THE FIFTH

INTERNATIONAL PIANO MASTER COMPETITION APRIL 1986 THE INTERNATIONAL MUSIC SOCIETY

THE FIFTH

INTERNATIONAL PIANO MASTER COMPETITION APRIL 1986 ISRAEL

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The Fifth Arthur Rubinstein International Piano Master- Competition has already become a regul an ever-moving and fresh

directly and without constraint. In Israel, especially, music­ even when borrowed from others -- is intimately linked to the building and rebirth of the state; to pain and suffering, to

indeed situations in the life tner to social and political partnership is not purely

the world around it, temporal, and remote All this, Arthur Rubinstein understood — clearly and lucidly, yet without dimming his artistic ardor. He therefore insisted that the International Piano Competition, which bears his name, be planted in the soil of our land, so thirsty for enrichment and inspiration.

We together, government and music-lovers. must make every effort to ensure that this competition will continue to be held, ar and honorable fashion -- as a credit to the State of HONORARY COMMITTEE THE INTERNATIONAL FOUNDERS’ COMMITTEE CHAIRMAN SHIMON PERES VICE CHAIRMEN GUIDO AGOSTI - Italy LAJOS HERNADI - Hungary YITZHAK NAVON — HAIM ALEXANDER - Israel MIECZYSLAW HORSZOWSKI — U S A. Mr. & Mrs. AMIOT - France - U.S.A HERBERT ARMSTRONG - USA RENE HUYGHE - France AVRAHAM SHARIR CLAUDIO ARRAU - Chile EUGENE ISTOMIN - U S A. ASHER BEN NATAN EMILIO AZCARRAGA MILMO — Mexico BARUCH GROSS VLADIMIR ASHKENAZY - Iceland JOSEPH KESSEL France SHLOMO LAHAT STEFAN ASHKENASE - Belgium MOSHE KOL GEORGES AURIC - France IRVING KOLODIN - USA THEODORE KOLLEK MENACHEM AVIDOM - Israel LORIN MAAZEL - USA THE FIFTH MICHAEL SELA GINA BACHAUER - England NIKITA MAGALOFF Switzerland ARTHUR RUBINSTEIN ZALMAN SHOVAL DANIEL BARENBOIM Israel FREDRIC R. MANN - US A A BENEDETTI MICHELANGELI - Italy SIR ROBERT MAYER - England INTERNATIONAL ANDRE MARESCOTTI - Switzerland PIANO MASTER ASHER BEN NATAN - Israel WILLIAM MAZER USA. COMPETITION YAACOV AGMON ARIE RATH DIANE BENVENUTI - France ZUBIN MEHTA - India ITZHAK ARTZI LEON RECANATI LENNOX BERKELEY - England YEHUDI MENUHIN - England MENDI RODAN LEONARD BERNSTEIN - U.S A DARIUS MILHAUD - France GARY BERTINI ESTHER RUBIN DUQUESA ANNE DE CALABRIA Spaii SIR CLAUS MOSER England IDO DISSENTSHIK PNINA SALZMAN MASSIMO BOGIANCHINO — Italy VICTOR NAJAR - France YOSEF DORFMAN MOSHE SANBAR JACK BORNOFF England MARLOS NOBRE Brazil JOSEPH HACKMEY HANNA SEMER - France PALOMA O’SHEA DE BOTIN UNDER THE PATRONAGE OF ABRAHAM HARMAN AVNER SHALEV MONIQUE DE LABROUCHOLLERIE - f EUGENE ORMANDY - U.S.A REUVEN HECHT MARK SCHEPS MARQUESA OLGA DE CADAVAL - Pon LUCIARO PAVAROTII Italy MR. CHAIM HERZOG ERNEST I. JAPHET GERSHOM SCHOCKEN PLÁCIDO DOMINGO Spain GREGOR PIATIGORSKY - U S A. EPHRAIM KATZIR MICHAL SMOIRA-COHN DOLORES CARRILLO-FLORES - Mexico CARLO ALBERTO PIZZINI - Italy PRESIDENT MOSHE MANI ARIE VARDI GABY CASSADESUS - France KRZYSZTOF PENDERECKI - Poland MOSHE MAYER DOV JUDKOWSKI PABLO CASALS - Spain ROBERT PONSONBY - England OF BEN-ZION ORGAD AYALA ZAKS-ABRAMOV CARLOS CHAVEZ - Mexico MARCEL POOT - Belgium THE STATE OF ISRAËL VAN CLIBURN — USA STANLEY R. RADAR - U.S A AARON COPLAND - USA HAROLD ROSENTHAL England CLIFFORD CURZON - England BARON ALAIN DE ROTHSCHILD - Fr HENRI DUTILLEUX - France ALBERT SABIN U.S.A. HE., Ambassador of Australia, ROBERTS. MERRILLEES RUDOLF FIRKUSNY - U S.A. BRUNO SEIDLHOFER - Austria H E.. Ambassador of Austria. OTTO PLEINERT JAQUES FEVRIER - France RUDOLF SERKIN - U.S.A. H.E., Ambassador of Belgium. EDOUARD DECASTIAUX-HUGOT ANNIE FISCHER — Hungary MILES SHEROVER - Venezuela/lsrael H E., Ambassador of Brazil, LAURO SOUTELLO ALVES MAUREEN FORRESTER - Canada STANISLAW SKROWACZEWSKI - U.l H.E.. Ambassador of Canada. JAMES K. BARTLEMAN - Switzerland H E., Ambassador of France, JACQUES DUPONT ZINO FRANCESCATTI - Italy ISAAC STERN - USA H E., Ambassador of the Federal Republic of Germany. WILHELM HAAS HENRI GAGNEBIN - Switzerland ROBERT SUMMER - USA H.E., Ambassador of Great Britian. C. W. SQUIRE BERNARD GAVOTY - France HENRYK SZERYNG - Mexico H E.. Ambassador of Italy. CORRADO TALIANO ARTHUR GELBER - Canada H E . Ambassador of Japan. SHOZO KADOTA ALBERTO GINASTERA - Argentine ALEXANDER TANSMAN - France H.E.. Ambassador of Romania. CONSTANTIN VASILIU MARQUIS DE GONTAUT BIRON - Frai MARION THORPE - England HE.. Ambassador of Switzerland, PIERRE-YVES SIMONIN CAMARGO GUARNIERI - MARIE-ANNE DE VALMALETE - France H E.. Ambassador of Unites States of America, THOMAS R. PICKERING JACQUES HACHUEL - FANNY WATERMAN - England RODOLFO HALFFTER - Mr. & Mrs. GEORGE R. WHYTE — England Mr. & Mrs. LYONE HEPPNER - Canad CARLO ZECCHI - Italy MEMBERS (FOUNDERS) AND PUBLIC COUNCIL OF THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY

