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1 (one;  /ˈwʌn/ or UK /ˈwɒn/) is a number, a numeral, and the name of the glyph representing that number. It represents a single entity, the unit of counting or measurement. For example, a line segment of "unit length" is a line segment of length 1.

As a number[link]

One, sometimes referred to as unity, is the integer before two and after zero. One is the first non-zero number in the natural numbers as well as the first odd number in the natural numbers.

Any number multiplied by one is the number, as one is the identity for multiplication. As a result, one is its own factorial, its own square, its own cube, and so on. One is also the empty product, as any number multiplied by one is itself, which produces the same result as multiplying by no numbers at all.

As a digit[link]

The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small.^[1] This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeral Failed to parse (Missing texvc executable; please see math/README to configure.): \mathrm{I} . In some European countries (e.g., Germany), the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.

While the shape of the 1 character has an ascender in most modern typefaces, in typefaces with text figures, the character usually is of x-height, as, for example, in .

The 24-hour tower clock in Venice, using J as a symbol for 1

Many older typewriters do not have a separate symbol for 1 and use the lowercase l instead. It is possible to find cases when the uppercase J is used, while it may be for decorative purposes.

Mathematics[link]

Mathematically, 1 is

• in arithmetic (algebra) and calculus, the natural number that follows 0 and precedes 2 and the multiplicative identity of the integers, real numbers and complex numbers;
• more generally, in abstract algebra, the multiplicative identity ("unity"), usually of a ring.

One cannot be used as the base of a positional numeral system; sometimes tallying is referred to as "base 1", since only one mark (the tally) is needed, but this is not a positional notation.

The logarithms base 1 are undefined, since the function 1^x always equals 1 and so has no unique inverse.

In the real-number system, 1 can be represented in two ways as a recurring decimal: as 1.000... and as 0.999... (q.v.).

Formalizations of the natural numbers have their own representations of 1:

• in the Peano axioms, 1 is the successor of 0;
• in Principia Mathematica, 1 is defined as the set of all singletons (sets with one element);
• in the Von Neumann cardinal assignment of natural numbers, 1 is defined as the set {0}.

In a multiplicative group or monoid, the identity element is sometimes denoted 1, especially in abelian groups, but e (from the German Einheit, "unity") is more traditional. However, 1 is especially common for the multiplicative identity of a ring, i.e., when an addition and 0 are also present. When such a ring has characteristic n not equal to 0, the element called 1 has the property that n1 = 1n = 0 (where this 0 is the additive identity of the ring). Important examples are general fields.

One is the first figurate number of every kind, such as triangular number, pentagonal number and centered hexagonal number, to name just a few.

In many mathematical and engineering equations, numeric values are typically normalized to fall within the unit interval from 0 to 1, where 1 usually represents the maximum possible value in the range of parameters.

Because of the multiplicative identity, if f(x) is a multiplicative function, then f(1) must equal 1.

It is also the first and second numbers in the Fibonacci sequence and is the first number in many other mathematical sequences. As a matter of convention, Sloane's early Handbook of Integer Sequences added an initial 1 to any sequence that did not already have it and considered these initial 1's in its lexicographic ordering. Sloane's later Encyclopedia of Integer Sequences and its Web counterpart, the On-Line Encyclopedia of Integer Sequences, ignore initial ones in their lexicographic ordering of sequences, because such initial ones often correspond to trivial cases.

One is neither a prime number nor a composite number, but a unit, like -1 and, in the Gaussian integers, i and -i. The fundamental theorem of arithmetic guarantees unique factorization over the integers only up to units (e.g., 4 = 2² = (-1)⁶×1²³×2²).

The definition of a field requires that 1 must not be equal to 0. Thus, there are no fields of characteristic 1. Nevertheless, abstract algebra can consider the field with one element, which is not a singleton and is not a set at all.

One is the only positive integer divisible by exactly one positive integer (whereas prime numbers are divisible by exactly two positive integers, composite numbers are divisible by more than two positive integers, and zero is divisible by all positive integers). One was formerly considered prime by some mathematicians, using the definition that a prime is divisible only by one and itself. However, this complicates the fundamental theorem of arithmetic, so modern definitions exclude units.

