half a century and during this time gained worldwide fame as a brilliant virtuoso pianist. He became the founder of the Russian piano school. The outstanding pianist especially loved the music of the Polish composer F. Chopin. A. Rubinstein performed the music of F. Liszt just as magnificently, with whom he had close friendly relations.

Anton Rubinstein wrote the music himself. It is difficult to list everything that he created during his creative life. It's easier to express this in numbers. He created 15 operas, among which the most famous lyric-dramatic opera “The Demon” based on the plot of the poem of the same name by M. Yu. Lermontov; 5 oratorios, 6 symphonies. The most famous of them are the Second, called “Ocean,” and the Fourth, “Dramatic.” Of the five piano concertos written by the composer, the Fourth is now most often performed. Anton Rubinstein also composed chamber music: he owns about 20 chamber instrumental ensembles, 4 piano sonatas, more than 160 romances and songs, including such famous ones as “Night”, “Persian Songs”, etc.

Despite being extremely busy, Anton Rubinstein found time for social activities. He saw how much musical talent there was in Russia and sought to help them. In 1859, the pianist founded the Russian Musical Society. His main task was “the development of musical education and taste for music in Russia and the encouragement of domestic talents.”

The implementation of this program began with the creation of music classes, on the basis of which the first St. Petersburg Conservatory in Russia was opened in 1862. Anton Rubinstein spent a lot of effort on its organization and became the first director of the conservatory. At the same time, he taught a composition class there, and among his students were the future great composer P. I. Tchaikovsky, music critic N. Laroche, and pianist I. Hoffmann. Subsequently, A. G. Rubinstein described his life and pedagogical impressions in the book “Music and Musicians.”

Nikolai Rubinstein followed the example of his older brother in everything. He was a brilliant pianist and conductor. But the main work of his life was the development of the musical culture of Moscow. Following Anton's example, he created the Moscow classes of the Russian Musical Society, on their basis in 1866 he organized the Moscow Conservatory and invited him to work in it. best musicians. For 14 years, P. I. Tchaikovsky taught at the Moscow Conservatory, who, on the recommendation of A. G. Rubinstein, came to Moscow from St. Petersburg and for the first time even settled in N. G. Rubinstein’s house.

Thanks to the talent and energy of Nikolai Grigorievich, Russian music lovers were able to listen to the works of outstanding composers - Beethoven, Berlioz, Schumann, Liszt, Chopin, Glinka, Tchaikovsky.

Until the end of his life, Nikolai Grigorievich Rubinstein remained director and professor of the Moscow Conservatory. And also until the end of his life he performed as a soloist and conductor of symphony and chamber concerts of the Moscow branch of the Russian Musical Society, which he himself created in 1869.

A. G. Rubinstein entered the history of Russian culture as a multifaceted musical public figure, one of the world's greatest pianists, composer, teacher. His vibrant creative life was an example of patriotic service to Russian art.

Rubinstein is the founder of professional music education in Russia. Through his efforts, the first Russian conservatory was opened in St. Petersburg in 1862 (now the Leningrad Order of Lenin State Conservatory named after N. A. Rimsky-Korsakov). Rubinstein's concert performances as a symphony conductor and pianist contributed to the musical education of Russian society. Rubinstein's brilliant pianism played a huge role in establishing the glory of Russian art abroad.

The contribution made to Russian music by Rubinstein the composer was significant. A number of works he created (such as the opera “The Demon”, many romances and piano pieces) took pride of place among the classical examples of the Russian musical heritage and enjoy the love of listeners to this day. Some of Rubinstein's works were stepping stones to the highest masterpieces created by his younger contemporaries and composers of subsequent generations. For example, Rubinstein anticipated the development of Russian symphonism, being the first Russian musician to turn to the genre of the four-movement symphony, and his “Demon” became the first Russian lyric opera and had a direct influence on Tchaikovsky’s “Eugene Onegin”.

Tireless energy and ideological determination bring Rubinstein closer to other outstanding musicians of the era. But a number of reasons determined his somewhat isolated position among other musical figures of his time.

LIFE AND CREATIVE PATH

Anton Grigorievich Rubinstein was born on November 16, 1829 in the village of Vykhvatintsy on the banks of the Dniester, on the border of Bessarabia (now the Moldavian SSR), into a cultured family. In the third year of his life he was transported to Moscow. His musical talent was revealed extremely early. The boy's piano lessons began under the guidance of his mother, then him. The teacher was the outstanding teacher A.I. Villuan. Rubinstein's first public performance as a pianist took place when he was not yet a full ten years old.

He spent the next few years, accompanied by Villuan, on concert tours around largest cities Western Europe. The performances of the little virtuoso evoke an enthusiastic reception everywhere. Prominent musicians listen to him, including Chopin, Liszt; the latter calls him the heir of his art. Rubinstein's first work (a short piano piece "Ondine"), published at the same time, was sympathetically noted by Schumann. After a short stay in his homeland, young Rubinstein went abroad for a second time for several years with his mother and younger brother Nikolai. He spends about two years in Berlin, where, on the advice of Mendelssohn and Meyerbeer, he takes lessons from the famous theorist Z. Dehn (with whom Glinka had previously studied).

Rubinstein's stay in Berlin (as well as in Vienna) in the second half of the 40s played a significant role in his ideological formation. The young musician came into contact with the revolutionary-minded intelligentsia, attended a literary and artistic circle in which aesthetic issues were discussed in close connection with socio-political issues. The revolutionary events in March 1848 left a deep imprint on his consciousness.
The impressions of these years laid the foundation for the progressive elements of his worldview. Upon returning to Russia, Rubinstein communicated for some time with M. Butashevich-Petrashevsky and attended meetings of his circle.

In the early 50s, Rubinstein began to actively participate in the musical life of St. Petersburg. He performs as a pianist, among other things, in University concerts, which in those years had great musical and educational significance. In them he first tries his hand as a conductor. At the same time, Rubinstein drew up a project for the Music Academy, that is, a conservatory, which did not meet with any support at that moment. The idea of ​​​​creating a higher music educational institution in Russia could only be realized ten years later.

At the same time, the composer writes a lot in various genres, including opera; in the early 50s, his first opera “Dmitry Donskoy” (“Battle of Kulikovo”) was staged.

The precariousness of his financial situation forced Rubinstein to accept the position of pianist at the court of one of the representatives of the royal family - Grand Duchess Elena Pavlovna, who played the role of a philanthropist, patron of the musical arts. The remarkable musician was acutely aware of his forced dependence on court circles, bitterly comparing his position with that of a court jester. His letters repeatedly express a passionate desire to “get away from here, from this environment” and the dream of getting the opportunity to live “independent of the grand duke’s favors.”

In the second half of the 50s, Rubinstein again spent several years abroad. “Introduce me to my works, publish them, listen to more good music, work myself...” - this is how he defined the purpose of the trip in a letter to his mother. During this trip, his friendly relationship with Liszt, whom he meets in Weimar, strengthens.

Rubinstein's activities took on the widest scope after his return to Russia in the late 50s. Changes in the socio-political situation of these years created favorable preconditions for the implementation of his long-cherished plans for the reorganization of Russian musical life.

Rubinstein understood that one of the the most important conditions Further fruitful development of Russian musical culture was the widespread dissemination of musical education. This required the creation of permanent, regularly functioning concert organizations designed for a wide audience. The implementation of this task required, in turn, numerous domestic professional musical personnel, the promotion of which was hampered by the lack of special music educational institutions in Russia. All this dictated the main activities carried out on the initiative and with active participation Rubinstein in the late 50s - early 60s.

Since the opening of the Russian Musical Society, Rubinstein has continuously conducted the society's symphony concerts for the first eight seasons. He also heads the conservatory, combining the position of director with extensive teaching work in piano, instrumentation, ensemble and orchestral classes.

The organization of the institutions created by Rubinstein and their management faced numerous difficulties in the conditions of Tsarist Russia. Overcoming these difficulties required a colossal effort of strength, which only a person of such an inexhaustible supply of will and energy as Rubinstein could be capable of. His situation was tragically complicated by the fact that he also did not find sympathy or support for his endeavors from leading Russian musicians.

Like other leading musicians, Rubinstein was guided in his activities by a progressive desire for the democratization of musical culture, an ardent desire to promote its further growth and flourishing. However, Rubinstein and his contemporaries imagined the ways for the further development of Russian music differently. Rubinstein considered the most essential and necessary condition for the progress of Russian music to be the creation of a solid foundation for professional musical education.