BARUCH GROSS. Chairman ZALMAN SHOVAL. Chairman (Executive Committee) ASHER BEN NATAN, Chairman (Board of Trustees) JOSEPH HACKMEY. Treasurer JACOB J. BISTRITZKY. Director - Founder

MEMBERS ARIE RATH GIZA AGMON** LEON RECANATI" YAACOV AGMON" YEHOSHUA ROTHENSTREICH" BOAZ APPELBAUM- ESTER RUBIN* MENACHEM AVIDOM PNINA SALZMAN ZVI AVNI* MOSHE SANBAR" ERIKA BEN-NATAN SARA SELA YOHANAN BOEHM MICHAEL SELA" MOOCKY DAGAN HANNA SEMER MEIR DE SHALIT" AVNER SHALEV" NAVA DISSENTCHIK RUTH SHAMIR ADOLF EBNER MARK SCHEPS" ABBA FROMCHENKO* KENA SHOVAL RONALD FURER" MICHAL SMORIA-COHN DOV GOLDSTEIN- GAD SOMECH MIRIAM GROSS EDITH TEOMIM ELLA JAPHET MERON TZUR ERNEST I. JAPHET" ZIPORA VARDI DOV JUDKOWSKI* EMANUEL KRASOVSKY YIGAL WEISSMAN ZIVA LAHAT AYALA ZAKS-ABRAMOV" SHLOMO LAHAT" SAM ZEBBA* JUTTA MOORE JULIUS ZELLERMAYER YITZHAK MOORE ESTHR ZUHOVITZKY POLA MOZES MOSHE NEUDORFER" EXECUTIVE COMMITTE MOSHE PORAT" BOARD OF TRUSTEES March 1986 REDRESSING THE WORLD THROUGH THE REIGN OF LOVE OF LIFE

In his autobiographical work, Arthur Rubinstein lashes out with a harsh and penetrating criticism of the conditions int he world we live in, which is "at its lowest ebb — morally and artistically”. He asserts that "now, we are living in an uninterrupted state of cold war, of hypocrisy and the fear of destruction by dangerous discoveries", for “the whole world Dear Friends: is represented by an automatic majority at the United-Nations, that is always standing by the strong against the weak", because "multitudes of depraved youth are addicted to It is with great pleasure that I welcome the participants - and the listening drugs”, and because “the declarations of new composers, painters and sculptors that there audience - to the Fifth Arthur Rubinstein International Piano Master Competition. is no need to express feeling, are in contradiction with the very justification of the artist’s