One is one of three possible values of the Möbius function: it takes the value one for square-free integers with an even number of distinct prime factors.

One is the only odd number in the range of Euler's totient function φ(x), in the cases x = 1 and x = 2.

One is the only 1-perfect number (see multiply perfect number).

By definition, 1 is the magnitude or absolute value of a unit vector and a unit matrix (more usually called an identity matrix). Note that the term unit matrix is sometimes used to mean something quite different.

By definition, 1 is the probability of an event that is almost certain to occur.

One is the most common leading digit in many sets of data, a consequence of Benford's law.

The ancient Egyptians represented all fractions (with the exception of 2/3 and 3/4) in terms of sums of fractions with numerator 1 and distinct denominators. For example, Failed to parse (Missing texvc executable; please see math/README to configure.): \frac{2}{5} = \frac{1}{3} + \frac{1}{15} . Such representations are popularly known as Egyptian Fractions or Unit Fractions.

The Generating Function that has all coefficients 1 is given by

Failed to parse (Missing texvc executable; please see math/README to configure.): \frac{1}{1-x} = 1 + x + x^2 + x^3 + \cdots .

This power series converges and has finite value if and only if, Failed to parse (Missing texvc executable; please see math/README to configure.): | x | < 1 .

Table of basic calculations[link]

In technology[link]

• The resin identification code used in recycling to identify polyethylene terephthalate
• Used in binary code along with 0

In science[link]

• The atomic number of hydrogen

In philosophy[link]

In the philosophy of Plotinus and a number of other neoplatonists, The One is the ultimate reality and source of all existence.

In fiction[link]

• The characters Thomas the Tank Engine, Skarloey and Godred from The Railway Series and Thomas and Friends have this number.
• Numbuh 1, a character from Codename: Kids Next Door.
• The character Francesco Bernoulli from Cars 2 is numbered 1.
• Mr. One from One Piece.
• The General Lee from The Dukes of Hazzard is numbered 01.
• Jean-Luc Picard, Captain of the Enterprise-D in Star Trek: The Next Generation, refers to his second-in-command, Will Riker as Number One.

In sports[link]