Rubinstein's opponents sharply opposed the conservatory he created. The latter carried, from their point of view, the danger of spreading a narrowly professional, artisanal attitude towards art and ignoring national ideological and creative tasks.

Historical correctness in this dispute was ultimately on the side of Rubinstein, and not his opponents. His struggle for professionalism was historically necessary and had enormous progressive significance. The speeches of Stasov and Serov against the professional system of music education objectively meant the approval of outdated, historically backward forms of education for musicians. At the same time, Rubinstein underestimated the most important task of the further active development of a nationally distinctive musical creativity, which was put forward as the main, leading task by the members of the Balakirev circle. This underestimation is not accidental - it was associated with some of Rubinstein’s mistakes in his views on the problem of the folk-national principle in music in general.

Limiting the scope of an expression national character only folk songs and dances, Rubinstein denied the possibility of creating nationally independent large forms of professional music, in particular opera. By this he questioned the great historical cause of Glinka and that intense struggle for further development Russian music school, which was led by the Kuchkists.

These mistakes of Rubinstein were the starting point of a negative attitude towards his musical and organizational activities on the part of his most prominent contemporaries - members of the Balakirev circle, as well as Serov. The well-known conservatism of his musical tastes also played a role in the formation of the antagonistic attitude of the largest Russian musicians towards Rubinstein. Admiring primarily the classical art of the past, he remained alien to a number of progressive innovative phenomena of our time (in particular, the work of Berlioz and Liszt, which was highly valued in Balakirev’s circle). Specified weak sides Rubinstein's aesthetics were reflected in his own work, especially in his major works. The dependence of the latter on Western models (in particular, on Mendelssohn, who was unloved by the Balakirevites), together with the inherent characteristics of many of his works common shortcomings(see below, p. 44) caused corresponding criticism of Rubinstein as a composer. The RMO's concert programs were also criticized for allegedly paying insufficient attention to the work of Russian composers.

At the same time, Rubinstein’s relations with court circles became increasingly strained. The intervention of Elena Pavlovna in musical affairs and the opposition to Rubinstein that formed among the conservatory professors with his strict attitude towards art that did not tolerate any compromises made the position of the remarkable musician more and more difficult and ultimately led to his leaving the conservatory and refusing to work at the Russian Musical Society (1867 ). Rubinstein again goes on a long concert trip abroad. The subsequent years of his life are spent in numerous performances as a pianist and (less often) conductor both in Russia and abroad. By this time, his pianistic art reaches its full flowering and maturity.

As a pianist, Rubinstein ranks among the greatest exponents of piano performance of all time. Among his contemporaries, he can be compared with only one Liszt, whose “only successor and rival” was called Rubinstein by the famous German pianist and conductor G. Bülow. “He was the most brilliant, the deepest in spirit and poetry, the most amazing pianist - one who, of course, has never been greater than his comrade and contemporary - Liszt...” Stasov wrote about Rubinstein.

The main features of Rubinstein's performing personality were his full-blooded, courageous and strong-willed nature, enormous temperament and exceptional depth of penetration into the author's concept. The general character of Rubinstein's pianism, inextricably linked with his educational activities, his appearance as a performer-speaker addressing a large audience with a passionately excited musical speech - all this was a historically new, progressive phenomenon in Russian piano performance, in contrast to what was common in the first half of the 19th century to intimate, homely or outwardly brilliant salon pianism. In numerous reviews of contemporaries about the playing of the great pianist, such definitions as “spontaneous force”, “heroic scope”, “titanicity” are constantly encountered. Along with the stunning embodiment of images of a powerful-willed, heroic, tragic nature (the performance of Beethoven’s music belonged to the greatest achievements of Rubinstein’s pianism), the area of ​​soulful lyricism and images imbued with grace and subtlety were equally close to him. Accordingly, his sound palette was multicolored, equally striking with its colossal power and the most transparent, airy sounds. Rubinstein's achievements in the art of “singing” on the piano were also exceptional. Rubinstein's remarkable cantilena and the extraordinary richness of sound colors were associated, among other things, with his special use of pedaling, characteristic only to him.

The amazing brightness of the musical images performed by Rubinstein powerfully subdued the listeners: “... It seemed as if a powerful wave of magnetism was emanating from him, and he was applauded, because the audience could not help but applaud. He mastered it with authority and determination,” recalled one of his contemporaries. S. V. Rachmaninov, a remarkable successor of Rubinstein’s traditions in Russian pianism, who heard him in his youth, wrote: “In my opinion, not a single modern pianist even comes close to the great Rubinstein.”

The scope inherent in Rubinstein's nature was also reflected in the external scale of his pianistic performing activity. This is, for example, his trip to America in the 70s (together with the famous violinist and composer G. Wieniawski), where they gave over 200 concerts over 8 months. The most grandiose undertaking of Rubinstein as a performer was the cycle of “Historical Concerts” he conducted in the mid-80s. This cycle consisted of seven concerts demonstrating the development of piano music from its origins in late XVI - early XVII centuries before modern times. The program of the last concert included works by Russian composers - Glinka, the Kuchkists, Tchaikovsky, Lyadov and Rubinstein himself. The series of “Historical Concerts”, held in parallel in St. Petersburg and Moscow, was then repeated in a number of major Western European cities, twice - with an entrance fee for the general public and free for students. This cycle, unheard of in scale in world concert practice, testified not only to the breadth of the brilliant pianist’s repertoire, but also to his extraordinary tirelessness and energy, at the same time vividly characterizing him as a musician-educator.

After performing with the “Historical Concerts,” Rubinstein carried out something similar, but for a narrower audience: he taught a course in the history of piano literature at the conservatory in two academic seasons, especially for students and teachers. The performance of the works was preceded by verbal explanations from Rubinstein himself, which contained many apt and deep observations and thoughts. At the end of the 80s, Rubinstein again took over the leadership of the St. Petersburg Conservatory for several years (1887-1891). During this period, a number of his new projects appeared, aimed at the further development of Russian musical culture. Of Rubinstein's plans, only the international competition of pianists and composers established by him and named after him was realized. Funds for the first competition (held in 1890) were donated by him from the amounts collected from the “Historical Concerts”.

In the last years of his life, after holding the “Historical Concerts,” the great pianist almost completely abandoned concert activities, performing only occasionally for charitable purposes. During his secondary directorship, Rubinstein managed to get the tsarist government to provide the old St. Petersburg building for the conservatory. Bolshoi Theater. Perestroika began during Rubinstein's lifetime, one of latest works which was the overture to the opening of the new conservatory building. However, he did not have to wait for this event: the move of the conservatory to new premises (which it still occupies) occurred after the death of its founder, which suddenly occurred on the night of November 8, 1894 at his dacha in Peterhof (in the vicinity of St. Petersburg).

The creative heritage of A. Rubinstein, numbering 119 opuses (not counting numerous works that do not have the opus designation), covers almost everything musical genres Despite this enormous productivity of the composer, his work, however, is very unequal in its artistic significance.

Rubinstein's best works are distinguished primarily by great emotional richness and melodic expressiveness. He was most successful in the area of ​​lyricism, as well as colorful images of an oriental character. However, despite a number of valuable qualities, creative heritage Rubinstein for the most part turned out to be unviable - only relatively few works have retained the power of influence to this day. Creating a lot and quickly, the composer was not inclined to achieve a thoughtful, thorough finishing of his works. Rubinstein's music often suffers from monotony of texture. Its orchestration is uncharacteristic and devoid of colorfulness. The unevenness of musical and artistic content is especially noticeable in works of large scale - operas, oratorios, and large instrumental forms.

Rubinstein's musical style combined various elements. One of its origins was Russian urban romance-song and instrumental everyday music. The intonations of peasant song, which were of significant importance for most Russian composers, were not characteristic of Rubinstein’s musical language. In Rubinstein's attraction to the musical East one can see his connection with one of the characteristic traditions of Russian music, dating back to Glinka. Of the representatives of Western European musical art, Rubinstein was internally closest to Schumann (especially in romance lyrics) and Mendelssohn, to whom the composer's oratorios and major instrumental works are largely similar in style.
Rubinstein's operatic work is very diverse in themes and genres. The genre of lyrical opera that most suited his talent, the best example of which is “The Demon” - the brightest and popular work Rubinstein.

