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ARTUR RUBINSTEIN

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ARTUR RUBINSTEIN

‘THE MAN AND HIS MUSIC ENRICH THE LIVES OF PEOPLE EVERYWHERE'

By HOWARD TAUBMAN Music Editor of the New York Times

\ rtur Rubinstein is a complete artist because as an artist and admired as a man all over the Ahe is a whole man. It does not matter whether world. In his decades as a public performer he /—\ those who go to his concerts are ear-minded has appeared, it has been estimated, in every or eye-minded — or both. His performances are country except Tibet. He has not played in Ger­ a comfort to, and an enlargement of, all the many since the First World War, but that is faculties in the audience. And he has the choice because of his own choice. He felt then that the gift of being able to convey musical satisfaction Germans had forfeited a large measure of their —even exaltation—to all conditions of listeners right to be regarded as civilized, and he saw from the most highly trained experts to the most nothing in the agonized years of the Thirties and innocent of laymen. Forties which would cause him to change his mind about Germany. The reason for this is that you cannot separate Artur Rubinstein the man from Artur Rubinstein The breadth of Rubinstein's sympathies are in­ the musician. Man and musician are indivisible, escapable in the concert hall. He plays music of as they must be in all truly great and integrated all periods and lands, and to each he gives its due. interpreters. You know this at once when you Because Rubinstein was born in Poland, he has meet Rubinstein off the concert platform, and a special fellow-feeling for the music of Chopin you know it beyond any shadow of doubt when and he recreates it with glowing conviction. But you hear him play. he is not simply a Chopin specialist, which would be accomplishment enough. He plays Bach and It has been written that Rubinstein represents Beethoven, Schubert and Schumann, Brahms and the last of a great line of magnetic virtuosos who Debussy and a host of other composers of past were in the ascendant in the nineteenth century and present with equal felicity. and who made their last stand in the first half Rubinstein has a commanding technique. He of the twentieth. It has been added nostalgically can make the piano do whatever he wishes, but that he owes his special position in the musical world to the expansive, romantic flair he has his aim is never to show off his virtuosity. His carried over from a departed age. technical command is the servant of his art. He has the rarest of gifts of being able to play all Such an analysis is only partly true. Rubinstein kinds of music with eloquence. He can project has the romantic flair, all right, but his stature his imagination into each creative world, as if as an artist as well as his hold on the public are he were a citizen of that world. And that is based on other qualities. He is a modern man, too. the test of the complete artist and the whole man. He does not dramatize himself as a Liszt or a Rubinstein is secure in his knowledge, and on Paderewski did. He does not posture or theatri­ the concert platform he conveys the impression of calize himself or his work in public, as a lesser a man who has achieved serenity. This has misled figure might, to live up to a naive picture of some observers into thinking that he has no what a virtuoso should be. He happens to be a nerves, and some have gone so far as to say thoughtful, alert, sensitive, generous-hearted, civi­ that he lacks the necessary ingredient of tension. lized human being who expresses himself through You have only to hear the excitement of his music. playing to know that he projects tremendous Call him a universal man, and you will be tension, but it is the tension of an enormously nearest the mark. He would be at home in any powerful steel spring under full control. You place or time where cultivated values are re­ have only to talk to him to realize that he is as spected. And the fact is that he has been hailed subject to nervous pressure as the rest of us.