It is truly a' festive event , a celebration of music which carries the special However this criticism, stringe ot drawn Arthur Rubinstein to aura which the Maestro gave to everything he did and everything he touched, pessimism. Against all these, profound love of life and proclaims his And it carries the special aura which characterized Arthur's ties with belief in a future Renaissance , a deep, all-encompassing, unembarrassed love. Are art and music capable of Renaissance which Arthi al and national tensions. This year's competition celebrates the centennial of Arthur's birth. A On the face of it. what power do century ago, this exceptional human being entered a world which became that and what power to sounds agai creativity is always found much more special because of him. He combined the exceptional talents of But the key to destruction one of the world's greatest pianists with the exceptional talents of one within the human soul. of the world's greatest humanists. We saw on our own flesh saw it in all its exalted sple Music is one of the brightest expressions of man’s spiritual elevation, for it is an How meaningful that young people from all over the world gather in Israel expression of the joy of life and the love of life of which Rubinstein had been among the and Jerusalem - where as an honorary citizen he felt very much at home - world’s most distinguished representatives. to share the international language of music which was Arthur's mother Music engenders joy of life, and joy of life begets creativity. It is this circle that leads to tongue. We welcome you all and salute you on this auspicious occasion. that same future Renaissance, and it is this circle which arouses hope in the victory of the beautiful over the ugly, and of the builder over the destructor. Sincerely yours. The Arthur Rubinstein International Piano Master Competition which bears his name, is also endowed with Rubinstein’s optimism and his message of the love of life. No matter who will be the winner, instein Competition is a hymn to the victory oi Teddy Kollek life, of creativity, of love and < iv-Yafo of Arthur Rubinsl made Honorary Citiz tended

SHLOMO LAHAT Mayor of Tel-Aviv-Yafo

13 12 < A THE SECOND COMPETITION. APRIL 1977

Guido Agosti (Italy), Jan Ekier (Poland), Jacques Février (France), Marian Filar (U.S.A.), Rudolf Firkusny (U.S.A.), Akiko Iguchi (Japan), Nikita Magaloff (Switzer­ land), André-François Marescotti (Swit­ zerland), Robert Ponsonby (England), Arthur Rubinstein, Michal Smoira-Cohn (Israel). Hugo Steurer (W. Germany), Joseph Tai (Israel), Arie Vardi (Israel), Ilona Vincze (Israel)

Gerhard Oppitz, — The Arthur Rubinstein Award, a Gold Medal and 55,000

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Tel-Aviv 12th April, 1976.

Mr. J. Bistritzky, Director, The Arthur Rubinstein International Piano Master Competition, P.O.B. 29404, Shalom Tower, Tel-Aviv.

Dear Mr. Bistritzky,

In view of the success of the First Competition and its undoubted artistic standard, I was happy to learn that arrangements are well in hand for the Second Master Contest, to take place in April 1977. I am particularly grateful that the Competition activities continue to be self-supporting and that they are not a burden on the Israel Government. I supported your initiative for a world-wide fund-raising project through the issue of a Commemorative Gold Medal of artistic and numismatic value - such as would appeal to friends of the Competition who wish to assist in the cultural development of the State of Israel. To this end I entrusted you with sketches of me drawn by my friend, Picasso, and with my facsimile signature, giving you the sole rights to use them and to receive any royalties accruing therefrom for the purpose of creating the International Competition Fund.

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The Fifth Arthur Rubinstein Piano Competition which inseverable ties between the exalted musical tradi­ will open the worldwide festivities to mark the cen- tion of the Jewish people, throughout the genera­ tennial of the illustrious artist is again attracting tions, all over the world and the focal place which this scores of young.gifted pianists from all over the world. art occupies in the life of modern Israel. Though Arthur Rubinstein was a cosmopolite in the We are especially glad to greet the competitors, truest sense of the word, holding the Competition that judges, musicians, journalists and the many guests bears his name anywhere else but in Israel would who came here for the competition; on their visit here have been inconceivable. Rubinstein was indeed a they will be able to see yet another facet of the State citizen of the world, but he had deeply rooted links of Israel; one which hasn't been given enough atten­ with the Jewish people, and its country, Israel. He tion by the world press. Despite all its problems, Israel used to point out that his father, who lived in Poland musical and artistic center of the first order, and had yearned for Jerusalem but that only he, the son. especially in relation to a country of its size. become a reality. This competition could not have taken place without True to his father's dream, Arthur Rubinstein bes­ the intensive and devoted work of all those who had a towed numerous musical gifts upon the State of part in it, including the generous aid given by the Israel — by playing here, by participating in the train­ Israeli ministry of Education and Culture. My grati- ing of young pianists and by the very inspiration he gave to this international competition which bears his name. Just as Rubinstein himself represents the link Wishing success to the participants. between the great composers of the past (he was only Zalman Shoval ten years old when died) and the modern period, this competition symbolizes the Chairman, Executive Committee

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HOMMAGE A ARTHUR ARTHUR RUBINSTEIN RUBINSTEIN By Pierre-Petit -Figaro", Parli By Pierre Colombo — Genève. Mai 1985