Among the composer's major instrumental works, the most famous in its time was the programmatic Second Symphony "Ocean". Rubinstein also created several one-movement program symphonic works (“Don Quixote”, “Ivan the Terrible”). His best achievements in the field of instrumental music include the Fourth Piano Concerto, which is still performed today. During the composer’s lifetime, a number of his small works gained great popularity among wide circles of music lovers. piano works and romances. In these genres, Rubinstein's connection with existing intonations was most clearly revealed and the strengths of his talent were revealed - lyricism and the associated dominance of the melodic principle.

Theater and music news

July 11 marked fifty years since A. G. Rubinstein first appeared before the public as a pianist. A. G. Rubinstein himself made a note about the year and day of his birth in the Album of M. I. Semevsky (published in 1888). He wrote down: "Born November 18, 1829." Rubinstein was born in the Kherson province, in the village of Vykhvatinets, near the city of Dubossary, into a poor Jewish merchant family, and as a child was transported to Moscow.

Rubinstein spent his childhood in this city, where his father, Grigory Abramovich Rubinstein, owned a pencil factory. The latter died forty years ago; Rubinstein’s mother, Kaleria Khristoforovna, still lives in Odessa; she is now 78 years old. She was the first to notice musical talent in little Anton, who, while still a five-year-old boy, sang all sorts of tunes quite correctly. Mrs. Rubinstein taught him jokingly at first, and taught him a 1½-year-old child. He received his further musical education under the guidance of A. I. Villuan, who taught him until he was 13 years old. As a ten-year-old boy, he first performed publicly in the outskirts of Moscow, in the hall of Petrovsky Park, in a charity concert organized by the late Willuan, Rubinstein’s only piano professor. Allegro from Hummel's Concerto A-moll, Liszt's Chromatic Gallop, Thalberg's Fantasia, etc. indicate that a ten-year-old boy, even at his small age, has already achieved the very significant virtuosity required by these plays. A.I. Villuan died not so long ago - at the end of the seventies. After the first concert, Rubinstein passionately devoted himself to music, and in 1840, as a ten-year-old boy, he went with Villuan to Paris. Among the musicians, Franz Liszt and Chopin paid him special attention; then Villuan and his student traveled all over Europe and visited all the courts. This overseas journey lasted about three years. At the same time, Rubinstein did not abandon his studies of music theory, which Dehn taught him in Berlin. Rubinstein returned to Russia in 1846, and since then he can be called a permanent resident of St. Petersburg, with the exception, of course, of his frequent concert excursions. Until 1862, Rubinstein traveled abroad quite rarely. Finally, in 1862, Grand Duchess Elena Pavlovna invited him to contribute to the success of the founding of the Russian Musical Society and Conservatory, of which Anton Grigorievich was the director until 1867, and where he also proved himself to be an excellent administrator. Having recruited a good staff of professors and transferred the business of directorship into reliable hands, Anton Grigorievich left the conservatory in 1867 and devoted himself to purely artistic, concert activities.

Almost every year he gave concerts abroad, and all of them were accompanied by enormous success, especially his trip to the United States in 1872-1873 is famous; throughout his stay there he served as the subject of universal surprise and genuine delight. Upon his arrival from America, Rubinstein devoted himself primarily to composition and individual concerts in Russia for the next ten years, and then undertook a final musical journey in the winter of 1885-1886 through the capitals of Europe, when he played by heart hundreds of the best piano works of composers of the last three centuries. Rubinstein gave these historical concerts in Moscow, St. Petersburg, Vienna, Berlin, Leipzig, Paris, Brussels and London. Not to mention the delight that was caused by the extraordinary performance, the virtuoso’s memory aroused surprise, since all the pieces were played by the pianist by heart. He was a huge success everywhere, and musical Vienna especially honored Rubinstein, giving a magnificent banquet in his honor. The last virtuoso feat of the hero of the day can be considered his lectures on piano literature, which took place during the last academic course of 1888-89 and were completely intimate and at the same time scientific in nature. In these lectures, Rubinstein introduced young listeners to almost all piano literature, starting with the era of its first experiments and bringing it up to the present time.

But the activities of the brilliant virtuoso were not limited to A. G. Rubinstein. Having started composing at the age of eleven, he wrote more than a hundred works for piano and orchestra, including 21 operas, 2 oratorios, 6 symphonies, 5 piano concertos, a lot of trios, quartets, quintets, sonatas, etc. In addition, he wrote more 100 romances, a lot of piano salon pieces, choruses, overtures and symphonic poems. Rubinstein as a composer has become especially famous over the past few years, after his symphonic paintings “John the Terrible” and “Don Quixote”. Rubinstein is especially good at oriental music. He developed many oriental motifs and, as they say, brought them to the light of God. In 1879, Rubinstein completed the opera "Merchant Kalashnikov". His opera “The Demon” was given for the first time in Moscow in the same 1879, in October, and in 1884 the hundredth performance of this opera took place in St. Petersburg: Rubinstein himself conducted. In the same year, his opera Nero was performed on the stage of the Imperial Italian Opera. He is currently cumming, as Novoye Vremya reports, new opera entitled "Hop Night", with a libretto by Mr. Averkiev.

One cannot pass over in silence the qualities of A. G. Rubinstein as a teacher. Leading the conservatory, he sets an example ideal relationship to art, he knows how to inspire students with energy for work, a thirst for knowledge, and a love for art. In addition to all this, Rubinstein is known as an excellent conductor. Having been the conductor of concerts of the Russian Musical Society for 7 years, he introduced the St. Petersburg public to Berlioz, Liszt and Schumann, so his merits in this regard are very significant. One cannot ignore in silence the services that A. G. Rubinstein provided to Russian art by founding the Russian Musical Society in 1859, and the conservatory of this Society in 1862. For five years from its founding, he was the director of this conservatory and since 1887 he was again called upon to manage his brainchild.

It remains to add that Anton Grigorievich, as a person, is very much loved for his direct character, unselfishness and love for his neighbor. The funds collected by Mr. Rubinstein through concerts for charitable purposes amount to hundreds of thousands of rubles. All this taken together gives the right to assume that the celebration of the fifty years of activity of the famous composer and virtuoso, postponed to November 18, his birthday, will take on grandiose proportions. At least not only Russia, but the entire music world. As far as is known, the appeal of the committee for organizing the festival to various musical institutions in both Russia and other countries aroused general sympathy. Professors and teachers of the conservatory donated the amount of 4,000 rubles for a scholarship named after the hero of the day. In addition, former students who completed a course at the St. Petersburg Conservatory under A. G. Rubinstein were invited to compose cantatas based on poems written for the upcoming celebration. All composers who were educated at the Conservatory are preparing an album of their compositions as a gift to A.G. Rubinstein. IN different cities Russia is organizing signatures to collect donations for the same purpose. The Directorate of the Russian Musical Society presents a catalog album consisting of illustrations made the best artists and at the same time decorated with themes from the works of A. G. Rubinstein, located in chronological order. In all likelihood, the celebration will break up over several days, since it is planned to hold a ceremonial meeting in the Assembly of the Nobility, a meeting at the Conservatory, give a concert from the works of the hero of the day, in which all choral societies of St. Petersburg will take part, under the direction of P. I. Tchaikovsky, and, in addition, In addition, to present Rubinstein’s new opera, “Goryusha,” on the Imperial Opera stage for the first time.

("Russian Antiquity", 1890, book 1, p. 242).

Towards the death of A. G. Rubinstein

The burial of the body of the deceased pianist-composer A. G. Rubinstein is scheduled for November 18, “the birthday of the deceased,” as St. Petersburg newspapers report. But this date of A. G. Rubinstein’s birthday is not correct. Based on his autobiographical memoirs, which he published five years ago in “Russian Antiquity” (1889, No. 11), the birthday of the late composer should be recognized as November 16, 1829. Beginning his memoirs, A. G. Rubinstein says the following verbatim:

“I was born in 1829, November 16, in the village of Vykhvatinets, on the border of Podolsk province and Bessarabia, on the banks of the Dniester River. The village of Vykhvatinets is located about thirty versts from the city of Dubossary and fifty versts from Balta.