Cover Photo by Mili I heard him recall once that a young musician When he was 11, Artur made his formal debut had boasted to him, “Playing in public doesn’t in Berlin in a Mozart concerto, with Joachim corn worry me at all, I have no nervousness.” Rubin' ducting the orchestra. stein’s response was, “How lucky you are! I wish Artur, a cheerful, outgoing boy who had come you could teach me your secret.” from a happy home environment, seems to have It is almost bromidic to say that an artist con' relished the excitements of a prodigy’s success veys in his art the sum of what he has absorbed for a time. He had played all over Germany and from life. But this truth needs to be emphasized Poland, once in Warsaw under the direction of in the instance of music because people with Emil Mlynarski, distinguished conductor, whose little knowledge or experience of this art may daughter, Aniela, not yet born was destined to fail to see the connection. In the case of Rubinstein become Mrs. Rubinstein. During this period it is not only important to be aware of the con' Joachim sent Artur to visit Paderewski, the giant nection; it must be grasped thoroughly, for Rubin' of his time at the keyboard, and Paderewski, de' stein, as much as any interpreter around today, lighted with the young fellow’s ability and per' reflects in his musical performances the kind of sonality, prevailed on him to prolong his visit life he has lived and the kind of man he is. to three months. Born in Warsaw, he was the youngest of At the age of 16, Artur made his first foray into America. In January, 1906, he played in Philadelphia with the Philadelphia Orchestra and a few days later with the same orchestra in New York. He played a lot of concerts in the United State, but the response was far from ecstatic. Later on he could sum up the reaction philosophy cally by explaining, “I was not a prodigy any more, and I was not a mature artist. The critics were severe, much too severe. I thought I had lost America forever.” He returned to Europe and for the next few years seemed to drop out of sight. When he ap' peared in Berlin in 1910 he explained to friends who inquired where he had been, “Oh, I have been dead for a few years.” Actually, the ex' perience of those years amounted to a new birth. He spent most of his time in Paris in those “missing years.” He studied some, and met a great many men and women of all stations and backgrounds. He saw and did things that an adolescent ripening into manhood could see and do with profit, provided he has the energy and intelligence to profit from them. Rubinstein did profit. Later he was able to say that he was occu' pied in “hurdling the greatest obstacle in the path of a prodigy, that of shedding my immaturity.” Rubinstein at the age of four Back in the concert swirl, success again greeted seven children in a family that was well'to'do; him in Europe. By 1914 he had toured all over his father owned a hand'loom factory. At 3 the continent and his temperament had made his Artur showed an aptitude for music. Offered a piano playing the sesame to acceptance every' fiddle several times, he smashed it. By the age of where. When the war broke out he was in 8, he was ready to impress the distinguished London, where his knowledge of languages enabled violinist, Joseph Joachim, with his progress at the him to find work as an interpreter for the Allies. piano. Young Artur’s sister happened to be trav' Then he concertized for the Allies in joint ap' eling to Berlin to prepare for her marriage at pearances with Eugene Ysaye. A desk job could this time, and took the lad along. Joachim heard not consume the energies of this young man. him and put him under the care of Heinrich Barth, In 1916 he went to Spain for a handful of who had studied with Bulow, Taussig and Liszt. concerts and remained to give 120. If Rubinstein plied. His field of activity widened to include an occasional film and radio appearance where he won his way not only as a pianist but as a charming figure as a guest with the redoubtable “Information, Please” panel of experts. Was it America or Rubinstein that had changed? It may be that the United States, which has a way of remaining faithful to its pianistic heroes, was more devoted to people like Pader ewski, Rachmaninoff, Hofmann. It may also be that changes had occurred in Rubinstein. An inr portant event had taken place in his life in 1932. He had married Aniela Mlynarski. Soon he be' gan to have a family. There are four children: Eva, born in Buenos Aires in 1933; Paul, born in Warsaw in 1935; Aline, born in Hollywood in 1945, and John Arthur, arrived in Hollywood in 1946. Rubinstein is a firm advocate of love and marriage. Both helped him as an artist. “Sud' denly,” he once recalled, “ I became conscious of every wrong note.” He and his new bride went in 1932 to a small chalet in the Alps, and in a garage he worked away at an upright piano, At ten, one year before his Berlin debut practicing more intensely than he had ever done is a musician with confidence in himself, the Span' ish chapter could not but have reinforced this feeling. He became friendly with the royal family; he was invited to the royal palace for frequent dinners. Suddenly he was surrounded by money and success even he had not dreamed of. He ad' mitted later that his technique was a bit erratic, but there was no need to bother about cleaning it up in the face of such adulation. It is the measure of Rubinstein’s capacity for continuous growth that later on he took himself in hand and drove himself to iron out the deficiencies. But the impact of Spanish success remained on the Rubinstein career; in later years South America took him to its heart with a similar brand of Latin expansiveness and affection. In February, 1919, Rubinstein confronted New York again. He was well received, especially by elements of the press. He returned from time to time until 1927, but for reasons difficult to grasp he did not capture the hearts and imagination of the American people as he was to do later on. It was not, in fact, until his return in 1937—he had not played here for ten years by this time— that he made an albconquering return. This time he came back under the managership of S. Hurok. At once he was hailed as one of the great living In 1906, when Rubinstein made his musicians. His fees and his engagements multi' American debut at the age of 16. When he first appeared in a film studio, there was trepidation that a temperamental virtuoso would make trouble. He took off his coat, rolled up his sleeves, and said, “Let’s malee some music.” In the recording studio—he is one of the best sellers in the glittering stable of Victor recording artists—he knows how to work with dispatch, and he knows equally well how to take a spacious breather. In his personal life he lives in the grand manner, not from affectation but because it is native to him. He smokes Havana cigars specially blended for him and drinks the finest wines and cognacs. His home in Hollywood—he calls it his thirty- second “permanent home”—is a blend of elegance and simplicity. It is a proper setting for a man of before. With the self-knowledge of matu-rity, he his parts. But much as he adores being in it with knew how to make every moment count. He his family, he could not remain long away from found that work in itself was rewarding. He his concert rounds. Making music is in his blood, gained even greater technical assurance and, per­ and the joy of reaching countless thousands of haps more important, he reached for and began people through this music is ample reward for the to achieve new interpretive peaks. difficulties of trouping. Here we have one of the great secrets of Rub­ No one place could confine a richly varied instein’s growing dominion over public taste. He personality like Rubinstein. It is well that this should be so. For the man and his music enrich has never ceased to grow. Driven by his own the lives of people everywhere. tremendous gusto and relish for life, he translated it into an ever-increasing breadth of musical vision. He dared to strive for the large simplicity, shuck­ ing off mannerisms that are the attributes of lesser artists. It may be said of him what was said of the venerable Benjamin Franklin, “The older the bolder.’’ And the better musically. Rubinstein embraces life as ardently as he does music. “I happen to be born with a terrific vital­ ity,” he has said. “I am happy unconditionally. Life holds so much—so much to be happy about always. Most people ask for happiness on con­ dition. Happiness can only be felt if you don’t ask any conditions.” And Rubinstein can find happiness in all situa­ tions. He likes the company of all kinds of people, and he is at home with workers and creators in all the arts, with business men, politicians, taxi­ drivers, waiters, diplomats, heads of state. He has gayety in social encounters. He has a fund of stories and he knows how to tell them in any one of his arsenal of languages. He can also act them out with gestures and facial expressiveness that add to the jest. In his travels all over the world he has been not merely a tourist passing through a strange land but an absorbed student of its ways and traditions.