Rendre hommage à Arthur Rubinstein, faire en D'innombrables hommes et femmes sont toujours sous Un siècle de vie, de vie intense, de vie fracassante, de un cheval blanc". Et, un peu plus loin, lorsque la main quelques mots la somme des cadeaux divins qu'il a offert son influence et le resteront longtemps grâce au sou­ vie-passion, de vie-comédie, de vie-confession — un droite attaque les fameux sauts d'octaves successifs, il si généreusement à notre XXe siècle! Quelle audacel venir et aux prolongations techniques raffinées de notre siècle incomparable consacré à jouer des artifices les compara ce passage au " galop d'un cheval filmé au Il fut l'un des rares musiciens qui littéralement dominér- époque. plus rares et les plus complexes afin, justement, de faire ralenti". Force immédiate de l'image: l'interprétation Pour ceux qui comme moi ont eu l’immense privilège de sans cesse naître une vie plus vraie que celle à laquelle s'en trouva transfigurée. Pour tous ceux qui ont reçu son message pendant cette partager l'estrade de concert avec Arthur Rubinstein. nous sommes accrochés — un siècle inouï où le génie le période souvent bien troublée, et ils sont des millions, la nous gardons en plus du souvenir d'un des plus grands plus spirituel et le plus généreux nous a éclaboussés Presque un demi-siècle plus tard, aussi bien à Tel-Aviv vie est devenue plus humaine, plus riche, plus proche interprètes qui ait jamais existé, celei d’un incomparable sans compter de tous ses prestiges: c'est cela, et bien qu'à , roi sans couronne d'un royaume qui l’avait d'un idéal de perfection. Ce message était bouleversant artiste qui accordait une confiance intégrale à ses parte­ autre chose encore, le passage sur cette terre d'Arthur librement élu. Arthur Rubinstein avait miraculeusement dans sa simplicité. Les dons exceptionnels d'Arthur naires. Pour lui le concert collectif qu'est l'exécution Rubinstein. conservé intacte cette jeunesse d'esprit dont les imprév­ Rubinstein lui permettaient de le transmettre d'une d'un concerto pour piano et orchestre prenait tellement C'est en 1936 que je découvrais, à la salle de l'Ecole isibles rebondissements donnaient à sa conversation façon directe et singulièrement efficace. Il est entière­ la direction d'une collaboration intense, d'une jois collec­ Normale de Musique, comment la malice, mariée à la des charmes incomparables. La musique continuait à ment compris dans ce mot, l'amour: l’amour de Dieu, tive, d'un amour des uns des autres par le truchement poésie, pouvait être une arme décisive dans les mains être tout pour lui, à condition qu'elle s'identifiât totale­ l'amour des êtres, l’amour de la vie, l'amour de l'amour du message artistique, qu'il ne quittait pas du regard le d'un immense artiste, Alfred Cortot avait invité Arthur ment à tout ce que la vie peut nous procurer de joies et par cette vibration intérieure que est l'essence même de chef d'orchestre à qui il apportait ainsi le plus grand Rubinstein à venir faire, en son Ecole, un série de cours d'enrichissements. Par sa seule présence au milieu de toute manifestation artistique de haut niveau. bonheur, le sentiment d'une plénitude parfaite. Merci. d'interprétation sur Chopin, dont il estimait à juste titre ses cadets, il prêchait pour la réalité d'un paradis irréel et que son jeune et brillant collègue détenait certaines clés pourtant tangible. Et, en pensant à lui. à tout ce qu'il secrètes. Ce jour-là une jeune pianiste jouait la 3° Bal­ nous a donné, à ce merveilleux cadeau que fut à elle lade, et Rubinstein, pour l'inciter à plus de tendresse, lui seule son existence, je puis dire aujourd'hui: "le bon­ décrivit l'oeuvre comme "un rendez-vous d’amour sur heur existe, je l'ai rencontré...".