Until now, I did not know exactly not only the day, but also the year of my birth; This was the mistake of the testimony of my elderly mother, who forgot the time of my birth; but according to the latest documentary information, it seems beyond doubt that November 16, 1829 is the day and year of my birth, but since I have celebrated my birthday on the 18th all my life, already in my seventh decade there is no need to move my family holiday; let it remain on November 18.”

The late composer, therefore, at his own request, considered November 18 as his family holiday. But for history, November 16, 1829 should be considered the birthday of A. G. Rubinstein.

("Moskovskie Vedomosti", 1894, No. 309).

AND I.<D. D. Yazykov>

Bibliography

Romance "Desire".

"Miscellanions" - a collection of piano works (1872).

Memoirs ("Russian Antiquity", 1889, book 11, pp. 517-562). Anton Rubinstein's Gedankenkorb (Leipzig, edited by Hermann Wolf, 1897).

Thoughts and aphorisms. Translation from German by N. Strauch. Published by G. Malafovsky. St. Petersburg, 1904.

About him:

"Galatea", part I, no. 6, p. 486-487; Part IV, No. 29, p. 205-206 (1839).

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"Mayak", 1814, parts 19-21, department. V, p. 74.

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"St. Petersburg Gazette", 1844, No. 58 and 66.

"Moskovskie Vedomosti", 1847, No. 149.

"Illustration", 1848, No. 16, p. 248-249.

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"Sunday Leisure", 1866, No. 162.

"Modern Chronicle", 1868, No. 34 (article by G. A. Laroche).

"World Illustration", 1870, No. 55.

"Niva", 1870, No. 32.

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"Musical Dictionary" by P. D. Perepelitsyn. M., 1884, p. 306-307.

"Russian Antiquity", 1886, book. 5, p. 440-441 (“Memoirs” by I. M. Lokhvitsky).

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"New Time", 1894, No. 6717-6727, 6729, 6743 with illustrations. appendices to No. 6720 and 6727.

"Russian Thought", 1894, book. 12, dept. II, p. 267-271.

"Russian Review", 1894, book. 12, p. 971-986.

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"The Observer", 1895, book. 3, p. 96-122.

Sofia Kavos-Dekhtereva. A. G. Rubinstein. Biographical sketch and musical lectures (course of piano literature, 1888-1889). St. Petersburg, 1895, 280 pp., with two portraits and 35 musical examples.

"Yearbook of the Imperial Theatres", season 1893-1894, p. 436-446 (G. A. Larosha).

"Bulletin of Europe", 1894, book. 12, p. 907-908.

"Russian Bulletin", 1896, book. 4, p. 231-242.

"A. G. Rubinstein in his spiritual operas" ("Musical Newspaper", 1896, September, article by A. P. Koptyaev).

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"Moskovskie Vedomosti", 1898, No. 128, 135.

"Historical Bulletin", 1899, book. 4, p. 76-85 (M. A. Davidova).

Catalog of the A. G. Rubinstein Museum. With portrait and a photo. for 4 departments sheets. St. Petersburg, 1903.

"Moskovskie Vedomosti", 1904, No. 309, 322, 324 ("In Memory of Rubinstein" by Adelaide Gippius).

"Russian Gazette", 1904, No. 303, 311.

Manykin-Nevstruev N. To the 10th anniversary of the death of A. G. Rubinstein, with portrait, 1904.

"Russian Bulletin", 1905, book. 1, p. 305-323 (M. Ivanova).

"Russian Antiquity", 1909, book. 11, p. 332-334 (Memoirs of Yulia Fedorovna Abaza).

N. Bernstein. Biography of A. G. Rubinstein (Universel Bibliothek, 1910).

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"Russian Word", 1914, No. 258 (Memoirs of N.D. Kashkin).

Rubinstein, Anton Grigorievich

Russian composer and virtuoso, one of the greatest pianists XIX century. Genus. November 16, 1829 in the village of Vikhvatinets, in Bessarabia. He studied first with his mother, then with Villuan, a student of Field. According to R., Villuan was a friend and a second father to him. At the age of nine, R. had already performed publicly in Moscow, in 1840 - in Paris, where he impressed such authorities as Aubert, Chopin, Liszt; the latter named him the heir to his game. His concert tour in England, the Netherlands, Sweden, and Germany was brilliant. In Breslavl, R. performed his first composition for piano, “Ondine.” In 1841 R. played in Vienna. From 1844 to 1849 R. lived abroad, where his mentors were the famous contrapuntist Dehn and the composer Meyerbeer. R. Mendelssohn treated the young man extremely warmly. Returning to St. Petersburg, he became head of music at court Grand Duchess Elena Pavlovna. A series of his piano pieces and the opera “Dmitry Donskoy” date back to this time. 1854-1858 R. spent abroad, giving concerts in Holland, Germany, France, England, and Italy. At the end of the 50s, music classes were set up in the palace of Grand Duchess Elena Pavlovna, in which Leshetitsky and Wieniawsky taught and concerts were held under the direction of R., with the participation of an amateur choir. In 1859, R., with the assistance of friends and under the patronage of Grand Duchess Elena Pavlovna, founded the Russian Musical Society (see). It was opened in 1862 School of Music", which in 1873 received the name of the Conservatory (see). R., appointed its director, wished to take the exam for the diploma of a free artist of this school and was considered the first to receive it. Since 1867, R. again devoted himself to concert and intensive composing activities. Particularly brilliant success was accompanied by his trip to America in 1872. Until 1887, R. lived either abroad or in Russia. From 1887 to 1891 he was again the director of the St. Petersburg Conservatory. His public musical lectures date back to this time (32 in number, from September 1888 to April 1889) In addition to the brilliant transmission of piano works by authors of all nationalities, from the 16th century to modern ones, R. gave an excellent essay at these lectures historical development music, recorded from the words of the lecturer himself and published by S. Kavos-Dekhtyareva. Another recording was published by C. A. Cui, under the title “History of Literature of Piano Music” (St. Petersburg, 1889). During the same period of time, public concerts arose, on R.’s initiative. The lectures mentioned were preceded in 1885-86. historical concerts given by R. in St. Petersburg and Moscow, then in Vienna, Berlin, London, Paris, Leipzig, Dresden, Brussels. In 1889, the half-century anniversary of R.'s artistic activity was solemnly celebrated in St. Petersburg. After leaving the conservatory, R. again lived either abroad or in Russia. He died in Peterhof on November 8, 1894 and was buried in the Alexander Nevsky Lavra.

As a virtuoso pianist, he had no rivals. Finger technique and the development of hands in general were for R. only a means, a tool, but not a goal. An individual deep understanding of what was being performed, a wonderful, varied touch, complete naturalness and ease of performance lay at the heart of the playing of this extraordinary pianist. R. himself said in his article “Russian Music” (“Vek”, 1861): “reproduction is the second creation. He who has this ability will be able to present a mediocre composition as beautiful, giving it shades of his own image; even in the works of a great composer he will find effects that which he either forgot to point out or didn’t think about.” R.'s passion for writing gripped him when he was 11 years old. Despite the insufficient appreciation of R.'s compositional talent by the public and partly by criticism, he worked hard and hard in almost all types of musical art. The number of his works reached 119, not counting 12 operas and a considerable number of piano pieces and romances not labeled as opus. R. wrote 50 works for piano, including 4 piano concertos with orchestra and a fantasy with orchestra; then there are 26 works for concert singing, solo and choral, 20 works in the field of chamber music (sonatas with violin, quartets, quintets, etc.), 14 works for orchestra (6 symphonies, musical character paintings “Ivan the Terrible”, “Don -Quixote", "Faust", overtures "Antony and Cleopatra", concert overture, solemn overture, dramatic symphony, musical picture "Russia", written for the opening of an exhibition in Moscow in 1882, etc.). In addition, he wrote concerts for violin and cello and orchestra, 4 spiritual operas (oratorios): “Paradise Lost”, “Tower of Babel”, “Moses”, “Christ” and one biblical scene in 5 scenes - “Shulamith”, 13 operas: “Dmitry Donskoy or “Battle of Kulikovo” - 1849 (3 acts), “Hadji Abrek” (1 act), “Siberian Hunters” (1 act), “Fomka the Fool” (1 act), “Demon” " (3 acts) - 1875, "Feramors" (3 acts), "Merchant Kalashnikov" (3 acts) - 1880, "Children of the Steppes" (4 acts), "Maccabees" (3 acts) - 1875 ., "Nero" (4 acts) - 1877, "Parrot" (1 act), "At the Robbers" (1 act), "Goryusha" (4 acts) - 1889, and the ballet "The Grapevine". Many of R.'s operas were performed abroad: "Moses" - in Prague in 1892, "Nero" - in New York, Hamburg, Vienna, Antwerp, "Demon" - in Leipzig, London, "Children of the Steppes" - in Prague , Dresden, "Maccabees" - in Berlin, "Feramors" - in Dresden, Vienna, Berlin, Konigsberg Danzig, "Christ" - in Bremen (1895). IN Western Europe R. enjoyed the same attention, if not more, as in Russia. R. donated many tens of thousands to good causes through his charity concerts. For young composers and pianists, he organized competitions every five years in different musical centers of Europe, using interest from the capital allocated to them for this purpose. The first competition was in St. Petersburg, chaired by R., in 1890, the second in Berlin, in 1895. Teaching was not R.’s favorite pastime; nevertheless, Cross, Terminskaya, Poznanskaya, Yakimovskaya, Kashperova, Golliday came from his school. As a conductor, P was a profound interpreter of the authors he performed and, in the early years of the Russian musical society's concerts, a promoter of everything beautiful in music. R.'s main literary works: "Russian Art" ("Century", 1861), an autobiography published by M. I. Semevsky in 1889 and translated into German ("Anton Rubinstein's Erinnerungen", Leipzig, 1893) and " Music and its representatives" (1891; translated into many foreign languages).

