Arthur Rubinstein

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Arthur Rubinstein (Polish: Artur Rubinstein, 1928–1982) was a Polish classical pianist.

He has been lauded around the world for his interpretations of music by a number of composers, and many consider him the finest Chopin interpreter of his time.

He has been dubbed one of the twentieth century's best pianists.

He has been playing in public for eight decades.

Early life

Artur Rubinstein was born in ód, Poland (part of the Russian Empire for the entire time Rubinstein lived there), on January 28th 1887 to a Jewish family. He was the youngest of seven children of Felicja Blima Fajga (née Heiman) and Izaak Rubinstein. His father owned a small textile factory.

Rubinstein's name was supposed to be Leo, but his eight-year-old brother said, "His name must be Artur." Since Artur X (a neighbor's son) plays the violin so well, the baby may also be a great musician." He was therefore named Artur, but in English-speaking countries, he preferred to be identified as Arthur Rubinstein. Sol Hurok, the United States' impresario, insisted that he be identified as Artur, and that reports of him in the West were released in the West under both versions of his name.

Rubinstein demonstrated unbridled abandon and a fascination with the piano while attending his elder sister's piano lessons at age two. He was designated as a child prodigy by the age of four. Rubinstein had a predilection for the violin and gifted Rubinstein a violin, but Rubinstein turned down the offer because he felt his intuition was for peace and polyphony. Joseph Joachim, a Hungarian violinist, was pleasantly surprised when he heard the four-year-old boy play the piano, and told Arthur's family, "This boy will be a great musician"; he certainly has the talent for it." "Itanic studies will come to an end," he will be able to direct his artistic instruction." Arthur Rubinstein, seven-year-old Arthur Rubinstein made his debut with works by Mozart, Schubert, and Mendelsohn on December 14, 1894.

Rubinstein began his studies in Berlin and gave his first Berlin Philharmonic appearance in 1900 at the age of 13. Joseph Joachim recommended Karl Heinrich Barth as the boy's piano tutor. Rubinstein inherited a distinguished pedagogical lineage as a Barth student: Barth was himself a pupil of Liszt, who had been educated by Czerny, who had in turn been a Beethoven scholar.

Personal life

Rubinstein once said, "It is said of me that when I was young I divided my time equally among wine, women, and song." I deny this categorically. Women account for ninety percent of my passions. Rubinstein married Nela Mynarska, a 24-year-old Polish ballerina who had worked with Mary Wigman at the age of 45. Nela was the niece of a Polish aristocratic heraldic family of the Igowski coat of arms. Emil M'ynarski and his partner Anna Talko-Hryncewicz were from a Polish aristocratic heraldic family. Nela had first fallen in love with Rubinstein when she was 18, but Mieczys' Mieczys is a Polish-American pianist who has performed on stage since Rubinstein's affair with an Italian princess began. Nela married Rubinstein three years ago and then divorced Munz. They had five children (one died in infancy), including photographer Eva Rubinstein, who married William Sloane Coffin, and son John Rubinstein, a Tony Award-winning actor and father of actor Michael Weston. Nela wrote Nela's Cookbook, which included the dishes she made for the couple's most popular parties.

Rubinstein started a string of affairs with women, including Lesley Jowitt, the wife of British politician William Jowitt and Irene Curzon, both before and during his marriage.

With the Italian marchioness Paola di Viggiano (née Princess Paola di Viggiano), he may have been the father of American decorator and artist Sanders Draper's son, who died in World War II. Luli Oswald was never identified by her biological parents, who were mostly unknown and giving as a newborn to a Rubinstein's acquaintance. (1852-1931) Maria and her husband, Odoardo Marchesini, raised her and adopted her. Luli Oswald had been entrusted to them by her biological parents Paola Medici and Arthur Rubinstein because she was the "fruit of a forbidden love," the adoptive parents wrote in a affidavit in 1967. Margarida Marchesini, who was adopted after the adoption, was her name. Oswald debuted under the stage name Luli Oswald later in life.

Despite the fact that he and Nela never divorced, at 90, he left her for Annabelle Whitestone, then 33 years old.