Rubinstein is business-like about his artistic In 1937, his return to America under the aegis commitments and artistic in the affairs of living. of S. Huro\ S. HUROK

Unique in the artistic world is America’s great Piatigorsky, Fritz Reiner, Andres Segovia, William impresario, S. Hurok, a man who has worked with Steinberg and Leonard Warren, are among the the arts in the grand manner and placed his mark contemporary presentations of a career covering indelibly on the cultural history of our time. more than three decades and involving nearly one For over thirty years the label “S. Hurok hundred immortal names, a career honored in “To­ Presents” has been a guarantee of quality to night We Sing,” a movie biography filmed by audiences here and abroad. Under this banner 20th Century-Fox, the first such ever to deal with have come artists so unique and distinguished that an impresario. their very names bear an aura of the fabulous: Probably Hurok’s most notable achievement was Chaliapin, Pavlowa, Schumann-Heink, Tetrazzini, his importation of ballet to America. Since 1933, Richard Strauss, Isadora Duncan, Mary Wigman, when he presented his first great ballet company, Argentinita, Titta Ruffo, Ysaye, Glazounow, he has brought America to the ballet, and his name Melba. has been associated with all that is outstanding in And to audiences and musicians alike there is a the field of dance. The trans-continental tours of legendary quality about the career of Hurok him- self. Marian Anderson, Isaac Stern, Jan Peerce, the Sadler’s Wells ballet companies have climaxed Blanche Thebom, Patrice Munsel, Roberta Peters, another period in a remarkable career. are among those who have risen into the inter- During the 1954-195'5' season Hurok will pre­ national spotlight under his aegis. sent for the first time in the U.S. the Festival From abroad have come the cream of European Ballet from London’s Royal Festival Hall with artists: Victoria de los Angeles, Friederich Guida, Anton Dolin and Tamara Toumanova as guest Hilde Gueden, Mario del Monaco. On Broadway, artist; Britain’s great theatrical company, the Old Hurok has been represented by the Compagnie Vic, in the Edinburg Festival production of “A Madeleine Renaud-Jean-Louis Barrault from Paris, Midsummer Night’s Dream” starring Moira and by Emlyn Williams. These, together with such Shearer, Robert Helpmann and Stanley Holloway; world-famous figures as Artur Rubinstein, Gregor and the brilliant Italian ensemble I Musici. A YEAR OF TOURING h ARTUR RUBINSTEIN ANTWERP, BELGIUM BRUSSELS. BELGIUM GHENT. BELGIUM PARIS. FRANCE LONDON, ENGLAND AMSTERDAM. HOLLAND THE HAGUE, HOLLAND BASEL. SWITZERLAND BERN, SWITZERLAND GENEVA. SWITZERLAND LAUSANNE. SWITZERLAND ZURICH, SWITZERLAND GENOA, ITALY MILAN, ITALY NAPLES, ITALY ROME, ITALY Arriving with daughter Eva TURIN, ITALY PALERMO. SICILY