See "A.G.R.", biographical sketch and musical lectures by S. Kavos-Dekhtyareva (St. Petersburg, 1895); "Anton Grigorievich R." (notes to his biography of Dr. M. B. R-ga., St. Petersburg, 1889; ibid., 2nd edition), “Anton Grigorievich R.” (in the memoirs of Laroche, 1889, ib.); Emil Naumann, "Illustrirte Musikgeschichte" (B. and Stuttgart); B. S. Baskin, "Russian composers. A. G. R." (M., 1886); K. Haller, in Nos. 721, 722, 723 of “World Illustration” for 1882; Albert Wolff, "La Gloriole" ("Mémoires d"un parisien", P., 1888); "The upcoming 50th anniversary of the artistic activity of A. G. R." ("Tsar Bell"); "To the 50th anniversary A. G. R.", Don Mequez (Odessa, 1889); "A. G. R." (biographical sketch of H. M. Lissovsky, "Musical Calendar-Almanac", St. Petersburg, 1890); Riemen, "Opera-Handbuch" (Leipzig, 1884); Zabel, "Anton Rubinstein. Ein Künsterleben" (Leipzig, 1891); "Anton Rubinstein", in the English magazine "Review of Reviews" (No. 15, December 1894, L.); "A. G. R.", article by V. S. Baskin ("Observer", March, 1895); M. A. Davidov, "Memories of A. G. R." (St. Petersburg, 1899).

(Brockhaus)

Rubinstein, Anton Grigorievich

Anton Grigorievich Rubinstein.

The greatest pianist outstanding composer and public figure; born in 1829 in the village of Vykhvatintsy, on the border of Podolsk and Bessarabia provinces, in a tavern where his mother stopped on the way; died in 1894 in St. Petersburg. R.'s ancestors belonged to the wealthy Jewish intelligentsia of the city of Berdichev. When R. was one year old, his grandfather (a good Talmudist; his portrait is in the R. museum at the St. Petersburg Conservatory), having gone bankrupt, converted to Christianity along with his children and grandchildren. In 1834, R.'s father and his family moved to Moscow. R.'s first teacher was his mother, who began teaching her son to play the piano when he was six years old. Eight years old, R. went to the best Moscow pianist at that time, A. I. Villuan. In his tenth year, he performed publicly for the first time in a charity concert and with success, which sealed his artistic future. Towards the end of 1840, R., together with Villuan, went to Paris, where he performed in concerts and met Chopin, Liszt, Vieuxant and others. On the advice of Liszt, who called R. “the successor of his game,” Villuan toured Europe with his student. Everywhere R.’s performances were accompanied by exceptional success, so that the Philharmonic Society in Berlin elected him as an honorary member, and the publisher Schlesinger published his first sketch “Ondine”, 1842. When Villuan considered his task completed and stopped studying with R., R.’s mother. went with him and his youngest son Nikolai (q.v.) to Berlin, where R. studied with the famous contrapuntist Den. R. met Mendelssohn and Meyerbeer here. The influence of these musicians had a beneficial effect on artistic direction R. Since 1846, R. begins an independent life, moves to Vienna, where he had success shortly before, hoping to find support here. But hopes for Liszt and high-ranking officials were not justified. Liszt said that in order to become a great man, one must rely only on one’s own strength and prepare for difficult trials. For two years, R. had to live from hand to mouth, go to penny lessons, and sing in churches. And here the 17-year-old boy strengthened his character and gained worldly experience. At the end of R.'s stay in Vienna, his situation improved somewhat thanks to Liszt's unexpected help. After a successful concert trip to Hungary, R. returned to Russia. At the beginning of his St. Petersburg life, R. devoted himself entirely to teaching and creative work. Of the operas he wrote, “Dmitry Donskoy” was first staged (in 1852), which was not successful, and then “Fomka the Fool” (in 1853), which was even less successful. Despite the failures, these performances brought forward R. From 1854 to 1858, R. traveled around Europe, giving concerts with great success; he also performed his own compositions. Over the years, R. managed to create many works. Among them are operas, symphonies, poems and piano pieces. With Rubinstein's return to his homeland in 1858, a fruitful period in his activity began, which played a historical role in the musical life of Russia. Before him, amateurism reigned in Russia, and musical activity was the lot of a small group of people. The musical societies that existed in limited numbers eked out a miserable existence. There were no professional musicians, and there were no institutions at all to promote musical education and the arts. With the assistance of Grand Duchess Elena Pavlovna and prominent public figures, Russia succeeded in establishing the “Russian Musical Society” in St. Petersburg in 1859 and its music classes, which three years later turned into a conservatory. R. was elected its first director, and he was the first to receive the title of “free artist” after an exam at the conservatory. He taught piano, theory, instrumentation and taught choral, orchestral and ensemble classes at the conservatory. Despite his busy activities, R. finds time for creative work, and for performing as a virtuoso. After leaving the conservatory in 1867, R. again devoted himself to concert activities, mainly abroad. His artistic maturity reached its peak at this time. As a pianist, he won first place among the most outstanding representatives of the fort. art, and as a composer attracted everyone's attention. During this period he created best works: operas "The Demon", "Theramors", "Maccabees", "Merchant Kalashnikov" and the oratorio "Babylonian Pandemonium". Among the concert travels of the 1872-73 season, noteworthy was the trip to America with Wieniawski (q.v.), where 215 concerts were given over eight months, with enormous success. In 1882, R. returned to the conservatory, but soon left it again. In 1887, R. was invited for the third time to become the director of St. Petersburg. conservatory (until 1891). Since 1887, R. gave concerts exclusively for charity. goals. As a pianist, in terms of the subtlety, nobility, inspiration, depth and spontaneity of his performance, R. is the greatest master of all times and peoples. He did not convey the work, but by reproducing it, he created again, penetrating into the spiritual essence of the author. As a composer, he undoubtedly belongs to the outstanding creators of the 19th century. He did not create either a school or a new direction, but of all that he wrote, much in the field of vocal and piano creativity should be considered among the best examples of world literature. In the area of ​​oriental coloring, R. has a special place. Here he is remarkable and at times achieves brilliant results. The best works in this area are those in which the Jewish soul of R. was revealed. It is enough to list a number of numbers from his “Maccabees”, “Shulamith”, choruses of Semites and Hamites from “Babylonian Pandemonium”, “Persian Songs”, very characteristic in their turns and harmony , in order to confidently classify them as purely Jewish tunes. In this area, R.'s creative image was more fully and clearly outlined and his Jewish origin and worldview were more clearly expressed. Quite curious is his attraction to “spiritual operas,” which he wrote mainly on biblical subjects. His cherished dream there was a creation special theater for these operas. He turned to representatives of the Parisian Jewish community with a request to provide financial support for the implementation of his idea, but, ready to fulfill his desire, they did not dare to initiate this matter. In 1889, on the day of the 50th anniversary of R.’s artistic activity, he was presented with a heartfelt address from the “Office for the Spread of Education among the Jews,” of which he was a member almost from the founding. R. maintained the most sincere relationships with many Jews. He was in great friendship with a number of Jewish writers (Yu. Rosenberg, R. Lowenstein, S. Mosenthal); Among his Berlin friends, the writer Auerbach, the violinist Joachim and the critic G. Ehrlich stand out. R.'s first publisher was the Jew Schlesinger, and from the famous musical figure Singer R. used instructions regarding the sources of Hebrew. tunes for the opera "The Maccabees". As a person, as a public figure, R. was of rare purity and nobility. He treated all people equally, regardless of origin and position. He did not like compromises and walked towards his goal directly and energetically. In memory of R., a museum named after him was opened in St. Petersburg in 1900. conservatory; A marble statue of him was erected there in 1902, and on the site of the house in Vykhvatintsy in which he was born, a stone building was built and a public school named after him was opened in 1901 with intensive music teaching. Peru R. owns newspaper articles reprinted in Kavos-Dekhtereva’s book “Music and Its Representatives” “Thoughts and Notes”, and an autobiography published in “Russian Antiquity” (1889, No. 11).