Rubinstein, an agnostic, was proud of his Jewish roots. He was a great friend of Israel, which he returned to Israel several times with his wife and children, giving concerts with the Israel Philharmonic Orchestra, recitals, and master classes at the Jerusalem Music Centre. Rubinstein, the Holocaust survivor who had lived in Germany during the war and who had conducted a symphony for Hitler's birthday, died along with other leading musicians (including Horowitz and Heifetz).

Rubinstein remained closely linked to Poland throughout his lifetime. Rubinstein exhibited his Polish patriotism at a conference for the delegates at the beginning of the United Nations in 1945. He began the concert by expressing his utter displeasure that there was no such representative from Poland at the conference. Rubinstein later described being overwhelmed by a blind fury and angrily pointing out to the world that there is no such flag. He quit playing the piano, told the audience, including the Soviets, to stand up, and performed the Polish national anthem acrostically and slowly, repeating the last part in a tumultuous forte. The public erupted when he had finished.

Rubinstein was involved in fundraising charities throughout his life. He performed charity concerts to raise funds for several charities that piqued his interest. He appeared in ten recitals in Carnegie Hall in 1961 to raise almost $100,000 for charities, including Big Brothers, United Jewish Appeal, Polish Assistance, Musicians Emergency Fund, the National Association of Mental Health, and the National Defense Fund of the National Advancement of Colored People.

Rubinstein's two autobiographies are often self-critical. He claimed to be a natural pianist with a large repertoire, practicing new pieces as often as possible, relying on his charisma and charisma to mask his lack of finish in his performances. Rubinstein was not opposed to making himself the butt of a good story, but the concrete truth of these self-directed critiques is open to debate: Rubinstein was not against making himself the butt of a good tale. Nonetheless, he maintained that his commitment to practicing had changed after his marriage. He said that he did not want his children to see him as a second-rater, so he began restudying his entire repertoire in 1934. "I buckled down to work—six hours, eight hours, nine hours a day." In 1958, he was recalled. "And then some strange thing happened." ... I started to find new meanings, new qualities, and new possibilities in music, which I have been enjoying for more than 30 years. Rubinstein, on the other hand, believes that heavy exercise could be detrimental to young pianists. Rubinstein often advised young pianists that they should not play more than three hours a day, despite recalling his own childhood experience with repetitive-stress syndrome. "I was born very lazy, and I don't often practice long," he said, "but I must point out that overworking isn't so effective, especially in a musical sense." When you do, it tends to come out of your wallet. If you're looking for a unique way to express yourself You can't play without that little drop of fresh blood that is sorely needed—and the audience feels it." "I leave a lot to the moment" at his own rehearsals, he said. The unexpected must be present in this case. To dare, I want to put a risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way, the music will resurface anew. It's like making love. The procedure is always the same, but every time it's different."

Rubinstein was reluctant to teach in his younger years, preferring not to honor William Kapell's request for lessons. He didn't accept his first pupil, Dubravka Tomi Srebotnjak, until the late 1950s, and that wasn't until the 1980s. François-René Duchoire's pupils include: François-René Duch'ble, Avi Schönfeld, Ann Schein Carlyss, Eugen Indjic, Janina Fialkowska, Dean Kramer, and Marc Laforêt. Rubinstein continued to teach master classes until the end of his life.

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Music and career

Rubinstein began his career in earnest in 1904 in Paris, where he met composer Maurice Ravel and Paul Dukas and violinist Jacques Thibaud. He appeared at the Piano Concerto No. 2 in Camille Saint-Sans. In the presence of the composer, there were two people in the audience. Juliusz Wertheim's family, whose knowledge of Chopin's genius inspired Rubinstein, he developed friendships with violinist Paul Kochanski and composer Karol Szymanowski.