y 24 25 <■ RUBINSTEIN Y ESPAÑA. Albéniz con exactitud de expresión y ritmo y a través de lugar a la creación del Rag-Music, de Strawinsk y de la una calidad sonora que se mantiene viva en la memoria Fantasía Bética, de Falla. Se encontraba el compositor de cuantos le escuchamos; pocos como él amaron nues­ ruso en situación dificil y entarado Manuel de Falla, casi By Enrique Franco — Editor "ei País tra pintura, quizá con mayor preferencia hacia Velazquez siempre en situación no menos estrecha, se dirigió a que hacia Goya y con igual entusiasmo para el cubista Rubinstein para que le hiciera un encargo, que fué Rag- Picasso que para el realista Zuloaga o el muralista Sen; Music. Ante la actitud generosa de quien no había sido pocos como él supieron cantar la copla de tercer noc­ capaz de solicitar nada para sí, pero lo hacía para los turno en Noches en losjardines de España al tiempo que demás, Rubinstein solicitó de Falla una partitura. Así amaba las pinturas de Santiago Rusiñol que las inspira­ nació, en 191, la Fantasía Bética. Se ha escrito que el ran; pocos como él poetizaron- con medido lirismo y concertista y destinatario de la obra no llegó siquiera a autenticidad de sentimiento, Lamajayelruiseñor, de las estrenarla, lo que es absolutamente falso. La dió a con­ Goyescas. de ; pocos como él, en fin, ocer en Nueva York y en Londres el año 1920 y aún la Cuando estalla la guerra europea de 1914, Rubinstein las Asociaciones de Cultura Musical, Rubinstein conoció penetraron en el misterio mágico de las canciones y interpretó en alguna otra ocasión. Ahora bien: la obra vive ya en España, un país con el que había soñado sus primeros grandes y multitudinarios triunfos en danzas, del catalán Federico Mompou, que le dedicó, en con laque Falla se despide de su estilo andaluz no podía, desde muy joven. Quizá desde los días de estudo en Sevilla o San Sebastián, , Madrid, Valencia, 1942, la que hace el número 6 de la colección. (1) en aquel tiempo, obtener el éxito de El amor brujo o El Berlín con Heinrich Barth quién no pudiendo dedicarle Bilbao y otras. Rubinstein en el piano creaba atmósferas a través de su sombrero de tres picos, por la misma razón que hoy demasiado tiempo lo encomendó a un asistente en la ciudades de menor importancia. Allí iban el pianista y su personal e inigualable sonido. Creó la atmósfera españ­ conserve su sello de modernidad. Por otra parte, el Acadenia Imperial, el mallorquín Miquel Capllonch. "manager", armados de entusiasmo y dispuestos a ola con la misma veracidad que imaginaba la de los Rubinstien que se arriesgara constantemente al estreno Cuanto tenía de grave y terrorífico' el alemán, había de ofrecer su recital en una gran Steinway de cola o en un nocturnos de Chopin, el comienzo del cuarto concierto de la música nueva del tiempo, dió paso al gran mito, risueño y vital en el español que, como escribe Rubin­ piano vertical cedido, quizá, por algún aficionado compe­ de Beethoven, la grandeza del segundo conciero de recreador de los grandes clásicos, entre los que siempre stein, "interpretaba a los clásicos sin aire torturado, ni tente. El éxito, en cualquier caso, se producía con la Brahms o la simplicidad de los "Movimientos perpe­ incluyó a Falla con las Noches en los jardines. demostración de profundidad de sentimientos, tan fre­ misma intensidad y Rubinstein cruzó y volvió a cruzar el tuos", de . Esto por no hablar de Mauri­ No faltó Rubinstein, hasta la guerra civil 1936-1939, a cuente entre los alemanes y tan del gusto de sus críti­ mapa de España, casi llevado en hombros, como lleva el cio Ravel, cuyos Valses nobles y sentimentales repitió su cita con España. Cuando se apagan los últimos cos." Como final de los lecciones, entre la animación de público taurino al matador después de una tarde de como "encore" para su público madrileño en cuanto resplandores de la hoguera española y de la posterior la charla y la degustación de bombones, Capllonch toc­ advirtió algún signo, aunque fuera leve, de protesta. hoguera mundial, Arturo Rubinstein reinicia y recupera aba para su alumno música popular española. "Yo ador­ Unos meses antes de su muerte, me recordaba Rubin­ Una gran amistad unió a Rubinstein con Falla: "Qué sus hábitos españoles. Es recibido en triunfo cuando aba todo esto", evoca Rubinstein. stein la anécdota sucedida en un pueblo levantino. Tras extraordinaria personalidad"- recuerda Rubinstein en vuelve en 1956, con mayores bríos y técnica más perfec­ En Madrid, el joven y ya gran pianista, frecuentaba el conceder cinco o seis "encores", el alcalde de la ciudad Les jours de ma jeunesce-, -----Tenía el aire de un cionada. Toca en Madrid y Barcelona, actúa en recital o Teatro Real de la Opera y era asiduo en las tertulias de solicito con insistencia: "¡La pantomima de Las Golon- monje ascético vestido de laico. Siempre en traje negro, con la Orquesta Nacional, en los Festivales de San­ los salones- incluido el Palacio Real- y en los más popu­ drinasfí" (Se trata de una ópera española de Usandizaga no sé qué de melancólico se desprendía de su cráneo tander y Sevilla. Puede saludar a la anciana, pero vital lares de los "cafés", tan numerosos en aquella época. que alcanzó gran éxito, especialmente en el momento de calvo y de sus ojos negros y penetrantes. Su misma bailarina Pastora Imperio, ámiga de los años jóvenes. De Pronto habló el español con perfección e incluso, si su "ballet" sobre un amplio trozo sinfónico de extraordi­ sonrisa era triste. Peto su música lo traicionaba con una nuevo hace "tertulia" y su conversación insiste sobre un quería, adoptaba el acento madrileño de los barrios sub- naria brillantez). Naturalmente Rubinstein no satisfizo la pasión tan intensa que parecía la antítesis absoluta del "leit motive": sus recuerdos de España. Desde 1956 a urbiales. Se desvivía por gozar de las fiestas españolas, demanda municipal, pero al final del concierto, con su hombre." 1957, los viages profesionales de Rubinstein a nuestro fueran verbenas, procesiones de Semana Santa, des­ acostumbrada simpatía, se justificó: "Mire, señor A su modo. Rubinstein contribuyó a difundir el nombre país son constantes y encuentran cadencia de reposo en files, corridas de toros o excursiones domingueras. Alcalde, esa "pantomima" es una composición teatral de Falla en el mundo con sus versiones de la danza del su "chalet" de Marbella, en la Costa del Sol. Bajo el sol Llegó, muy pronto, a establecer lazos de amistad con la para orquesta dificil de trasladar al piano." El alcalde, fuego y la danza del terror, extraídas del ballet El amor Andalucía nacieron buena parte de las "memorias" y Familia Real y si Alfonso XIII- nacido en el mismo año con gesto bonachón y comprensivo, le dió unas palma­ brujo, transcritas para piano por su autor y "arregladas" hasta su florido rinción meridional llegaron, sucesiva­ que Rubinstein- no era un particular melómano, siem­ das en la espalda mientras le decía: "No se preocupe, es por el pianista. No debían satisfacer a Don Manuel, en su mente, nuevos honores: el nombramiento de Académico pre se mostró amigo sincero y abierto del pianista. En Vd. muy joven. Ya podrá tocarla más adelante." yo más íntimo, las transformaciones que el pianista de Honor de la Real de Bellas Artes o la Cruz de Alfonso, cierta ocasión le dijo: "The envidio; proporciona mucha De cualquier modo, no conviene exagerar la visión pinto­ introducía en su "misteriosa" danza del fuego, en busca el Sabio. Síntesis simbólica de esta España que aparec­ mayor felicidad ser concertista que Rey." La amistad resca que Rubinstein tuvo de España. No renunciaba a de un virtuosismo más efectivo por más exterior. Pero la erá siempre en la biografía de Rubinstein como música regia le seria útil a Rubinstein cuando en circunstancias ese componente que encandiló a los viajeros amistad entre los dos grandes personajes fué tal. de fondo o viento que impulsó su alma alegre y su sed de difíciles para Europa se ocupó personalmente de facilita­ románticos- Irwing, Merimée, Gautier, Amicis-, pero Sincera que Falla acabó autorizando a Rubinstein no vivir. "España- repetía el pianista que ahora evocamos- rle el pasaporte de que carecía. supo penetrar en la España más honda e interpretar solo la interpretación del "arreglo" sino la grabación por fúl para mí un flechazo que colmó mi instinto por el color De la mano del empresario Ernesto de Quesada, funda­ nuestra verdad con esplendorosa brillantez. Pocos como la The Gramophone Company Limited, en 1929. y mi gusto por el ritmo. Sí. este país hizo algo más que dor en España de la Sociedad de Conciertos Daniel" y de él se anticiparon a difundir las piezas de Iberia, de Isaac Ni Falla, ni Rubinstein divulgaron la bella historia que dió adoptarme."