D. Chernomordikov.

(Heb. enc.)

Rubinstein, Anton Grigorievich

Brilliant pianist, wonderful composer and promoter of music education in Russia, b. November 16, 1829 in the village. Vykhvatintsy, near the city of Dubossary (Baltic district, Podolsk province); mind. from heart palsy on November 8, 1894 in St. Peterhof (near St. Petersburg), at his dacha. His father, a Jew by birth, who was baptized when Anton was one year old, rented land near Vykhvatintsy, and in 1835 moved with his family to Moscow, where he bought a pencil and pin factory; mother, nee Lowenstein (1805-1891), originally from Silesia, an energetic and educated woman, was a good musician and the first teacher of her son, whom she began to teach to play the fp. from 6½ years old. At the age of eight, R. became a student of Villuan, with whom he studied until the age of 13 and after which he had no more teachers. At the age of 10 (1839), R. performed for the first time in Moscow in a charity concert. At the end of 1840, Villuan took him to the Paris Conservatory; For some reason, R. did not enter the conservatory, but he successfully played in concerts in Paris, met Liszt, who called him “his successor,” with Chopin, Vieutang, and others. On Liszt’s advice, R. went to Germany, through Holland , England, Sweden and Norway. In all these states, and then in Prussia, Austria and Saxony, R. played with no less success in concerts and at courts. The same thing happened in St. Petersburg, where R. and his teacher arrived in 1843, after 2½ years abroad. R. studied with Villouin in Moscow for another year; In 1844, his mother took him and his youngest son Nikolai (q.v.) to Berlin to give them a general education there and provide them with the opportunity to seriously study music theory. R. studied theory under the leadership of Dehn in 1844-46; at the same time, together with his brother, he often visited Mendelssohn and Meyerbeer, who had a considerable influence on him. 1846, after the death of her husband, R.’s mother returned to Moscow, and he himself moved to Vienna. Here R. lived from hand to mouth, sang in churches, gave penny lessons. His 1847 concert had little success. However, later, thanks to Liszt’s help, his position in Vienna improved. R.'s concert trip with the flutist Heindel in Hungary in 1847 was a great success; both were planning to go to America, but Den dissuaded R., and he returned to Russia in 1849, and the chest with manuscripts of his compositions was taken away by suspicious people as a result of the customs revolution. officials and died (R.'s first published work - the piano etude "Ondine" - evoked a sympathetic review from Schumann in his newspaper). R.'s opera "Dmitry Donskoy" (1852) was performed in St. Petersburg. little success, but V. drew attention to it. K. Elena Pavlovna, at whose court R. became a close person, which later made it easier for him to work on planting music. education in Russia. At her own request, R. wrote a number of one-act operas (see below). In 1854-58 R. gave concerts in Germany, France, England and Austria. Upon returning to Russia in 1858, R., together with V. Kologrivov (see), began the efforts to open the R. M. O.; the charter was approved in 1859 and since then the Society has developed unusually, being currently the main focus of pedagogical and art music. activities in Russia. The O-va concerts were managed by R.; he also became director of the conservatory, founded in 1862 under the Society, for which purpose at will passed the exam in music theory and playing the fp. for the title of “free artist” (the examination “jury” consisted of Bakhmetyev, Tolstoy, Mauer, K. Lyadov, etc.). R. taught piano playing and instrumentation at the conservatory, taught ensemble, choral and orchestral classes, and in general devoted all his energy to the Society. In 1867, R. left the conservatory because he did not find sympathy in the directorate for his demand for a more strict selection of students; even before this (1865) he married Princess V. A. Chekuanova. Leaving the conservatory, R. devoted himself to concert activities abroad, sometimes coming to Russia. Season 1871-72 R. conducted symphony concerts of music. society in Vienna; within 8 months of 1872-73, R. gave, together with G. Wieniawski, 215 concerts in the North. America, for which he received about 80,000 rubles from the entrepreneur; R. never decided on such trips again: “there is no place for art here anymore, this is factory work,” he said. Upon returning from America, R. intensely devoted himself to composition; many of R.'s operas were staged for the first time and many times abroad before coming to Russia (see below). He was also the initiator of “spiritual opera,” that is, opera based on biblical and evangelical subjects, which before him were interpreted only in the form of an oratorio, not intended for the stage. Neither abroad, nor especially in Russia, R. was able, however, to see his “spiritual operas” on stage (for exceptions, see below); they are performed in the form of oratorios. At the same time, R. did not leave concert activities; Of the several concerts given in any city, one was mostly devoted to charitable purposes. In his travels, R. traveled all over Europe, except Romania, Turkey and Greece. In 1882-83 R. was again invited to manage the concerts of I.R.M.O.; at the last concert he was presented with an address from the public, where about 6,500 signatories recognized him as the head of music. affairs in Russia. In 1885-86, R. undertook a long-planned series of “historical concerts.” In St. Petersburg, Moscow, Berlin, Vienna, Paris, London, Leipzig, Dresden and Brussels they were given 7 (in the last 2 cities 3) concerts, in which outstanding performances were performed piano works of all times and peoples. In each city the complete series of concerts was repeated free of charge for students and insufficient musicians. Part of the funds raised by these concerts went to the establishment of the Rubinstein Competition. In 1887, R. was again invited to become the director of St. Petersburg. conservatory, but in 1891 he left the conservatory for the same reasons as the first time. 1888-89 gave a one-of-a-kind course on the history of piano literature for high school students, accompanied by the performance of about 800 pieces. R. was also the organizer and conductor of the first in St. Petersburg. public concerts (1889, I.R.M.O.). Since 1887, R. did not give concerts in his own benefit, but performed only for charitable purposes; The last time he played in a concert for the benefit of the blind in St. Petersburg. in 1893. Teaching activities did not enjoy R.'s special sympathy. He willingly studied only with gifted students who had completed preliminary school. His students include: Cross, Terminskaya, Poznanskaya, Kashperova, Golliday, I. Hoffman and others. In 1889 (November 17-22), all educated Russia celebrated with unusual solemnity in St. Petersburg. 50th anniversary of R.’s artistic activity (greetings from more than 60 deputations, about 400 telegrams from all over the world, an anniversary act of the conservatory, concerts and an opera performance from R.’s works, etc.; a medal was knocked out in his honor, a fund was collected in his name and etc.). R. is buried in the Alexander Nevsky Lavra. In 1900 at St. Petersburg. The conservatory opened a museum named after R. (manuscripts, all kinds of publications, portraits, busts, letters, etc.). In 1901 in the village. In Vykhvatintsy, a 2-class M.N.P. school named after R. was opened, with intensive music teaching. In 1902 in St. Petersburg. A marble statue of R. was erected at the conservatory. Biographies of R. are written in English. Al. M "Arthur" (London 1889), in it. V. Vogel ("A. R.", Leipzig 1888), V. Zabel (Leipzig, 1892) and E. Kretschmann (Leipzig, 1892), in French A. Soubies (Paris , 1895); Russian publications: V. Baskin, "A.G.R." (SPb., 1886), N. Lisovsky, "A.G.R." (SPb., 1889), Zverev, "A.G.R." (Moscow, 1889), N. Lisovsky, "A.G.R." ("Musical calendar-almanac for 1890"; with a list of works attached, etc.), S. Kavos-Dekhtyareva, "A.G.R." (St. Petersburg, 1895; with the appendix of R.’s musical lectures and others), collection “A. G. R. 50 years of his musical activity” (St. Petersburg, 1889). R.'s autobiographical memoirs are very interesting ("Russian Antiquity" 1889, No. 1]; separate edition with the appendix of the memoirs of Laroche, R. et al., 1889). See also J. Rodenberg "Meine Erinnerungen an A. R." (1895), anniversary catalog of R.'s works (published by Senf, Leipzig, 1889) and a catalog compiled by V. Baskin in St. Petersburg; "Catalogue of the St. Petersburg Museum named after A. G. R." (1902; not compiled carefully enough, but contains a lot of interesting data), Cui, “History of Piano Literature” (course R., St. Petersburg, 1889; from “Week”, 1889). Literary works R.: several newspaper articles about the conservatory, spiritual opera, etc. [reprint. in the book by K.-Dekhtyareva]; “Music and Its Representatives” (1892 and later; translated into German and English; a very interesting book that characterizes R.); "Gedankenkorb" (posthumous ed. 1897; "Thoughts and Notes").