• 1 is the lowest number permitted for use by players of the National Hockey League (NHL), as the league has banned 00 and 0. (The highest number permitted is 98.)
• Many sports use 1 as their standard scoring increment—examples include goals in a large number of sports, runs in baseball and cricket, and points in volleyball. Examples where 1 is a non-standard increment, or used for one of several possible classes of scores, are listed below by sport.
• In Australian rules football, 1 point is awarded to the attacking team for a behind, scored when:
  • The ball is kicked by the attacking team and passes between a goal post (taller post) and the nearest behind post (shorter post) on the defensive side of the field without touching the behind post.
  • The ball passes between the defending team's goal posts, but either (1) was not kicked by the attacking team or (2) hit a goal post.
  • The defending team deliberately forces the ball between any two of its own posts. This particular score is officially called a "rushed behind".
• In baseball scoring, the number 1 is assigned to the pitcher.
• In basketball:
  • 1 point is awarded for a successful free throw.
  • The number 1 is used to designate the point guard position.
• In football (soccer):
  • 1 point is awarded for a successful goal
  • The number 1 is occasionally given to the goalkeeper
• In Gaelic football, hurling and camogie, a "point", with a scoring value of 1, is awarded when the attacking team legally sends the ball over the opponent's crossbar (above the goal).
• In gridiron football codes, one point is awarded under the following circumstances:
  • In almost all leagues, for a successful place kick after a touchdown. In American football, the score is formally known as a "try", although the terms "extra point", "conversion", "PAT" (for "point after touchdown"), and "point after" are far more commonly used. In Canadian football, the score is formally and popularly called a "convert". Conversions can also be scored by the now-rare drop kick; in standard American and Canadian football, such a conversion is worth 1 point, while most forms of indoor football, including the Arena Football League, award 2 points for a drop-kicked conversion.
  • In six-man football, one point is awarded for a successful conversion from scrimmage after a touchdown. Note that in standard 11-man (American) or 12-man (Canadian) football, place kicks are worth 1 point and conversions from scrimmage worth 2; this is reversed in six-man because the reduced number of players makes kicked conversions much more difficult.
  • In Canadian football only, a single or "rouge" is awarded when the ball is legally kicked into the opponent's end zone (except for a successful field goal), and the receiving team does not return, or kick, the ball out of its end zone. (In American football, the same play would result in a touchback and no points.)
  • Some forms of indoor football in the U.S. award a "single", similar to the Canadian score, on kickoffs only.
• In rugby league:
  • A drop goal is worth 1 point.
  • In most competitions (though not the European Super League, which uses static squad numbering), the starting fullback wears jersey number 1.
• In rugby union:
  • The starting loosehead prop wears the jersey number 1.
  • In the early years of the sport (prior to 1890), conversions, penalties, drop goals, and goals from mark were all worth 1 point. At that time, a try was worth no points, only giving the attacking team the right to attempt a conversion. In 1890–91, tries were rewarded with 1 point, while all other scores were increased in value. After that time, all scores have been worth at least 2 points (the goal from mark was abolished in 1977).
• The jersey number 1 has been retired by several North American sports teams in honor of past playing greats or other key figures (or, in one case, a team's fans):
  • In Major League Baseball:
    • The Boston Red Sox, for Hall of Famer Bobby Doerr.
    • The Cincinnati Reds, for manager Fred Hutchinson.
    • The Los Angeles Dodgers, for Hall of Famer Pee Wee Reese.
    • The New York Yankees, for Billy Martin, who both played for and managed the team.
    • The Philadelphia Phillies, for Hall of Famer Richie Ashburn.
    • The Pittsburgh Pirates, for manager Billy Meyer.
    • The St. Louis Cardinals, for Hall of Famer Ozzie Smith.
  • In the NBA:
    • The Boston Celtics, for founding owner Walter Brown, a member of the Hall of Fame as a contributor.
    • The Milwaukee Bucks, for Hall of Fame player Oscar Robertson.
    • The Portland Trail Blazers, for founding owner Larry Weinberg. Unlike most numbers so honored, this number remains in circulation for players.
    • The Sacramento Kings, for Hall of Fame player Nate Archibald, honoring the number's retirement when the team was known as the Kansas City Kings.
    • The Seattle SuperSonics, for Gus Williams. The team has since relocated to become the Oklahoma City Thunder, but the Thunder have yet to issue any number retired by the franchise in Seattle.
    • The Utah Jazz, for Frank Layden, who served the team first as head coach and then as president.
  • In the NFL:
    • The New York Giants, for Hall of Famer Ray Flaherty.
    • The Tennessee Titans, for Hall of Famer Warren Moon, who played for the team in its past incarnation as the Houston Oilers.
  • In the NHL:
    • The Chicago Blackhawks, for Hall of Famer Glenn Hall.
    • The Detroit Red Wings, for Hall of Famer Terry Sawchuk.
    • The Montreal Canadiens, for Hall of Famer Jacques Plante.
    • The New York Rangers, for Hall of Famer Eddie Giacomin.
    • The Minnesota Wild, for their fans.
    • The Philadelphia Flyers, for Hall of Famer Bernie Parent.
    • The Toronto Maple Leafs have a policy of not retiring numbers unless the player honoured either died or suffered a career-ending incident while a member of the team. Other players whose numbers would otherwise be retired instead have their numbers enshrined by the team as "Honoured Numbers", which remain in circulation for future players. The number 1 is currently honoured for Hall of Famers Johnny Bower and Turk Broda.

See also[link]

Mathematics portal

• −1
• One (word)
• Root of unity

Notes[link]

Wikimedia Commons has media related to: 1 (number) (category)

Look up one in Wiktionary, the free dictionary.

vep:1 (lugu)

Frederick Eric Fisher (28 July 1924, Johnsonville, New Zealand – 19 June 1996, Palmerston North, Manawatu) was a New Zealand cricketer who played in one Test in 1953.

This biographical article related to New Zealand cricket is a stub. You can help Wikipedia by expanding it. v t e

1999 Top Fuel dragster

Doug Kalitta (born August 20, 1964) is an American auto racing driver from Ypsilanti, Michigan.