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OPINIONS OF LEADING MUSICIANS

ISAAC STERN: "/ would be honoured and pleased to become an honorary member of the International Founder's Committee. .. It is indeed a pleasure to join with distinguished colleagues in honouring an old friend and a most respected artist. . ." "... I am certain that following its great success at the initial venture, it {the Rubinstein Competition! will continue to expand and provide opportunities lor gifted young artists to launch FRANZ ENDLER ("Die Pressa." Vienna)! ’ It will be the competition of competitions. their careers most auspiciously. . ." Everything is being done to ensure that the winner does not owe his prize to chance or to a single brilliant performance of a specific composition. . . The Jury will be given not only a 'taste' by the CLAUDIO ARRAU: candidates but will be able to listen to a full repertoire of complete pieces. . ." "... No piano competition in the future will bear a better name..." ". . . Please accept my warmest good wishes for this next great occasion in the life of aspiring young pianists and my best pesona!greetings." RENZO MASSARANI; ("Jornal Do Brazil". Rio de Janeiro) "... A new revolutionary MARLOS NOBRE: Competition. . ." ". . . Express my deep enthusiasm for the high level and criteria of the competition." YEHUDI MENUHIM: "You have my deep admiration and all my prayers lor the success of the competition which you WILLIAM MANN ("The Times." London) ". It is to be a competition between master pianists have created and which should rank among the most important in the world in the tradition of the famous contest between Mozart and Clementi; superb pianism should spark "I shall be more than delighted to discuss with you a parallel event in the field of the ." off further feats of pianism. musicianship inspire its like. . ." RUDOLF SERKIN: "... I believe it will be a very important cultural event, not only for Israel but for the whole musical world. I have always felt the greatest admiration for the artistry of Mr. Rubinstein and affection for him as a great human being. . ." LORIN MAAZEL: "... I am most impressed by the criteria that have been established, by which the best creative interpretations of music in various styles will be o! prime importance. I would be most honoured to a y be a member of the International Founders Committee. . ." A

The high musical level of this Competition and the standard of its organization were praised by the J members of the Jury themselves, and in particular by Maestro Arthur Rubinstein: ". . NEVER, NEVER. NEVER have I met such a concentration of talent before; everyone, at a A lesser contest, would easily have won first prize. . ." (The Jerusalem Post. Sept. 13.1974). GUIDO AGOSTI Vice-Chairman of the Jury, wrote: "The First Arthur Rubinstein International Piano Master Competition has certainly been an Congratulations and many thanks for the brilliant organization o! the Piano Master extremely important event in the musical world. . . There are. in my opinion, three outstanding Competition in Israel, success o! which was due to your relentless enthusiasm and expert features which lend an original profile to the "Rubinstein Competition" and a character of its own: handling of everything and everybody, in spite of great difficulties. Your wonderful thoughtfulness the wide range and great number of compositions that the contestants presented and played; the and great warmth made our stay an unforgettable experience. . ." balance which was maintained between musicianship and virtuosity — well-through out and Maestro Rubinstein's cable to J. Bistritzky. Director; dated Sept. 19. 1974 evident through the whole programme: and last but not least the length of time allocated to each stage. . . (excerpts of letter. October 1974.) A A y 28 29 ?------

