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lished them later that year in the German translations by Wilhelm Osterwald.

In Hanover Rubinstein met Brahms and Grimm, and renewed his acquain-
tance with Joachim. Of the three of them, Rubinstein told Liszt, it was he
[Joachim] who interested me most; he produced the impression of a lay brother
in a monastery who knows that he still has the choice between the monastery
and the secular world, and has not yet resolved which it is to be. As far as Brahms
is concerned, I cannot dene precisely the impression he produced on me; for
the salon he is not sufciently gracious, for the concert hall he is not sufciently
ery, for the elds he is not simple enough, and for the town he is insufciently
versatile. I have little faith in such natures. Grimm appeared to me like an un-
nished sketch of Schumann.82
From Hanover, Rubinstein traveled rst to Brunswick and then to Cologne,
where he visited Ferdinand Hiller, Kapellmeister of the city, and the pianist and
music editor Hans Bischoff. Hiller is very courteous to me, he informed Liszt,
although he does not yet know what opinion he should have about me as a
composer. Bischoff and his cohorts are exact copies of what you will nd in any
town where there are musiciansthat is, so to speak, an urban, musical Cer-
berus: you risk being devoured as you enter, and you can rest assured that you
will not be spared as you leave, even if you have managed to atter Satan (the
audience) and the other evil spirits (the musicians).83 From Cologne Rubin-
stein proceeded to Bonn, Coblenz, Mainz, and then Stuttgart, where he re-
mained for almost three months.

Das Verlorene Paradies

Rubinsteins chief purpose in resting in Stuttgart was to complete the
orchestration of Das Verlorene Paradies, and on 19 July he was able to inform
Senff with a certain self-satised conviction: I have created, in as far as my
strength has allowed, something good. On 8 August he left for Weimar, taking
with him his berchtige [notorious] trunk full of manuscripts, but the Hun-
garian composer was not at home. As a consequence he headed straight for Ber-
lin in an effort to get his oratorio performed there. His endeavors, however,
were beset with difculties. He offered it to Julius Stern, the eminent conduc-
tor of the celebrated Sternscher Gesangverein, but Stern turned it down, saying
that the king had requested an oratorio by Karl Reinthaler and that he was al-
ready engaged in preparing Beethovens Mass in D, Handels Israel in Egypt, and
Mendelssohns Paulus for other concerts. The Singakademie, then directed by
Eduard Grell, also rejected it on the grounds that it proposes to be involved
only with works by famous composers and those who died long ago. There
were hopes that Julius Benedict might perform it at the Norwich Festival in En-
gland the following year, but Rubinstein doubted his sincerity, for a promise
which has to be fullled in a years time is easily given.84 The only other option
was to have the oratorio performed at his personal expense, but that was com-
pletely impossible, especially since the annual salary he received from the grand
duchess Yelena had ceased after his departure from Russia in 1854.

Foreign Tour 67