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secure a performance in Berlin, Liszt had agreed to perform it at Weimar in the

Rubinstein knew that the coming season would be a taxing one, and he even
considered abandoning his career as a concert virtuoso when the season was
over. His busy schedule took him rst to Pest in Hungary, where he gave six
concerts between 28 December 1857 and 27 January 1858. In these concerts he
repeated the Vienna programs but also included his Fantaisie sur les mlodies
hongroises which had hastily been completed that winter. His next destination
was to be Dresden via Prague, where he gave two more concerts. Yakovs duties
in Poland were due to end in December, and Anton had tried to persuade his
brother to accompany him on his winter-season tour of Europe. Yakov would
be able to help him arrange his concerts, and the trip would also give him a
good opportunity to familiarize himself with the latest medical practices in
other countries. The brothers had arranged to meet in Dresden at the end of
January, and now Rubinstein was eagerly awaiting news. If he doesnt come
now, he told his mother, it will hardly be worth it, for only ve months [of
the season] remain, and in Germany, where, as a doctor, it will be most inter-
esting for him to be, the chance will have been lost entirely.105
Relations between Nikolay and his wife were reaching a crisis, and Anton felt
that the situation would now soon be resolved: I am sincerely pleased that
Nikolay has chosen the correct path, that he is not making coup dtats at
home, and that he does not need to have recourse to the protection of his
mother-in-law. All this and time will yet bring him happiness and, perhaps, free
him from the regret of the reckless step he took in his youth.106 No doubt
he was also gratied to hear from Kaleriya Khristoforovna that Nikolay had
played the piano part in a performance of his brothers Trio in B in Mos-
cow. Banned from giving public performances under the marriage conditions
imposed by the Khrushchovs, Nikolay still appeared in semi-public perfor-
mances of chamber music with the violinists Yuly Gerber and Karl Klamrot and
the cellist Schmidt. It was no great surprise to Rubinstein to learn from his
mother shortly afterward that Nikolay and Yelizaveta Krushchova had separated
(although they were never actually divorced).
From Prague Rubinstein traveled to Weimar for the premiere of Das Ver-
lorene Paradies on 1 March 1858, and on the next day reported to Senff that it
was a brilliant performanceor Liszt is a wizard.107 Everyone had claimed to
like the music, especially the second part, and he had been complimented by the
grand duke. The oratorio was conceived on a grand scale. It is divided into three
parts and requires eight soloists. There is much in the general design of part 1
of the oratorio that anticipates the rst act of the opera The Demon: the use of
opposing choruses of good and wicked angels, for example, and the set aria
for Satan. As in Rubinsteins portrayal of the Demon, we are not meant to see
in Lucifer merely the incarnation of evil. He is Prometheus stealing re from
the Gods; he is the tragic Byronic hero who suffers because of noble pride and
love of freedom. Against such restless and vital passions the forces of heaven
can seem almost dull: Lucifer, of light the Angel, seeks a monarch now to be.

72 Anton Rubinstein