TOWARD THE CENTENNIAL

It is with great satisfaction that we witness, the Arthur Rubin­ world image. He consented to hold the Competition bearing his stein International Piano Master Competition become an inter­ name in Israel, and his last wish was also to be brought to his national event of major significance to the cultural life in Israel. final resting place in Jerusalem. A living memorial to the great pianist, created during his life­ His wishes prompted and inspired us to establish the Arthur time. it has won over the years, a broad circle of enthusiasts. Rubinstein International Music Society here, with the aim of The last event alone, was attended by more than 22,000 music preserving and maintaining the artisticand spiritual heritage of lovers, with many others following the live broadcasts on the one of the world's foremost artists and humanitarians of our radio and television. All this year’s performances at the Tel Aviv Museum. (12 days In addition to the Arthur Rubinstein Piano Master Competition, of recitals and chamber music — 60 hours in all) were sold out the Society's plans include summer courses and master in one week: 400 subscriptions for all stages of the Competi­ classes, seminars and symposia, as well as granting tion and 700 for the three days of the final stage (nine piano scholarships to outstanding talents. The planned establish­ concertos with the Israeli Philharmonic Orchestra at the Fre­ ment of an Arthur Rubisntein Central Archive will serve educa­ deric Mann Auditorium). tional and music institutions as well as researchers. The recent Contest aroused intense interest in the musical This year, for a second time, a Symposium will be held in world. Over 800 inquiries from young pianists, musicians, collaboration with the Rubin Academy of Music in Jerusalem. musical institutions and music lovers were received, and 110 Featuring the members of the Competition's International complete applications from 25 countries were entered in Jury, its subject will deal with. "The Interpreter as Co-Creater accordance with the rules of the Competition. The admission of the Composer's Work." Committee approved 50 candidates from 21 countries for In cooperation with music institutions in major world centers, participation. the Society has initiated a fundraising series fo concerts. Established in 1974, the Competition received the patronage "Hommaghe A Rubinstein", which culminates in worldwide of the Presidents of Israel and its Prime Ministers from the very celebrations of Arthur Rubisntein s 100th birthday during the beginning. The current Competition, deprived of independent 1986/1987 concert season. The Society's main project, the financial resources enjoys substantial governmental supoport. Fifth Arthur Rubinstein Competition, in Israel, opens the The prime Minister's personal involvement assures the crea­ festivities. tion of the Competition Fund, thus respecting Arthur Rubisn- We take this opportunity to express our gratitude to H.E. the tein's wish. President of the State, Mr. Chaim Herzog, to Prime Minister, Our Contest has been given broad and positive coverage in the Mr. Shimon Peres, and to the Deputy Prime Minsiter, Minister professional and general press throughout the world, and of Education and Culture. Mr. Yitzhak Navon, under whose helped in launching the prizewinners onto promising careers. auspices this event takes place. Our thanks to the artists and This year's prizewinner has already been guaranted a contract other prominent public figures, and friends of the Competition, for a concert debut at the Carnegie Hall in New York on 27 who founded this Society and devoted themselves to the reali­ February. 1987. zation of its goals and objectives. A further evidence fo the international significance of our The Arthur Rubinstein International Music Society acknowl­ Competition is its elevation to the Steering Committee of the edges with gratitude the artistic contribution of the Music World Federation of International Music Competitions (Gen­ Advisory Committee, charged with adopting the rules and with eva). Similarly, our Society has been admitted to UNESCO's shaping the Competition's artistic profile, and of its Chairman, International Music Council as an associate member. Professor Arie Vardi, who compiled the repertory require­ The decision of the World Federation of Internaitonal Music ments for the Fifth Competition. Competitions to hold its annual Assembly in Israel, during the We extend our heartfelt welcome to Mme. Aniela Rubisntein. third stage of the Competition, for the second time in the past to our distinguished guests. Members of the Jury, the Competi­ seven years — constitutes yet another sign of appreciation for tors, and our Colleagues from other Competitions, gathering here — wishing them an enjoyable stay and fruitful work. Arthur Rubinstein belonged to the entire world, but his heart always rested with Israel. He gave the young State his support Jacob J. Bistrizky and contributed enormously to its cultural development and Director-Founder of The Competition