Next to Liszt, R. is one of the greatest pianists who have ever existed. His repertoire included everything of any interest that had ever been written for FP. R.'s technique was colossal and comprehensive, but the distinctive and main feature of his playing, which gave the impression of something spontaneous, was not so much brilliance and purity as the spiritual side of the transfer - a brilliant and independent poetic interpretation of works of all eras and peoples, and again after all, not so much attention was paid to the careful grinding of parts, but rather to integrity and strength general concept. The latter also characterizes the work of R. He has works or parts of works that are weak, but there are almost no pages that are tortured. He is sometimes not strict enough with himself, is watery, is content with the first thought that comes his way, develops it too sketchily, but this development is distinguished by the same ease and spontaneity as in his best essays . It is not surprising that with such qualities, R.’s uneven creativity was unusually prolific and versatile; There is almost no area of ​​the composition untouched by him, and pearls are found everywhere. R. cannot be attributed to any particular school; at the same time he had talent. not original enough to create his own school. Like his student Tchaikovsky, R. is an eclectic, but only of a more conservative shade. The Russian element in R.'s works ("Kalashnikov", "Goryusha", "Ivan the Terrible" and much more) is expressed for the most part palely, with little originality; He is unusually strong and original in the musical illustration of the East ("Demon", "Shulamith", partly "Maccabees", "Babylonian Pandemonium", "Theramors", "Persian Songs", etc.). R.'s operas are closest in type to Meyerbeer's. The most famous are “The Demon” and “The Maccabees” (the first - especially in Russia, the second - abroad); There are many beauties in his other operas, less known here than abroad. R.'s operas were especially willingly staged in Hamburg (see below). The most widespread are R.'s chamber works, which are closest to classical examples of this kind by Beethoven, Schumann, and partly Mendelssohn. The influence of the last two is most strongly reflected in R.’s numerous romances, most of which are written in the same, not always suitable in this case, decorative writing as his operas and oratorios. The best of R.'s romances: “Persian Songs,” “Azra,” “The Dew Glistens,” “Jewish Melody,” “Prisoner,” “Desire,” “Night,” etc. R.’s symphonic works have recently begun to be performed less frequently ( most often the 2nd Symphony, “Antony and Cleopatra”, “Ivan IV”, “Don Quixote”, etc.). But his piano works, which, in addition to the indicated influences, also reflected the influence of Chopin and Liszt, are to this day included in the mandatory repertoire of school and stage; In addition to etudes and a number of small works, the piano concertos deserve special attention, especially the 4th - a true pearl of concert literature for the strength and beauty of the music. thoughts and the skill of their development. R.'s musical and literary works are distinguished by their originality and precision of thought; Among other things, he says about himself: “Jews consider me a Christian, Christians - a Jew; classics - a Wagnerian, Wagnerians - a classic; Russians - a German, Germans - a Russian.” Unusually energetic and direct, benevolent, striving for broad horizons, incapable of any compromises, which, in his opinion, were demeaning to art, which he served all his life in the most diverse forms and forms - R. is an almost ideal type of true artist and artist in best value of these words. His personal charm when appearing on stage as a pianist (and partly as a conductor) was extraordinary, in which R. was also similar to Liszt.