In front of 'St. Peters Cathedral in Rome. AUSTIN. TEXAS BALTIMORE, MD. BERKELEY, CAL. BIRMINGHAM, ALA. BOSTON, MASS. BUFFALO, N. Y. CARMEL. .CAL. CHATTANOOGA, TENN. CHICAGO, ILL. CHINA LAKE, CAL. CINCINNATI, OHIO CLEVELAND, OHIO COLUMBIA, S. C. COLUMBUS. GA. CORVALLIS, OREGON DALLAS. TEXAS GREENWICH, CONN. HARLINGEN, TEXAS HARRISBURG, PA. HELENA, MONTANA HAIFA, ISRAEL HOUSTON, TEXAS Reunion Zurich with Pablo Casals. JERUSALEM, ISRAEL LA CROSSE, WISCONSIN They played a Brahms Sonata that they TEL-AVIV. ISRAEL LOS ANGELES. CAL had performed when they were last to­ MEMPHIS, TENN. MIAMI, FLA. gether 40 years earlier. MINNEAPOLIS. MINN. NEWARK, N. J. NEW ORLEANS. NEW YORK CITY OKLAHOMA CITY, OKLA. ORLANDO. FLA. PHILADELPHIA, PA. SAN JUAN, PORTO RICO RICHMOND, CAL. RICHMOND, VA. SAN FRANCISCO, CAL. ST. LOUIS, MO. SYRACUSE. N. Y. TULSA. OKLA. WASHINGTON. D. C. n this map are shown many ot the cities WICHITA. KANSAS o YAKIMA, WASH. in which Rubinstein has played in a single TORONTO. CANADA season. There is no room to indicate them all, BUENOS AIRES, ARGENTINA hearsal but this listing will give some idea of the BAHIA, BRAZIL Concertgebouw in Amsterdam. RIO DI JANEIRO, BRAZIL pianist's far-flung activity, which each year SAO PAULO. BRAZIL PERNAMBUCO, BRAZIL finds him playing on four continents — some­ SANTIAGO, CHILE times as many as six concerts in one city—and LIMA, PERU MONTEVIDEO. URUGUAY has taken him to every country except Tibet.

At the Rio airport. I. Mr and Mrs. Rubinstein shopping in Ernesto de Quesada. local managet. the market place in Bern. Switzerland. Mr. Rubinstein and son Paul. The audience rises to its feet to cheer the pianist after an exciting concert. Npte the standees along the side of the auditorium.

At six a.m. a line for tickets stretches around the corner in front of the Teatro Colon. The stage of the Teatro Colon where 350 seats were added to the 3,600 in the hall.

The photographs on these pages — inside and outside the concert hall — indicate the excitement which attends any Rubinstein appearance. The cities pictured here are Lima and Buenos Aires, but it could be Rome, where musicdovers stood in line for twelve hours to secure seats, or New York, where a Rubinstein concert is sold-out months in advance, or Tel Aviv, where the pianist’s 20 concerts in 20 days were solidly booked within 48 hours of their announcement.

At 6:30 a.m. the ticket queue completely encircles the building. FAMILY PORTRAIT

Eva, dad and mother preparing to enter Eva’s debut party at the Sulgrave Club in Washington, D. C.

The Rubinstein two-piano team, eight-year-old Alina and seven-year-old Arthur Mrs. Rubinstein listens to her famous husband playing the piano in the living room of their home.

The men of the family read the Sunday papers. Paul is a student at Tale.

At home with the family. “To enjoy success you must see it in the eyes of someone you love”

[Editor’s Note — In the movie, “Of Men and Music,” produced by World Artists and released by 20th'Century Fox, Artur Rubinstein is as\ed to provide some details of his fabulous career. The pianist responds by showing his questioner a painting in his home. The captions below are Rubinstein's own words as they are heard in this film.]