Kalitta formerly raced in USAC events. He was the 1991 USAC rookie of the year in the midget series, and won the 1994 championship in the sprint car category. Kalitta won 21 USAC events: 14 in midget races and 7 in sprint competitions. In 1998 he joined the NHRA, becoming a top fuel drag racer.^[1] Kalitta finished second in the top fuel points race in 2003, 2004, and 2006. He is sixth on the all-time top fuel wins list;^[2] the most recent of his 31 victories came in February 2009.^[3]

Kalitta's father is the now-deceased Doug Kalitta Sr., and he is the nephew of Connie Kalitta, a member of the Motorsports Hall of Fame of America. Scott Kalitta, an NHRA driver who died June 21, 2008 in a racing accident, is his cousin.^[4] He owns the airline Kalitta Charters.^[5]

References[link]

This biographical article related to United States auto racing is a stub. You can help Wikipedia by expanding it. v t e

Photographed by Carl Van Vechten, 1937

Arthur Rubinstein (January 28, 1887 – December 20, 1982) was a Polish-American classical pianist who received international acclaim for his performances of the music written by a variety of composers; many regard him as the greatest Chopin interpreter of his time.^[1][2] He is widely considered one of the greatest classical pianists of the twentieth century.^[1]

Early life[link]

Rubinstein grew-up on Piotrkowska street, Łódź, Poland

Rubinstein was born in Łódź, Congress Poland (part of the Russian Empire for the entire time Rubinstein resided there) on January 28, 1887, to a family of assimilated Jews. He was the youngest of eight children,^[3] and his father was a wealthy factory owner.^[4]

Rubinstein's birth name was Artur Rubinstein, although in English-speaking countries, he preferred to be known as Arthur Rubinstein. However, his United States impresario Sol Hurok insisted he be billed as Artur, and records were released in the West under both versions of his name.^[5]

At the age of two, Rubinstein demonstrated perfect pitch and a fascination with the piano, watching his elder sister's piano lessons. By the age of four, he was recognised as a child prodigy. Rubinstein first studied piano in Warsaw. His early piano training came from Karl Heinrich Barth.

As a student of Barth, Rubinstein inherited a renowned pedagogical lineage: Barth was himself a pupil of Liszt, who had been taught by Czerny, who had in turn been a pupil of Beethoven. The Hungarian violinist Joseph Joachim, on hearing the four-year-old child play, was greatly impressed, and began to mentor the young prodigy. In 1894, at the age of 7, Rubinstein had his first public performance.^[6]

At the age of ten, Rubinstein moved to Berlin to continue his studies, and made his debut with the Berlin Philharmonic in 1900, at the age of 13.^[1]

Career[link]

In 1904, Rubinstein moved to Paris to launch his career in earnest, where he met the composers Maurice Ravel and Paul Dukas and the violinist Jacques Thibaud. He also played Camille Saint-Saëns' Piano Concerto No. 2 in the presence of the composer. Through the family of Juliusz Wertheim (to whose understanding of Chopin's genius Rubinstein attributed his own inspiration in the works of that composer) he formed friendships with the violinist Paul Kochanski and composer Karol Szymanowski.^[7]

Rubinstein in 1906

Rubinstein made his New York debut at Carnegie Hall in 1906, and thereafter toured the United States, Austria, Italy, and Russia. According to his own testimony and that of his son in François Reichenbach's film L'Amour de la vie (1969), he was not well-received in the United States. By 1908, Rubinstein, destitute and desperate, hounded by creditors, and threatened with being evicted from his Berlin hotel room, made a failed attempt to hang himself. Subsequently he said that he felt "reborn" and endowed with an unconditional love of life. In 1912, he made his London debut, and found a home there in the Edith Grove, Chelsea, musical salon of Paul and Muriel Draper, in company with Kochanski, Igor Stravinsky, Jacques Thibaud, Pablo Casals, Pierre Monteux and others.^[7]

During World War I, Rubinstein stayed in London, giving recitals and accompanying the violinist Eugène Ysaÿe. In 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed a lifelong enthusiasm for the music of Enrique Granados, Isaac Albéniz, Manuel de Falla, and Heitor Villa-Lobos. He was the dedicatee of Villa-Lobos's Rudepoêma and Stravinsky's Trois mouvements de Petrouchka.