Works by R. A. For the stage: 15 operas: "Dmitry Donskoy" ("Battle of Kulikovo") in 3 d., libretto gr. Sologuba and Zotova, 1850 (Spanish St. Petersburg, 1852); "Fomka the Fool", 1 d. (St. Petersburg, 1853); "Revenge" (not Spanish); "Siberian Hunters", 1 d. (Weimar, 1854); "Hadji-Abrek", 1 d., after Lermontov (not Spanish); "Children of the Steppes", 4 d., text by Mosenthal based on the story "Janko" by K. Beck ("Die Kinder der Haide", Vienna, 1861, Moscow, 1886, Prague, 1891, Dresden, 1894, Weimar, Kassel, etc.) ; "Feramors", lyrical opera in 3 d., text by J. Rodenberg based on "Lalla Ruk" by T. Moore (Dresden; "Lalla Ruk", 2 d., 1863; later staged in altered form in many other German cities; Vienna , 1872, London; St. Petersburg, 1884, music and drama group; Moscow, 1897, conservatory performance); “The Demon”, fantastic opera in 3 scenes, libretto by Viskovaty after Lermontov (started before 1872, Spanish St. Petersburg, 1875; Moscow, 1879, Leipzig, Hamburg, Cologne, Berlin, Prague, Vienna, London, 1881, etc.) ; "The Maccabees", 3 d., libretto by Mosenthal based on the drama of the same name by O. Ludwig. (“Die Makkabäer”; Berlin, 1875, royal opera, then staged on most German stages; St. Petersburg and Moscow, 1877, Imperial theaters, under the direction of R.); "Heron", 4 d., libretto by J. Barbier (written 1877 for the Paris Grand Opéra, but was not performed there; Hamburg, 1879, Berlin, 1880, Vienna, Antwerp, London, North America; St. Petersburg and Moscow, 1884 , Italian opera; Moscow. Private stage, 1903); "Merchant Kalashnikov", 3 d., libretto by Kulikov after Lermontov (St. Petersburg, 1880, 1889, Mariinskii Opera House; both times it was soon removed from the repertoire for censorship reasons; Moscow, Private Opera, 1901, with banknotes); "Among the Robbers", comic opera, 1 d., Hamburg 1883; "The Parrot", comic opera, 1 d., Hamburg, 1884; "Shulamith", biblical opera in 5 cards, text by J. Rodenberg based on the "Song of Songs", Hamburg, 1883; "Goryusha", 4 d., libretto by Averkiev based on his story "The Night of Hop" (showed in St. Petersburg once, 1889, during the celebration of the 50th anniversary of R.; Moscow, Private Opera, 1901). Spiritual operas: "Paradise Lost", op. 54, text based on Milton, oratorio in 3 parts, written in the 50s (Weimar), later converted into a spiritual opera (Leipzig, 1876, etc.); "Babylonian Pandemonium" op. 80, text by Y. Rodenberg, oratorio in 1 part and 2 parts, later converted into a spiritual opera (Konigsberg, 1870); "Moses", op. 112, spiritual opera in 8 cards. (1887, performed once for R. at the Prague Theater, 1892, Bremen, 1895); "Christ", op. 117, spiritual opera in 7 cards. with prologue and epilogue (Berlin, 1888; St. Petersburg, excerpts, 1886). Ballet "The Grapevine", 3 days and 5 cards. (Bremen, 1892). IN. For orchestra: 6 symphonies (I. F-dur op. 40; II. C-dur op. 42 ["Ocean" in 5 parts; later two more parts were added]; III. A-dur op. 56; IV. D-moll, op. 95, "dramatic", 1874; V. G-molI, op. 107, so-called "Russian"; VI. A-moll, op. 111, 1885); 2 musical character paintings: "Faust" op. 68 and "Ivan the Terrible" op. 79; musical and humorous film "Don Quixote" op. 87; Overture: "Triumphal" op. 43, "Concert" B major op. 60, "Antony and Cleopatra" op. 116, “Solemn” A major (op. 120, posthumous composition); musician painting "Russia" (Moscow exhibition, 1882), fantasy "Eroica" in memory of Skobelev, op. 110; Suite Es major, op. 119. C. For chamber ensemble: octet D major op. 9 for piano, string quartet, flute, clarinet and horn; string sextet D major op. 97; 3 quintets: op. 55 F major for piano, flute, clarinet, horn and bassoon; op. 59, F-dur, for string instruments; op. 99 G-moll for fp. and a string quartet; 10 string quartets (op. 17, G major, G minor, F minor; op. 47 E minor, B major, D minor; op. 90 G major, E minor; op. 106 As -dur, F-minor); 2 piano quartets: op. 55 (author's arrangement of the quintet op. 55) and op. 66 C-dur; 5 piano trios: op. 15 (F major and G minor), op. 52 B-dur, op. 85 A major, op. 108 C minor. D. For FP. in 2 hands: 4 sonatas (op. 12 E-dur, 20 C-moll, 41 F-dur, 100 A-moll), etudes (op. 23-6, op. 81-6, 3 without op., see .more op. 93, 104, 109); 2 acrostics (op. 37 5 nos., op. 114 5 nos.): op. 2 (2 fantasies on Russian songs), 3 (2 melodies), 4, 5 (3), 6 (tarantella), 7, 10 ("Stone Island" 24 nos.), 14 ("Ball", 10 nos. ), 16 (3), 21 (3 caprices), 22 (3 serenades), 24 (6 preludes), 26 (2), 28 (2), 29 (2 funeral marches), 30 (2, barcarolle F- moll), 38 (suite 10 nos.), 44 ("Petersburg Evenings", 6 nos.), 51 (6), 53 (6 fugues with preludes), 69 (5), 71 (3), 75 (" Peterhof Album" 12 nos.), 77 (fantasy), 82 (Album of national dances 7 nos.), 88 (theme with variations), 93 ("Miscellanées", 9 parts, 24 nos.), 104 (6) , 109 ("Musical evenings", 9 nos.), 118 ("Souvenir de Dresde" 6 nos); in addition, without op.: Beethoven's "Turkish March" from "Ruines d" Athènes", 2 barcarolles (A-moll and C-dur), 6 polkas, "Trot de cavalerie", 5 cadenzas for concertos C-dur, B -dur, C-moll, G-dur by Beethoven and D-moll by Mozart; waltz-caprice (Es-dur), Russian serenade, 3 morceaux caractéristiques, Hungarian fantasy, etc. E. For FP. 4 hands: op. 50 ("Character-Bilder" 6 nos.), 89 (sonata in D major), 103 ("Costume Ball", 20 nos.); F. For 2 fp. op. 73 (fantasy F major); G. For instruments with orchestra: 5 piano concertos (I. E-dur op. 25, II. F-dur op. 35, III. G-dur op. 45, IV. D-minor op. 70, V. Es-dur op. 94), piano fantasy in C major op. 84, piano "Caprice russe" op. 102 and "Concertstück" op. 113; violin concerto G major op. 46; 2 cello concertos (A major op. 65, D minor op. 96); "Romance et caprice" for violin and orchestra op. 86. N. For individual instruments and piano: 3 sonatas for violin and piano. (G major op. 13, A minor op. 19, H minor op. 98); 2 sonatas for cello and piano. (D-dur op. 18, G-dur op. 39); Sonata for viola and piano. (F minor op. 49); "3 morceaux de salon" op. 11 for violin with fp. I. For singing with orchestra: op. 58 ("E dunque ver", scene and aria for coup.), op. 63 ("Rusalka", counter and female choir), op. 74 ("Morning" cantata for male choir), op. 92 (two contralto arias: “Hecuba” and “Hagar in the Desert”), Song of Zulima from the opera “Revenge” (contre and chorus). K. For vocal ensemble. Choirs: op. 31 (6 men's quartets), op. 61 (4 males with FP), 62 (6 mixed); duets: op. 48 (12), 67 (6); "Die Gedichte und das Requiem für Mignon" (from Goethe's Wilhelm Meister), op. 91, 14 No. No. for soprano, contralto, tenor, baritone, children's voices and male choir with ph. and harmonium. L. Romances and songs: op. 1 ("Schadahüpferl" 6 kleine Lieder im Volksdialekt), op. 8 (6 Russian romances), 27 (9, with words by Koltsov), 32 (6 German, with words by Heine), 33 (6 German), 34 (12 Persian songs with German text by Bodenstedt), 35 (12 Russian songs with words by various authors ), 57 (6 German), 64 (6 Krylov's fables), 72 (6 German), 76 (6 German), 78 (12 Russian), 83 (10 German, French, Italian, English), 101 (12 to the words of A. Tolstoy), 105 (10 Serbian melodies, to Russian words by A. Orlov), 115 (10 German); in addition, about 30 romances without op. (more than a third based on Russian texts; including the ballad “Before the Voivode” and “Night”, converted from the piano romance op. 44). 10 opuses of R.'s children's works have also been published (romances and piano pieces; op. 1 Ondine - piano etude).

(E.).

Rubinstein, Anton Grigorievich

(born November 28, 1829 in the village of Vykhvatintsy, Podolsk province, died November 20, 1894 in Peterhof) - Russian. composer, virtuoso pianist, conductor, teacher, musician. activist He received his first music lessons from his mother. In 1837 he became a student of the pianist-teacher A. Villuan. At the age of 10 he began speaking publicly. From 1840 to 1843 he performed successfully in many European countries. From 1844 to 1846 he studied the theory of composition with Z. Dehn in Berlin, and in 1846-47 he was in Vienna. Upon returning to Russia, he settled in St. Petersburg. From 1854 to 1858 he performed abroad. Was one of the organizers, director and conductor Russian Musical Society(1859). Founded music in St. Petersburg. classes transformed (1862) into the first conservatory in Russia, by the director and prof. which he was a member of until 1867. He devoted the next 20 years to creative and concert activities. The most significant events of this period were a concert trip with violinist G. Wieniawski to American cities (1872-73), where in 8 months. 215 concerts took place, and a grandiose cycle of “Historical Concerts” (1885-86), which included 175 works, performed twice in 7 cities of Russia and the West. Europe. From 1887 to 1891 - second director and prof. St. Petersburg Conservatory. The last years of his life (1891-94) were spent predominantly. in Dresden. He was on friendly terms with F. Liszt, F. Mendelssohn, D. Meyerbeer, C. Saint-Saens, G. Bülow and others. Institute of France(since 1874). R. entered the history of domestic and world music. culture as one of the world's greatest pianists and creator of Russian. piano school; a creatively active composer whose works are distinguished by their lyrical-romantic orientation, melody, expressiveness, and subtle use of oriental flavor; founder of professional music. education in Russia; organizer of regular concert life. Among R.'s students are P. Tchaikovsky, critic G. Laroche, pianist I. Hoffmann and others.

Works: 16 operas, including “Dmitry Donskoy” (1852), “Feramors” (1863), “Demon” (1875), “Maccabees” (1875), “Nero” (1879), “Merchant Kalashnikov” "(1880); ballet "The Grapevine" (1893); oratorios "Paradise Lost" (1855), "Babylonian Pandemonium" (1869); 6 symphonies (II - "Ocean", 1851; IV - "Dramatic", 1874; V - "Russian", 1880), music. paintings "Faust" (1864), "Ivan the Terrible" (1869), "Don Quixote" (1870), fantasy "Russia" (1882) and other works. for orc.; 5 concerts for fp. with orc.; camera-instrument ans., including Octet for page, spirit. and fp., Quintet for fp. and spirit. instrumental, Quintet, 10 quartets, 2 fp. quartet, 5 fp. trio; sonatas for various instrument. and fp.; plays for piano, including the cycles "Stone Island" (24 portraits), Album national dances, Peterhof album; “Mixture”, “Costume Ball” (for piano 4 hands), sonatas, cycles of variations, etc.; St. 160 romances and songs, including “Persian Songs”, “Krylov’s Fables”, “Singer”, “Prisoner”, “Night”, “Before the Governor”, ​​“Pandero”, “Azra”, “Cover Me with Flowers” , "The dew glistens"; books "Autobiographical Memoirs" (1889), "Music and Its Representatives" (1891), "Thoughts and Aphorisms" (1893).