he above city in 1862, of which he
remained principal until 1867. He also founded the Russian Musical
Society in 1861, and in 1869 was decorated by the Czar. In 1870 he
directed the Philharmonic and Choral Societies of Vienna, and shortly
afterwards made another tour, during which, in 1872, he came to this
country with the eminent violinist Wieniawsky, as will be well
remembered. His visit here was marked by a succession of ovations. No
other pianist ever achieved such a wonderful success, not only among
musicians, but among the people of all classes. Musicians were astounded
at his remarkable knowledge, while musical and unmusical people alike
were carried off their feet by the whirlwind-style of his playing. It was
full of grace, nobility, breadth, and dignity; but it combined with these
qualities a fire, an intensity, and a passion which sometimes invested
the piano with orchestral effects, and again transformed it into an
instrument that wept, laughed, sang, and danced. His power was
irresistible and electric. As a composer he ranks very high. His greatest
works are the Ocean Symphony, Dramatic Symphony, and a character sketch
for grand orchestra called "Ivan the Terrible;" his operas, "Children of
the Heath," "Feramors," "Nero," "The Maccabees," "Dimitri Donskoi," and
the "Demon;" the oratorios "Paradise Lost" and "Tower of Babel;" and a
long and splendid catalogue of chamber, salon, and concert music, besides
some beautiful songs which are great favorites in the concert-room.

The Tower of Babel.

"The Tower of Babel," a sacred opera, as Rubinstein entitles it, was
written in 1870, the text, which is somewhat of a travesty on sacred
history, by Julius Rodenberg. An English critic very pertinently says:
"One item alone in all the multitude of details crowded by Herr Rodenberg
into his canvas has any foundation in fact. He adopts the theory that
there really was a tower of Babel, and all the rest he founds on
conjecture." In point of fact, the anachronisms are numerous enough to
make the text almost a burlesque. Nimrod, the mighty hunter, is made the
chief builder of the tower, which is supposed to be in process of
erection as an insult to the Deity. Abraham appears upon the scene (many
years before he was born), and rebukes Nimrod for his presumption;
whereupon the hunter-king orders "the shepherd," as he is called, to be
thrown into a fiery furnace, after the manner of Shadrach,