eady lived some years in
Berlin, where he was as well known as at home. Returning to Russia in
1859, he received important appointments as musical director, founded
the St. Petersburg musical conservatory, of which he remained the
director until 1867, when ensued a new series of concert journeys
covering Europe, and in 1872-1873 extending to America, where he had a
wonderful success, carrying back to Russia as proceeds of the American
tour the at that time unprecedented sum of $54,000.

As pianist, Rubinstein was distinguished for his grand style, broad
and noble mastery of the instrument, and his consummate sympathy and
innate musical quality. He was a player of moods, at times playing
like a god, at other times his work disfigured by many errors, but
always interesting, commanding and noble. He played best the
compositions of Beethoven and Schumann, their innate depth and
intense musical expression appealing to his richly gifted musical
nature irresistibly. His personality was commanding and attractive.
Saint-Saens relates how Rubinstein played in Paris the concertos of
Beethoven and of Rubinstein, while Saint-Saens conducted the
orchestra. At the close of the concerts Rubinstein desired to give yet
another in which he himself would direct the orchestra, while
Saint-Saens should play. It was for this occasion that the Saint-Saens
second concerto was written. In his later life Rubinstein lived like a
prince in a beautiful estate near St. Petersburgh. The list of his
works is something enormous. Of operas and dramatic works there are
twelve, several of which, such as "The Tower of Babel," "Paradise
Lost" and "Moses," are biblical operas, a type of dramatico mystical
work created by Rubinstein. It contains the gravity and depth of
oratorio combined with the intense realism of the stage. There are six
symphonies, of which the famous and several times enlarged "Ocean"
symphony is perhaps best known, a "Heroic Fantasia" for orchestra,
three character pieces for orchestra, "Faust," "Don Quixote" and
"Ivan"; three concert overtures, a quantity of chamber music,
compositions for piano, songs, and the like. In everything of
Rubinstein beautiful melodies are found; his weakness lies in the
development, which occasionally is carried too far, and with
insufficient vitality of thematic work.

[Illustration: PETER ILITSCH TSCHAIKOWSKY.]

Even greater than Rubinstein as composer was the brilliant Peter
Ilitsch Tschaikowsky (1840-