He traveled first to Constantinople, Turkey (now Istanbul), and applied for a visa to the United States. In 1919, he left Kiev during the Russian Revolution. As a child, he studied music at the Kiev Conservatory. Rubstein was never certain whether his birth year was 1899 or 1901, but used 1901 on official documents. He and a sister, born two years apart, were registered as twins after his birth. (Ariel Alfred), 1899 or 1901-1997Īriel Alfred Rubstein, né Rubshteyn, was born in what is now Kiev, Ukraine, in 1899 or 1901. He closes the interview by sharing his thoughts about appreciation of the arts among the American public in the 1980s. He speaks about running his business, Celebrity Attractions, Inc., which produced concerts, operas, and musicals in Portland talks about promoting the shows to Oregonians and discusses working with the musical artists the organization contracted with. He discusses his work as director of the Portland School of Music until its closure in 1959, and talks about how the school’s opera department led to the Portland Opera. He talks about his marriage to Margaret Eleanor Reed, and about raising a family. In the second interview session, conducted on February 18, 1985, Rubstein discusses his career as a musician and instructor in Portland, Oregon. He shares his reasons for leaving the East Coast and settling in Portland, Oregon, in 1936. He talks about his career as a musician and teacher in New York, New York, and talks about other Russian refugees. He shares his thoughts about higher education. He shares his reasons for leaving Kiev in 1919 during the Russian Revolution, describes how he was able to escape Russia, and discusses his journey through Europe while awaiting approval of his visa to the United States, where he arrived in 1922. He compares his memories of life in pre-revolution Russia to living conditions in Russia at the time of the interview. He describes his music education at the Kiev Conservatory. In the first interview session, Rubstein discusses his family background and early life in Kiev, Russia, now Ukraine, including an explanation about the ambiguity surrounding his birthdate. The interview was part of a series conducted by Kolisch to accompany portraits of Oregon artists, businesspeople, and politicians. Kolisch in two sessions, on December 17, 1984, and February 18, 1985. Silent excerpts of Chopin Etudes filmed in 1928 for educational purposes comprise the skimpy DVD “Extras”.This oral history interview with Ariel Rubstein was conducted by Oregon photographer Marian W. The non-Chopin encores also represent Rubinstein at his soulful best, leaving the pianist’s adoring Russian public and this reviewer well satisfied. I especially love how gorgeously Rubinstein stretches the Barcarolle coda’s phrases for maximum harmonic tension and poetic impact. The pianist seems a bit unsettled at the Sonata Scherzo’s outset, where he cleverly improvises his way out of a memory lapse just before the Trio section (the superior-sounding audio-only recording of this concert, issued as part of RCA’s Rubinstein Edition, contains a spliced-in correction). You notice this in his larger-than-life Polonaise performances, and in the generous yet judiciously proportioned rubatos with which he imbues lyrical episodes (the Impromptu, the Nocturne, and the A minor Waltz, for example). More significantly, Rubinstein’s interpretations convey a sense of risk and daring that largely elude his meticulous stereo studio recordings. Young performers can learn from Rubinstein’s aristocratic platform manner, centered body language, and effortless coordination. The all-Chopin program documents the 77-year-old pianist at the height of his musical maturity, with his big technique, ravishing tone, and awesome sense of projection operating at full capacity. Arthur Rubinstein’s 1964 recital in the Moscow Conservatory’s Great Hall was preserved in the Russian State television archives, and now is released for the first time on home video.
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