ppeared
in Paris, whither his teacher had preceded him, and his talent was
fully recognized by the highest authorities, Liszt among others. In
compliance with a suggestion of Liszt, he went to Germany to complete
his studies, but first undertook a concert tour through Holland,
England, Scandinavia, and Germany. In 1844 Rubinstein's parents
removed to Berlin in order to give Anton and his younger brother
Nicolas a musical education, and the boys became pupils of Dehn, the
celebrated contrapuntist. When Anton was about sixteen years old his
father's illness recalled the mother to St. Petersburg, and the young
musician was left to provide for himself as best he could by giving
lessons and by concert engagements, which were very few. In his
autobiography he has narrated the dreadful straits to which he was
reduced, nearly dying of starvation, and laying the foundation of
gastric trouble which lasted him all his life long. In 1848 he settled
again at St. Petersburg, where he was so fortunate as to win the
patronage of the Grand Duchess Helene. Here he wrote several operas,
of which "Dimitri Donskoi" was produced in 1852, and has been performed
many times since. In 1863 he founded the Conservatory of St.
Petersburg, and remained its director five years. Meanwhile his fame
had become very much established as a pianist, through his concert
tours in various parts of Europe, and in 1872-1873 he visited America
and made a very successful concert tour, a part of which was in
association with Theodore Thomas' orchestra. The season in America
netted him something less than $60,000, but the tour was a great burden
to him in many ways, and after returning to St. Petersburg he
resolutely declined most munificent offers to return again to America.
He received many favors from the Imperial family of Russia, having been
made Imperial Russian Councillor of State and a Knight of the Russian
Order of Merit; but after 1890 he declined all public offices, and
resided for some years in Dresden.

As a pianist Rubinstein was one of the most remarkable that the history
of the instrument has known. He had a beautiful touch, enormous power,
and great delicacy. Being of an emotional nature, he sometimes played
like an angel, but at other times quite the reverse. It is notorious
of him that in the warmth of public performance, false notes were
always liable to occur. Yet in spite of them the playing was so
essentially musical and genial t