Rubinstein was disgusted by Germany's conduct during the war, and never played there again. His last performance in Germany was in 1914.^[7]

In the fall of 1919 Rubinstein toured the English Provinces with soprano Emma Calvé and tenor Vladimir Rosing.^[8]

In 1921 Rubinstein gave two American tours, travelling to New York with Karol Szymanowski and his close friend Paul Kochanski, who died in 1934. The autumn voyage was the occasion of Kochanski's permanent migration to the USA.^[7]

In 1932, the pianist, who stated he neglected his technique in his early years, relying instead on natural talent, withdrew from concert life for several months of intensive study and practice.

During World War II, Rubinstein's career became centered in the United States. He became a naturalized United States citizen in 1946.

A cast of the pianist's hands, at the Łódź museum

Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries as Henryk Szeryng, Jascha Heifetz, Pablo Casals, Gregor Piatigorsky, and the Guarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of the Romantic composers. At the time of his death, the New York Times in describing him wrote, "Chopin was his specialty . . . it was [as] a Chopinist that he was considered by many without peer".^[1] With the exception of the Études, he recorded most of the works of Chopin. ^[9] He was one of the earliest champions of the Spanish and South American composers and of French composers who, in the early twentieth century, were still considered "modern" such as Debussy and Ravel. In addition, Rubinstein was the first champion of the music of his compatriot Karol Szymanowski. Rubinstein, in conversation with Alexander Scriabin, named Brahms as his favorite composer, a response that enraged Scriabin.^[10]

Rubinstein, who was fluent in eight languages,^[11] held much of the repertoire, not simply that of the piano, in his formidable memory.^[11] According to his memoirs, he learned César Franck’s Symphonic Variations while on a train en route to the concert, without the benefit of a piano, practicing passages in his lap. Rubinstein described his memory as photographic, to the extent that he would visualize an errant coffee stain while recalling a score.^[12]

Rubinstein also had exceptionally developed aural abilities, which allowed him to play whole symphonies in his mind. "At breakfast, I might pass a Brahms symphony in my head" he said. "Then I am called to the phone, and half an hour later I find it's been going on all the time and I'm in the third movement." This ability was often tested by Rubinstein's friends, who would randomly pick extracts from opera and symphonic scores and ask him to play them from memory.^[1]

By the mid-1970s, Rubinstein's eyesight had begun to deteriorate. He retired from the stage at age eighty-nine in May 1976, giving his last concert at London's Wigmore Hall, where he had first played nearly seventy years before.

Personal life[link]

Rubinstein in 1963

Family[link]

Of his youth, Rubinstein once said: "It is said of me that when I was young I divided my time impartially among wine, women and song. I deny this categorically. Ninety percent of my interests were women."^[1] At the age of forty-five, in 1932, Rubinstein married Nela Młynarska, a twenty-four-year-old Polish ballerina (who had studied with Mary Wigman). Nela was the daughter of the Polish conductor Emil Młynarski and his wife Anna Hrynewicz, who was from a Lithuanian aristocratic family. Nela had first fallen in love with Rubinstein when she was eighteen, but when Rubinstein began an affair with an Italian princess she married Mieczysław Munz.^[13][14] Nela subsequently divorced Munz and three years later married Rubinstein.^[14] They had five children (one died in infancy), including daughter Eva, who married William Sloane Coffin, and son John Rubinstein, a Tony Award-winning actor and father of actor Michael Weston.^[15] Nela subsequently authored Nela's Cookbook, which included the dishes she prepared for the couple's legendary parties.^[16]

Both before and during his marriage, Rubinstein carried on a series of affairs with women, including Irene Curzon. In 1977, at age 90, he left his wife for the young Annabelle Whitestone, though he and Nela never divorced. Rubinstein also fathered a daughter with a South American woman,^[6] and he may have been the father of Muriel Draper's son, Sanders, who perished in World War II.^[6]

Jewish affiliation[link]

While he was an agnostic, Rubinstein was nevertheless proud of his Jewish heritage.^[17] He was a great friend of Israel,^[18] which he visited several times with his wife and children, giving concerts with the Israel Philharmonic Orchestra, recitals, and master classes at the Jerusalem Music Centre.