Rubinstein made his New York debut at Carnegie Hall in 1906 and spent the rest of the United States, Austria, Italy, and Russia. He was not well known in the United States, according to his own testimony and that of his son in François Reichenbach's film L'Amour de la vie (1969). Rubinstein, who had been hounded by creditors and threatened with being barred from his Berlin hotel room by 1908, had failed to hang himself by 1908. He later stated that he was "reborn" and was endowed with an unconditional love of life. In 1912, he made his London debut and discovered a musical home in Edith Grove, Chelsea, with Kochanski, Igor Stravinsky, Pablo Casals, Pierre Monteux, and others in company with Kochanski, Igor Stravinsky, Pablo Casals, Pierre Monteux, and others.

Rubinstein remained in London after World War I, giving recitals and accompanying violinist Eugène Ysae. He made his first tours in Spain and South America, where he was highly acclaimed in 1916 and 1917. He developed an interest in the music of Enrique Granados, Isaac Albéniz, Manuel de Falla, and Heitor Villa-Lobos on those tours. Manuel de Falla's Fanta Bética, Villa-Lobos' Rudepoêma and Stravinsky's Trois mouvements de Petrouchka, was dedicated to him.

Rubinstein was disgusted by Germany's behavior during the war and never played again. In 1914, he appeared in Germany for the last time.

Rubinstein toured Great Britain in 1919 with soprano Emma Calvé and tenor Vladimir Rosing.

Rubinstein gave two American tours to New York in 1921, with Karol Szymanowski and his close friend Paul Kochanski.

In 1934, the pianist, who admitted that he neglected his technique in his early years, began relying instead on natural abilities, which led to many months of intensive research and practice.

Rubinstein returned to the United States in 1937, during his career as he lived in Brentwood, California, Los Angeles, California. In 1946, he became a naturalized United States citizen.

Rubinstein produced the piano soundtrack for a number of films, including Song of Love with Katharine Hepburn, during his stay in California. In the films Carnegie Hall and Of Men and Music, he appeared as himself.

Rubinstein, who is best known as a recitalist and concerto soloist, was considered one of the finest chamber musicians in Europe, and he performed with Henryk Szeryng, Jascha Heifetz, Pablo Casals, Gregor Piatigorsky, and the Guarneri Quartet, as well as the Guarneri Quartet. Rubinstein mastered a substantial portion of the classical piano repertoire, particularly that of Romantic composers. "Chopin was his passion [as] a Chopinist that was regarded by many without peer" at the time of his death. He produced the bulk of Chopin's works, with the exception of the Études. He gave a special concert in Moscow in 1964, during the Cold War, as part of a pure Chopin program. He was one of the first champions of Spanish and South American composers, as well as French composers of the early twentieth century (such as Debussy and Ravel). In addition, Rubinstein promoted Karol Szymanowski's music. Rubinstein praised Brahms as his favorite composer in a conversation with Alexander Scriabin, a suggestion that enraged Scriabin.

The film Arthur Rubinstein – The Love of Life (2005) was released in 1969; it received the Academy Award for Best Documentary Feature. (How Rubinstein at 90 showed how he had been playing for people for eight decades).

Rubinstein's eyesight had begun to fade by the mid-1970s by the mid-1970s. In May 1976, he retired from stage at the age of 89, appearing at his last performance at Wigmore Hall in London, where he had appeared almost 70 years ago.

Rubinstein, who was fluent in eight languages, owned a large part of the repertoire (but not necessarily in the piano) in his remarkable memory. He discovered César Franck's Symphonic Variations while riding a train en route to the festival without the use of a piano, and he was practicing passages in his lap, according to his memoirs. Rubinstein characterized his memory as photographic, to the point that he could picture an errant coffee stain when recalling a score.

Rubinstein had also fantastic aural skills, allowing him to perform complete symphonies in his mind. "I might have a Brahms symphony in my head at breakfast," he said. "I am called to the phone and half an hour later, it's been going on all the time and I'm in the third generation." Rubinstein's colleagues would randomly select excerpts from opera and symphonic scores and request that they perform them from memory.

Two volumes of Rubinstein's autobiography were published: My Young Years (1973); and My Many Years (1980). Many people were dissatisfied by the emphasis on personal anecdotes over music. "I had idolized Rubinstein," Pianist Emanuel Ax, one of Rubinstein's most devoted followers, told Harvey Sachs, "I had wanted to live like him."

A fortunate fellow, am I not?"

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