Rubinstein and Von Buelow offer two more contrasting personalities. Anton Rubinstein (1830-1894) was the impressionist, the subjective artist, who re-created every composition he played. The Russian tone-colorist he has been called, and the warmth and glow with which he invested every nuance can never be forgotten by those who were privileged to hear his Titanic interpretations, over whose very blemishes was cast the glamor of the impassioned temperament that caused them. "May Heaven forgive me for every wrong note I have struck!" he exclaimed to a youthful admirer after one of his concerts in this country during the season of 1872-3. Certainly the listener under the spell of his magnetism could forgive, almost forget. Hans von Buelow (1830-1894) was the objective artist, whose scholarly attainments and musicianly discernment unraveled the most tangled web of phrasing and interpretation. His Beethoven recitals, when he was in America in 1875-6, were of especial value to piano students. As a piano virtuoso, a teacher, a conductor and an editor of musical works, he was a marked educational factor in music. In his youth Johannes Brahms (1833-1897), the great apostle of modern intellectual music, made his debut before the musical world as a brilliant and versatile pianist. Once, when about to play in public Beethoven's magnificent Kreutzer Sonata, with Remenyi, who was the first to recognize his genius, he discovered that the piano was half a tone below concert pitch, and rather than spoil the effect by having the violin tuned down, the boy of nineteen unhesitatingly transposed the piano part which he was playing from memory into a higher key. The fire, energy and breadth of his rendering, together with the splendid musicianship displayed by this feat, deeply impressed the great violinist Joachim, who was present, and who became enthusiastic in his praise. Schumann, on making his acquaintance, proclaimed the advent of a genius who wrote music in which the spirit of the age found its consummation, and who, at the piano, unveiled wonders. By others he has been called the greatest contrapuntist after Bach, the greatest architectonist after Beethoven, the man of creative power who assimilated the older forms and invested them with a new life entirely his own. His piano works are a rich addition to the pianist's store, but whoever would unveil their beautiful proportions, all aglow as they are with sacred fire, must have taken a master's degree.