Polish affinity[link]

Throughout his life, Rubinstein was deeply attached to Poland. At the inauguration of the UN in 1945, Rubinstein showed his Polish patriotism at a concert for the delegates. He began the concert by stating his deep disappointment that the conference did not have a delegation from Poland. Rubinstein later described becoming overwhelmed by a blind fury and angrily pointing out to the public the absence of the Polish flag. He then sat down at the piano and played the Polish national anthem loudly and slowly, repeating the final part in a great thunderous forte. When he had finished, the public rose to their feet and gave him a great ovation.^[19]

On practice[link]

Rubinstein believed that a foremost danger for young pianists is to practice too much. Rubinstein regularly advised that young pianists should practice no more than three hours a day. "I was born very, very lazy and I don't always practice very long," he said, "but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of 'Oh, I know this,' you play without that little drop of fresh blood that is necessary – and the audience feels it." Of his own practice methods, he said, "At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different."^[1][20]

Pupils[link]

Rubinstein was reluctant to teach in his earlier life, refusing to accept William Kapell's request for lessons. It was not until the late 1950s that he accepted his first student Dubravka Tomšič Srebotnjak. Other students of Rubinstein include François-René Duchâble, Avi Schönfeld, Ann Schein Carlyss, Eugen Indjic, Dean Kramer, and Marc Laforêt. Rubinstein also gave master classes towards the end of his life.^[21]

Death and legacy[link]

Rubinstein died in his sleep at his home in Geneva, Switzerland, on 20 December 1982, at the age of ninety-five, and his body was cremated.^[1] On the first anniversary of his death, an urn holding his ashes was buried in Jerusalem — as specified in his will — in a dedicated plot now dubbed "Rubinstein Forest" overlooking the Jerusalem Forest. This was arranged with Israel's chief rabbis so that the main forest wouldn't fall under religious laws governing cemeteries.^[23]

In October 2007, his family donated to the Juilliard School an extensive collection of original manuscripts, manuscript copies and published editions that had been seized by the Germans during World War II from his Paris residence. Seventy-one items were returned to his four children, marking the first time that Jewish property kept in the Berlin State Library was returned to the legal heirs.^[24]

In 1974, Jan Jacob Bistritzky established the Arthur Rubinstein International Piano Master Competition, held every three years in Israel, intended to promote the careers of young and outstanding pianists. The Arthur Rubinstein Award and other prizes are presented to the winners. The Rubinstein Competition also commissions works by Israeli composers.^[25]

Recordings[link]

In 1910, Rubinstein recorded Franz Liszt’s Hungarian Rhapsody No. 10 for the Polish Favorit label.^[6] The pianist was displeased with the acoustic recording process, saying it made the piano sound "like a banjo" and did not record again until the advent of electrical recording. However, Rubinstein made numerous player piano music rolls for the Aeolian Duo-Art system and the American Piano Company (AMPICO) in the 1920s.

Beginning in 1928, Rubinstein began to record extensively for RCA Victor, making a large number of solo, concerto and chamber music recordings until his retirement in 1976. As recording technology improved, from 78-rpm discs to LPs and stereophonic recordings, Rubinstein re-recorded much of his repertoire. All of his RCA recordings have been released on compact disc and amount to about 107 hours of music.

Rubinstein preferred to record in the studio, and during his lifetime approved for release only about three hours of live recordings. However, since the pianist’s death, several labels have issued live recordings taken from radio broadcasts.

Honors[link]

Sculpture of Arthur Rubinstein on Piotrkowska Street, in Łódź, Poland, where Rubinstein once lived

• Sonning Award (1971; Denmark)
• On April 1, 1976, Arthur Rubinstein was presented with the Presidential Medal of Freedom by President Gerald Ford.
• In 1977, he was made an honorary Knight Commander of the Order of the British Empire (KBE).^[26]
• Grand Officier of the Legion of Honour.
• Kennedy Center Honors (1978)
• Officer's Cross (Krzyż Oficerski) of the Order of Polonia Restituta.
• Commendatore of the Order of Merit of the Italian Republic.
• Member of the Order of Alfonso X the Wise.
• Officier of the Order of Leopold of Belgium.
• Voted into Gramophone's Hall of Fame in 2012.^[27]

