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 often through carefully planned series of historical programs—Rubinstein, with his Slavic warmth, having on the whole the greater sympathy with romantic tendencies, while Bülow, with his acute intellectuality, inclined to magnify classical precision, symmetry and structural energy.

It is curious that Rubinstein, probably because disappointed in his own operatic ambitions, was unable to appreciate the rich promise of the Wagnerian movement into which the cooler Bülow threw his splendid energy with enthusiasm.

Both artists were more or less associated with Liszt, Bülow being his pupil and intimate friend. Both, like him, became everywhere known by means of prodigious concert-tours, extending in their cases to America as well as Europe. Thus, and as teachers, both were profoundly influential in molding popular taste upon larger lines than the bravura players had followed. Rubinstein naturally exerted special power in his native Russia, though his sympathies allied him closely with Germany as well, while Bülow was most active at Berlin, Munich, Meiningen, Frankfort and other German centres. On the side of execution, Rubinstein resembled Liszt in his liking for intense sensuous beauties and for grandiose orchestral effects, while Bülow, though not lacking in impetuosity and abandon, was far more of a precisian, polishing his performances to an extreme of nicety. Both had marvelous memories, but Bülow's mind retained even the most elaborate orchestral scores.

Anton Rubinstein (d. 1894) was born in 1830 in Bessarabia (SW. Russia), but was brought up at Moscow, where his father was a maker of pencils. His parents were of Jewish stock, though nominally members of the Orthodox Greek Church. His mother was cultivated and a good pianist, being his first teacher. At 7 began lessons with Villoing, who in 1839-40 took him to Paris. Here he won notice from Chopin and Liszt, but was declined admission to the Conservatoire. Before returning home he toured as a youthful prodigy. At 14 (1844) he and his brother were taken to Berlin, Anton studying under Dehn and in 1846-8, his father having died, touring in Austria. From 1848 he was at St. Petersburg, a favorite with the Grand Duchess Helen and beginning to write operas. He had long been composing freely, and in 1854-8 made a grand tour in Germany, France and England to bring his works to public notice. His success was followed in 1858 by his appointment as court-musician to the Czar and in 1859 as leader of the Musical Society. In 1862 he started the conservatory and was its director till 1867 (again in 1887-90). In 1867-70 came his most brilliant tour in Europe, followed in 1872-3 by another in America.