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able: the musical ideas in this concerto are fresher and more imaginative than

in Rubinsteins earlier works in the same genre, and the overall design is more
satisfactory. Only in this concerto, as Jeremy Norris has pointed out, did
Rubinstein achieve a well-balanced distribution of the material between solo-
ist and orchestra.85 Cui found the nale to be original but strange and anti-
artistic, yet, despite his criticism, the concerto served as one of the most im-
portant models for several later Russian piano concertos, notably Tchaikovskys
B minor concerto of 1874.
Rubinstein was eagerly awaiting news from Kologrivov. The most pressing
matter was the charter. The grand duchess had made changes, but Kologrivov
had not sent him the amended copy so he did not know what they were. If he
knew, he told Kologrivov, he would go to Carlsbad and try to sort it all out with
her and Matvey Wielhorski. She will play dirty tricks on us, and that is all on
account of me, isnt she a minx? Who is right? Well, the main thing is to try and
become imperial and to be attached to the Ministry of the Court or the Min-
istry of Education.86 On 3/15 August Rubinstein reported to Kologrivov that
he had been to see the grand duchess in Switzerland about the affairs of the
RMS and the Conservatory (specically the charters of both), and more suit-
able premises for the Conservatory. He planned to be back in St. Petersburg by
1/13 September, followed by the grand duchess a little later in mid-October. By
the time of her arrival the committee would have to be in a position to give a
reply to all her proposals and enquiries point by point.
On 19 September/1 October 1864 Rubinstein wrote to Niels Gade in Copen-
hagen, recalling their acquaintance in the summer of 1862 and offering him the
dedication of his Faust Overture, Op. 68 (one of the surviving movements of
the abandoned Faust Symphony of 1854).87 Meanwhile, the new concert sea-
son was about to start, and, given Rubinsteins deeply rooted dislike of Berliozs
music, it is remarkable that he conducted a performance of La Fuite en Egypte
at the Hall of the Nobility on 22 October/3 November. Just a week later, on
29 October/10 November, he played the solo part in the rst performance of
his Piano Concerto No. 4. Further RMS concerts under Rubinsteins direction
followed on 19 and 26 November, and 3, 10 and 17 December (o.s.) (these con-
certs included Liszts Mazeppa, Schumanns Das Paradies und die Peri, and Wag-
ners Ride of the Valkyries).

The relations between Rubinstein and his most famous pupil were ex-
tremely complex and require careful examination. Tchaikovsky had rst heard
Rubinsteins name in 1858 when he was still an eighteen-year-old student at the
School of Jurisprudence. At that time he was taking private piano lessons from
Rudolf Kndinger, and it was the latter who had told him that the great virtuoso
had returned to Russia. That same year Tchaikovsky had the opportunity to
hear Rubinstein play and to see him conduct concerts. He attended one of these

The Founding of the Russian Music Society 109