Grammy Award for Best Chamber Music Performance:

• Pierre Fournier, Arthur Rubinstein & Henryk Szeryng for Schubert: Trios Nos. 1 in B-flat, Op. 99 and 2 in E-flat, Op. 100 (Piano Trios) (Grammy Awards of 1976)
• Pierre Fournier, Arthur Rubinstein & Henryk Szeryng for Brahms: Trios (Complete)/Schumann: Trio No. 1 in D Minor (Grammy Awards of 1975)

Grammy Award for Best Instrumental Soloist Performance (without orchestra):

• Arthur Rubinstein for 'Beethoven: Piano Sonata No. 18 in E-flat/Schumann: Fantasiestücke, Op. 12 (Grammy Awards of 1978)
• Arthur Rubinstein for Beethoven: Sonatas No. 21 in C (Waldstein) and No. 18 in E-flat (Grammy Awards of 1960)

Grammy Lifetime Achievement Award (1994)

Bibliography[link]

• Rubinstein, Arthur (1973). My Young Years. New York: Knopf. ISBN 0-394-46890-2. 
• Rubinstein, Arthur (1980). My Many Years. New York: New York. ISBN 0-394-42253-8. 

See also[link]

• List of Polish people (music)
• Arthur Rubinstein – The Love of Life

References[link]

External links[link]

Wikimedia Commons has media related to: Arthur Rubinstein

• Arthur Rubinstein at Allmusic
• Arthur Rubinstein profile at PBS American Masters
• (Italian) Arthur Rubinstein Musical Association – Italy
• Homage to Arthur Rubinstein (Fansite)
• The Arthur Rubinstein International Competition
• The Presidency Project – Remarks Upon Presenting the Presidential Medal of Freedom to Arthur Rubinstein.

Joshua Bell
Joshua Bell, after a performance with the San Francisco Symphony in California
Background information
Born	(1967-12-09) December 9, 1967 (age 44)
Origin	Bloomington, Indiana, United States
Genres	Classical music
Occupations	Violinist
Instruments	Violin
Years active	1980s–present
Website	www.joshuabell.com
Notable instruments
Gibson Stradivarius

Joshua David Bell (born December 9, 1967) is an American Grammy Award-winning violinist.

Childhood[link]

Bell was born in Bloomington, Indiana, United States, the son of a psychologist and a therapist.^[1] Bell's parents were Shirley and Alan P. Bell, Professor Emeritus of Indiana University, in Bloomington, and a former Kinsey researcher.^[2] His father is of Scottish descent, and his mother is Jewish (his maternal grandfather was born in Israel and his maternal grandmother was from Minsk). Bell told The Jewish Journal, "I identify myself as being Jewish".^[1][3][4]

Bell began taking violin lessons at the age of four after his mother discovered that her son had taken rubber bands from around the house and stretched them across the handles of his dresser drawer to pluck out music he had heard her play on the piano. His parents got a scaled-to-size violin for their then five-year-old son and started giving him lessons. A bright student, Bell took to the instrument but lived an otherwise normal midwest Indiana life playing video games and excelling at sports, namely tennis and bowling, even placing in a national tennis tournament at the age of ten.^[5]

Bell studied as a boy first under Donna Bricht, widow of Indiana University music faculty member Walter Bricht.^[6] His second teacher was Mimi Zweig, and then he switched to the violinist and pedagogue Josef Gingold after Bell's parents assured Gingold that they were not interested in pushing their son in the study of the violin but simply wanted him to have the best teacher for his abilities. Satisfied that the boy was living a normal life, Gingold took Bell on as his student. By age 12, Bell was serious about the instrument, thanks in large part to Gingold's inspiration.

At the age of 14, Bell appeared as a soloist with the Philadelphia Orchestra conducted by Riccardo Muti. He studied the violin at the Indiana University Jacobs School of Music and graduated from Bloomington High School North in 1984,^[7] In 1989, Bell received an Artist Diploma in Violin Performance from Indiana University. His alma mater also honored him with a Distinguished Alumni Service Award only two years after his graduation. He has been named an "Indiana Living Legend" and received the Indiana Governor's Arts Award.

