but natural in so great a pianist. His chamber-music is not yet much known in England, and he is apt to give the piano an undue prominence in it; the Quintet in F (op. 55) is almost a Pianoforte Concerto in disguise. His operas and oratorios have as yet met with but qualified success, seeming to lack dramatic force. This is in some measure due to his antagonism to the theories and practice of Wagner and the modern German school. He has a preference for sacred subjects, which are but ill fitted for the stage, but as these works are all amongst his most recent productions it is manifestly impossible to give any decided opinion as to their eventual success. The operas not included in the list of his works with opus-numbers are 'The Demon' (in rehearsal at Covent Garden, June 1881), 'Feramors' (Lalla Rookh), 'The Children of the Heath,' 'The Maccabees,' 'Dimitri Donskoi,' and 'Nero.' [App. p.776 "add 'Die sibirische Jäger,' 'Toms, der Narr,' 'Die Rache,' and 'Kalaschnikoff,' (1880), all to Russian words; 'Sulamith,' in 5 acts, Hamburg, Nov. 8, 1883, 'Unter Räubern,' comic opera in one act (produced, according to Riemann's 'Opernhandbuch,' on the same evening with 'Sulamith'), and 'Der Papagei,' comic opera in one act, Hamburg, Nov. 11, 1884. (The last three with German words.)"] There are also about a dozen songs, and as many fugitive pieces for piano without opus-number, besides some small works published during the composer's youthful days and reckoned separately as ops. 1–10.
The complete list of Rubinstein's numbered works is as follows:—
Op. 1. 6 little Songs In Low German dialect. Voice and PF. Schreiber.
2. 2 Fantasias on Russian themes. PF. solo. Schreiber.
3. 2 Melodies for PF. solo (F, B). Schreiber.
4. Mazourka-Fantaisie. PF. solo (G). Schreiber.
5. Polonaise, Cracovienne and Mazurka. PF. solo. Schreiber.
6. Tarentelle. PF. solo (B). Schreiber.
7. Impromptu-Caprice, 'Hommage à Jenny Lind.' PF. solo (A minor). Schreiber.
8. 6 Songs (words from the Russian). Voice and PF. Senff.
9. Octet in D for PF., V., Viola, Cello, Bass, Fl., Clar., and Horn. Peters.
10. Kamennoi-Ostrow. 24 Portraits for PF. Schott.
11. 3 Pieces for PF. and V.; 3 do. for PF. and Cello; 8 do. for PF. and Viola. Schuberth.
12. 1st Sonata for PF. solo (E). Peters.
13. 1st Sonata for PF. and V (G). Peters.
14. 'The Ball' Fantasia in 10 Nos. for PF. solo. B. B.[1]
15. 2 Trios. PF., V., and Cello (F, G min.). Hofmeister.
16. Impromptu, Berceuse and Serenade. PF. solo. Hofmeister.
17. 3 String Quartets (G, C min., F). B. & H.[2]
18. 1st Sonata for PF.and Cello (D). B. & H.
19. 2nd Sonata for PF. and V. (A min.). B. & H.
20. 2nd Sonata for PF. solo (C min.). B. & H.
21. 3 Caprices for PF. solo (F♯, D, E♭). B. & H.
22. 3 Serenades for PF. solo (F, G min., E♭). B. & H.
23. 6 Etudes for PF. solo. Peters.
24. 6 Preludes for PF. solo. Peters.
25. 1st PF. Concerto (E). Peters.
26. Romance and Impromptu. PF. solo (F, A minor). Schreiber.
27. 9 Songs (words from Russian). Voice and PF. Schreiber.
28. Nocturne (G♭) and Caprice (E♭) for PF. solo. Kistner.
29. 2 Funeral Marches. PF. solo. 1. For an Artist (F min.); 2. For a Hero (C min.). Kistner.
30. Barcarolle (F min.); Allo Appass. (D min.) for PF. solo. Kistner.
31. 6 4-part Songs for Male Voices. Kistner.
32. 6 Songs from Heine. Voice and PF. Kistner.
33. 6 Songs. Voice and PF. Kistner.
34. 12 Persian Songs. V. and PF. Kistner.
35. 2nd PF. Concerto (F). Schreiber.
36. 12 Songs from the Russian. Voice and PF. Schreiber.
37. Akrostichon (Laura) for PF. solo. Schreiber.
38. Suite (10 Nos.) for PF. solo. Schott.
39. 2nd Sonata for PF. and Cello (G). B. & H.
40. 1st Symphony for Orchestra (F). Kahnt.
41. 3rd Sonata for PF. solo (F). B. & H.
42. 2nd Symphony, 'Ocean' (C). Senff.
43. Triumphal Overture for Orchestra ( ). Schott.
44. 'Soirées à St. Petersbourg,' for PF. solo (6 pieces) Kahnt.
45. 3rd PF. Concerto (G). B. B.
46. Concerto, Violin and Orch. (G). Peters.
47. 3 String Quartets (Nos. 4, 5, 6, E min., B♭, D min.). B. & H.
48. 12 Two-part Songs (from the Russian) with PF. Senff.
49. Sonata for PF. and Viola (F min.) B. & H.
Op. 50. 6 'Charakter-Bilder.' PF. duet. Kahnt.