“This is a tryptych which was painted by success, too. But there’s no sense . . . there’s my friend Kanarek for my new home. You no purpose in such a life. see, I was a bachelor for a long . . . long time. “I know to enjoy success you must see it I believed an artist shouldn’t marry. . . . But in the eyes of someone you love. Someone I had a wonderful time. I was travelling all you can share it with . . . here is the story over the world. I was meeting so many per- of the five houses I have lived in since I sonalities. ... I had found quite a lot of married. . .

“This is in Paris . . . Montmartre . . . “New York! We arrived on the Queen "This is California. In this house we had the gayest spot on earth. There I did the Mary, (lower panel) and we were a little another edition of our two children, ten most intelligent thing I did in my whole sad, a little apprehensive! . . . The Ger- years ofter the first set. See the little girl life. Can you see me carrying my bride mans were in Poland . . . and the baby? The picture also shows my into the house? Well, from that point on, mother-in-law arriving from Poland after Ah, but here is Carnegie Hall, (upper everything had meaning in my life . . . those years of war . . . The lower half of the panel shows our right panel) This was a memorable con­ home near the Arch of Triumph . . . the cert. It was the kind of success, you know, But we needed a bigger house, (lower most beautiful avenue in Paris. And here you can share ... If you look to the left panel) so we moved to a beautiful home. are my babies —I’m very proud and I’m you can see Mrs. Rubinstein and Eva And there we sit at last and look at trees, showing off a lot, I think . . . and Paul . . . lazy and happy.” With Composer Cole Porter With Conductor Pierre Monteux

OFF-STAGE In his social life, as on the concert stage, Rubinstein is a dynamic and fascinating personality who num­ bers among his multitude of acquaintances eminent figures in every phase of the arts, politics and business. Some of them are pictured here.

A little reception after a concert in Paris. Left to right bac\ row: Mme. Lubelsfyi, Ctsse. Pierre de Benouville, Bar. Guy de Rothschild, Artist Moise Kisling. First row left to right: Bar. Alain de Rothschild, Eva Rubinstein, Baroness Guy de Rothschild, Artur Rubinstein, Baroness Alain de Rothschild.

With Author Ludwig Bemelmans With Actor Basil Rathbone RUBINSTEIN ON RECORDS The art of Rubinstein has conquered on records These photos show the pianist recording, listening as it has in the concert halls. His albums, the most to a playback in the control room, examining a popular among RCA Victor’s catalogue of classics, valuable master and holding .the completed album. top more than a million dollars in sales each year. MARIAN ANDERSON ARTUR RUBINSTEIN

JAN PEERCE LEONARD WARREN For more than three decades the label “S. Hurok presents” has been a VICTORIA DE LOS ANGELES PATRICE MUNSEL guarantee of quality to audiences GREGOR PIATIGORSNV ISAAC STERN everywhere. No season in any city is complete without the appearance of ANDRES SEGOVIA BLANCHE THEBOM artists from the list of America’s foremost ROBERTA PETERS HILDE GUEDEN Impresario, whose film-biography “Tonight We Sing” was produced FRIEDRICH GULDA PAUL TORTELIER by 20th-Century Fox. JEROME HINES CESARE VALLETTI

LAWRENCE WINTERS TOSHIYA ETO

MOURA LVMPANY MATTIWILDA DOBBS

RICHARD DVER-BENNET ELAINE MALBIN

RAWN SPEARMAN MARIA TIPO LONDON’S FESTIVAL BALLET Conductors.* First U.S. visit of the celebrated company from the Royal Festival Hall headed by world-famous stars Tamara Toumanova and Anton Dolin. FRITZ REINER WILLIAM STEINBERG A brilliant repertory features exciting new works and old favorites

THE OLD VIC in “A Midsummer Night’s Dream” Britain's great theatrical company brings to North America brilliant production of Shakespeare's "A Midsummer Night's Dream," created for the Edinburgh Festival and starring Moira Shearer and Robert Helpmann. The company of 65 will feature a ballet troupe, and the famous incidental music of Mendelssohn will be performed by full orchestra.

THE JAPANESE DANCERS AND MUSICIANS America's first view of the legendary theatre art of Japan.

ROLAND PETIT’S BALLETS DE PARIS Direct from triumphs in London and Paris, the company which broke all records on Broadway returns to the United States in a stunning new repertory with Colette Marchand and Leslie courtesy of MGM studios.

SADLER'S WELLS BALLET Under the direction of Ninette de Valois. The fabulous company from the Royal Opera House, Covent Garden.

AGNES de MILLE DANCE THEATRE The exciting American company's second (Season 1955-56)

RRlC«ltS I MUSICI The brilliant Hali«

VIENNA CHOIR BOYS

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