Career[link]

Piano Trio No. 1 in D minor, Op. 49 – 4. Finale: Allegro assai appassionato Bell, Awadagin Pratt, and Alisa Weilerstein perform Felix Mendelssohn's Piano Trio No. 1 in D minor, Op. 49 – 4. Finale: Allegro assai appassionato, at the White House Evening of Classical Music on November 4, 2009. Piano Trio No. 1 in D minor, Op. 49 – 4. Finale: Allegro assai appassionato Audio only version Cantabile (Paganini) Bell, Sharon Isbin perform Niccolò Paganini's Cantabile at the White House Evening of Classical Music on November 4, 2009. Cantabile (Paganini) Audio only version

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Bell made his Carnegie Hall debut in 1985 with the St. Louis Symphony. He has since performed with many of the world's major orchestras and conductors.^{[citation needed]} As well as the standard concerto repertoire, Bell has performed new works. Nicholas Maw's violin concerto is dedicated to Bell, who premiered it in 1993 and won a Grammy Award for his recording of the piece. He performed the solo part on John Corigliano's Oscar-winning soundtrack for the film The Red Violin and was also featured in Ladies in Lavender. Bell made an appearance in the movie Music of the Heart, a story about the power of music, with other notable violinists.^{[citation needed]}

Bell's instrument is a 300-year-old Stradivarius violin called the Gibson ex Huberman, which was made in 1713 during what is known as Antonio Stradivari's "Golden Era." This violin had been stolen twice from the previous owner, Bronisław Huberman; the last time the thief confessed to the act on his deathbed.^[8] Bell had held and played the violin, and its owner at the time jokingly told Bell that the violin could be his for four million dollars. Shortly thereafter, by chance, Bell came across the violin again and discovered it was about to be sold to a German industrialist to become part of a collection. According to Bell's website, Bell "was practically in tears."^[9] Bell then sold his previous violin, the Tom Tyler Stradivarius, for a little more than two million dollars and made the purchase of the Gibson ex Huberman for a little under the four million dollar asking price. As with his previous Stradivarius violin, Bell entrusts the upkeep of the Gibson ex Huberman to expert luthier Emmanuel Gradoux-Matt.^{[citation needed]} His first recording made with the Gibson ex Huberman was Romance of the Violin (for Sony Classical Records) in 2003. Bell's most recent CD is called At Home With Friends and was released September 29, 2009. It features Bell playing with artists of varied musical backgrounds, such as Chris Botti, Kristin Chenoweth, Regina Spektor, and Sting.

Bell is an artistic partner for the Saint Paul Chamber Orchestra (starting in the 2004–2005 season) and a visiting professor at the Royal Academy of Music in London. He also serves on the artists selection committee for the Kennedy Center Honors and is an Adjunct Associate Professor at the Massachusetts Institute of Technology.^[10]

Bell was awarded the Avery Fisher Prize on April 10, 2007, at Lincoln Center in New York City. The prize is given once every few years to classical instrumentalists for outstanding achievement.^[11] On May 3, 2007, the Indiana University Jacobs School of Music announced that Bell had joined the faculty as a senior lecturer.^[12]

Bell collaborated with film composer Hans Zimmer by providing violin solos for the soundtrack of the 2009 film Angels & Demons, based on Dan Brown's 2000 novel of the same name.

On May 26, 2011, Bell was named Music Director of the Academy of St Martin in the Fields.^[13][14]

Washington Post experiment[link]

In an experiment initiated by The Washington Post columnist Gene Weingarten, Bell donned a baseball cap and played as an incognito busker at the Metro subway station L'Enfant Plaza in Washington, D.C. on January 12, 2007. The experiment was videotaped on hidden camera; of the 1,097 people who passed by, only seven stopped to listen to him, and only one recognized him. For his nearly 45-minute performance, Bell collected $32.17 from 27 passersby (excluding $20 from the passerby who recognized him).^[8] The night before, he earned considerably more playing the same repertoire at a concert. Weingarten won the 2008 Pulitzer Prize for feature writing for his article on the experiment.^[15][16] The Washington Post posted the video on YouTube.^[17]

Personal life[link]

Bell resides in Gramercy Park, Manhattan.

Selected discography[link]