51. 6 Morceaux for PF. Senff.
52. 3rd Trio. PF. and Strings (B♭). Senff.
53. 6 Preludes and Fugues in free style. PF. solo. Peters.
54. 'Paradise Lost.' Sacred Opera after Milton, in 3 parts. Senff.
55. Quintet for PF. and Wind (F). Schuberth.
56. 3rd Symphony (A). Schuberth.
57. 6 Songs. Voice and PF. Senff.
58. Scena ed Aria, 'E dunque vero?' Sop. and Orch. Schott.
59. String Quintet (F). Senff.
60. Concert Overture in B♭. Senff.
61. 3 Part-songs for Male Voices. Schreiber.
62. 6 Part-songs for Mixed Voices. Schreiber.
63. 'Die Nixe.' Alto Solo, Female Chorus, and Orch. Senff.
64. 5 Fables by Kriloff. Voice and PF. Senff.
65. 1st Concerto for Cello and Orch. (A min.). Senff.
66. Quartet. PF. and Strings (C). Senff.
67. 6 Two-part Songs with PF. Senff.
68. 'Faust.' Musical portrait, for Orch. Siegel.
69. 5 Morceaux for PF. solo. Siegel.
70. 4th PF. Concerto (D min.). Senff.
71. 3 Morceaux. PF. solo. Siegel.
72. 6 Songs for a Low Voice and PF. Senff.
73. Fantaisie for 2 Pianos (F). Senff.
74. 'Der Morgen.' Cantata for Male Voices and Orch. (from the Russian). Senff.
76. 'Album de Peterhof.' 12 pieces. PF. solo. Senff.
76. 6 Songs for Voice and PF. Senff.
77. Fantaisie for PF. (E min.) Senff.
78. 12 Songs from the Russian. Voice and PF. Senff.
79. 'Ivan the Terrible.' Musical portrait for Orch. B. B.
80. 'The Tower of Babel.' Sacred opera in one act. Senff. Chappell.
81. 6 Etudes for PF. solo. B. B.
82. Album of National Dances (6) for PF. solo. B. B.
83. 10 Songs. Voice and PF. B. B.
84. Fantasia for PF. and Orch. (C). Senff.
85. 4th Trio. PF. and Strings (A). Lewy.
86. Romance and Caprice for Violin and Orch. Senff.
87. 'Don Quixote.' Musical portrait. Humoreske for Orch. Senff.
88. Theme and Variations for PF. solo (G). Senff.
89. Sonata for PF. duet (D). Senff.
90. 2 String Quartets (Nos. 7, 8, G min., E min.). Senff.
91. Songs and Requiem for Mignon (from Goethe's 'Wilhelm Melster') for Solos, Chorus, and PF. Senff.
92. 2 Scenas for Contralto and Orchestra. No. 1. 'Hecuba'; No. 2. 'Hagar in the desert.' Senff.
98. 9 Books of Miscellaneous Pieces (12) for PF. solo. Senff.
94. 5th PF. Concerto (E♭). Senff.
95. 4th Symphony, 'Dramatic' (D min.). Senff.
96. 2nd Concerto. Cello and Orch. Senff.
97. Sextuor for Strings (D). Senff.
98. 3rd Sonata. PF. and V. (B min.). Senff.
99. Quintet. PF. and Strings (G min.). Senff.
100. 4th Sonata for PF. solo (A min.). Senff.
101. 12 Songs. Voice and PF. Senff.
102. Caprice Russe. PF. and Orch. Senff.
103. Bal costumé. Set of characteristic pieces (20) for PF. 4 hands. B. B.
104. Elegie; Variations; Etude. PF. solo. B. B.
105. A series of Russian songs. Voice and PF. B. B.
106. 2 String Quartets (Nos. 9, 10, A♭, F min.)
107. 5th Symphony (G min.) In memory of the Grandduchess Hélene Paulowna. Senff.
[App. p.776 "add to list of works the following:
Op. 108. Trio for PF. and Strings in C minor.
109. Soirées Musicales. 9 PF. pieces.
110. Eroica. Fantasia for PF. and Orchestra.
111. 6th Symphony (A minor).
112. 'Moses,' a Biblical opera in 8 tableaux. Part I. containing four tableaux (Bilder), was published by Senff, 1888."]
Rubinstein's appearance is remarkable. His head is of a very Russian type, massive and noble, without beard or moustache, but with a thick shock of dark brown hair which as yet shows no gray. In general look his face resembles the ideal Beethoven of the sculptors. He is well read, and his very wide travels have given him much knowledge of men and things. His manner is simple and genial, and he has the true modesty of genius.
We have said that Rubinstein's first visit to London was in 1842. He was then only just 12. Mendelssohn and Thalberg were both here, and the Philharmonic was thus naturally already occupied. No doubt he played in public; but the periodicals are silent about him, and the only printed mention of him to be found is in Moscheles's diary for 1842 ('Leben,' ii. 90), where he is spoken of by that genial master as 'a rival to Thalberg … a Russian boy whose fingers are as light as feathers, and yet as strong as a man's.' [App. p.776 "omit the sentence beginning No doubt he played in public, etc., and add that an account of his performance will be found in the 'Musical and Dramatic Review' for 1842."] He did not return to this country till 1857, when
