THE CD PLAYER PLUS - Ultra High Fidelity Magazine

A bronze casting of Arthur Rubinstein’s hands
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It should be said that, notwithstanding
Arthur’s admiration and gratitude,
he will always resist the great pianist’s
rubato, which he views as exaggerated,
as well as his frequent use of arpeggio
chords.
Once back home. Arthur learns that,
to his relief tinged with guilt, his mother
has changed her mind about moving
in with him and running his life.
Shortly after comes Paderewski’s letter
to Joachim, confirming Arthur’s brilliant
talent, and predicting the greatest
of futures.
66 ULTRA HIGH FIDELITY Magazine
For the moment, Arthur pursues his
language studies, and continues to read
with passion.
Hello Chopin, goodbye Barth
In the first decade of the 20th Century,
Arthur meets Juliusz Wertheim
(called by the sobriquet “Frederic Harman”
in his autobiography), a young and
talented musician, the scion of an influential
Warsaw family. The Wertheims,
who possess a colossal fortune, organize
salons, at which Arthur is a regular. Juliusz
is an unconditional enthusiast of
Frédéric Chopin, and introduces his
new friend to the music of Chopin by
casting it in a new light. He stresses the
qualities that he believes have been overlooked
by generations of musicians, of
which Paderewski is the most famous.
Through his friend, Arthur discovers
a Chopin whose elegance and emotion
are buttressed by a virile strength
that belies the composer’s sickly constitution.
Arthur will become Chopin’s
apostle, and his most brilliant performer.
Not going so far as to reject rubato (the
variation of the length of notes, done for
emotional effect) altogether, he learns to
moderate it, and to remove what some
regard as sappiness, and even a lack of
naturalness he has often deplored in the
playing of even some talented pianists.
On the contrary, he brings forth from
Chopin’s music a power and exuberance
that will mark his style, and which will
henceforth delight audiences.
Once sound recordings enter the
musical landscape, Arthur will record
an important part of Chopin’s output,
helping anchor Chopin’s reputation as
a major, powerful composer. His legendary
performances will remain unequalled.
Even at his final concert at the
age of 89, his failing eyesight leaving
him unable to see the keyboard, he will
perform the Scherzo No. 2 with energy
and power that border on the infernal.
Among his enduring friendships are
those with the great Russian/Polish violinist,
Pawel (or Paul) Kochański, who is
also a composer and arranger and taught
at the Warsaw Conservatory from 1909
to 1911, as well as pianist and composer
Karol Szymanowski.
These young people, prodigies to
a man, are the core of a joyous band.
They love music and life, and their gettogethers
are always memorable. Arthur,
the youngest of them, conquers many a
society woman, or one of the actresses
passed on to him by Juliusz, for reasons
that will be evident later.
But Arthur tires of Berlin and dreams
of returning to Warsaw. He plays a concert
in the Polish capital, and it is there
that — too young to understand feminine
psychology — he is once again
wounded by Cupid’s arrow.
He raises his head, and determines
to continue. Henceforth he will look
after himself, with no more tutors and
other guides to interfere. After a final,
fiery argument with Barth, Arthur sets
out toward a new life.
An adolescent in the tumult
In Warsaw Arthur continues to inflame
his senses with evenings at the
theatre, animated suppers with his
many friends, lunch with one or another,
meetings with the famous of the
worlds of the arts, sciences and politics.
At the age of 17 he is impetuous but
still inexperienced, ready to plunge into
what life can offer in the way of exquisite
experiences. He is at a stage where
he truly needs moral support in order
to continue his musical studies in disciplined
fashion.
This extroverted young man has