30 /------■>

ARTHUR RUBINSTEIN’S ADDRESS AT THE PRIZE DISTRIBUTION CEREMONY — SEPTEMBER 1974, JERUSALEM

Your Excellency, the President of Israel. Her Excellency, Mrs. Golda Meir, my oldfriend and most admired woman in the world, spoke to you in Hebrew, apparently about me. I guessed from her voice, from the expression ofher eyes, that she did speak too well about me. Ifelt that because she has in her heart a generosity which is unequalled; I cannot answer what she said, because I do not, unfortunately, understand Hebrew. I know only the Hebrew prayers as a little boy, and I never learned your new wonderful Hebrew language. Iam very ashamed ofit. Soplease pardon — excuse me please — if I answer in English. This Government; the President; Mrs. Golda Meir; Mr. Koi, Minister of Tourism — they have all taken to heart to make this competition for pianists in my name, which was a little bit too much for

I was afraid of it, I thought it might be difficult — the country suffers so much; there are countries always ready to fight; it must be always ready to defend itself — it has so many things to face, so many more difficult than any country in the world just now, and yet, the pride of my heart is that it has never lost sight of culture, of music, of art. of love of life, of high spirit, of magnificent humanity. This is the pride of this country. This is one of the reasons why I love it so dearly, and so much, and so deeply. This competition was on the highest level ofall the competitions at which 1 have ever been present. And Iam old enough to say that I have been at very many. I must say it is a pridefor Israel to have such a high level of pianists. My friend Bistritzky gave the name to this competition of "Master Pianist." I was a little bit against that very high word"Master," but I must admit it was rightly used. Indeed, all of them show that they are master pianists. I am very happy to be allowed to give them the prizes which they deserve. One thing, you must excuse me, that they put so much weight on my poor old name. I attribute it really to my old age maybe. I am byfar the dean ofoldest living pianists tonight. And so you couldn’t find anybody better for the moment. In any case, let me thank youfrom the bottom of my heart to give me so much honor, which I do not deserve, but accept humbly and with love.

Thank you.

32 Tel-Aviv: congrès des organisateurs LE FIGARO de concours Le deuxième concours interna­ tional de piano Arthur Rubinstein qui vient de se clore sur un fracassant succès de public en Israël, appella de lui-même quelques commentaires. Tout d'abord. Il est merveilleux de voir comment, dans un petit pays en guerre permanente, les plus hautes authorités de l'Etat prennent le temps de s'intéresser de près et effi­ cacement, à une compétition pure­ /— ment musicale. Les maires de LA MUSIQUE PAR CLARENDON Jérusalem et de Tel-Aviv, plusieurs ministres, ont reçu le jury, la presse et les candidas. Enfin, M. Katzir prés­ ident de l'Etat d'Israël, a donné lui- Rubinstein de retour d'Israël même une réception touchante presque familiale en l'honneur des rthur rubinstein de plus difficile, de plus grand vous donné d'autres consignes revient d'Israël, où le aussi, dans la littérature de aux lauréats ? lauréats. A premier concours por­ piano. Le jury — où siégeaient — Une seule : « Travaillez D'autre part, il est symbolique que tant son nom a vu s’affronter notamment Michelangeli, Fé­ moins votre piano ! » ce soit un Allémand qui cete année, quarante-deux pianistes venus vrier, Gagnepin, Agosti, Istomin _ ?... ait remporté le grand prix. Le succès de tous les points du globe, — était abasourdi. L'un des — Trois heures de travail sauf des pays de l'Est... jurés a pleuré d'émotion en de Gerhardt Oppitz fut d'autant plus sérieux chaque jour, cela suffit remarquable que les résultats furent — Ce qui m'a positivement écoutant la Sonate de Liszt, amplement, surtout si le cer­ stupéfié, c’est le niveau très idéalement jouée par une Cana­ veau est mis à contribution. En proclamés le jour même où tout élevé du concours. En vieux dienne de 23 ans Janina exerçant ses doigts pour en Israël célébrât la mémoire de ses six routier de ce genre de compé­ Fialkowska Le gagnani du obtenir des prodiges, on oublie titions, je puis vous dire que concours. Emmanuel Ax, Amé­ millions de disparus son triomphe, la musique. Plus de pensées, semble-t-il, ne fut gâté par aucune les moins brillants des vingt- ricain de 25 ans. a fait un « par­ du rêve, moins d'exploits, c'est quatre candidats retenus pour cours » prodigieux. Eugène la grâce que je souhaite à ces arrière-pensée. la dernière épreuve se seraient Indji (U.S.A.) a été, lui aussi, merveilleux virtuoses. Enfin, en même temps que lès classés plus qu’honorablement remarquable Nous n’avions pas finales se déroulait à Tel-Aviv le con­ dans la plupart des autres affaire à des élèves, mais à des — L'ambiance, ¿Jérusalem? concours internationaux. maîtres pianistes — l'équiva­ — Etonnante de courage grès annuel de l'Associaiton interna­ — Un très haut degré tech­ lent des Maîtres Chanteurs de calme et de résolution opti­ tionale des concours de musique. nique ? Wagner miste. Comment imaginer Tous les participants, venus des qua­ — Il n’y a pas un niveau — La France était représen­ qu'une nation en armes puisse tre coins du monde, purent apprécier technique et une valeur musi­ tée ? mettre en œuvre une compéti­ cale : il y a la musique. J'ai — Par deux sujets, dont tion internationale dont rien ne l’admirable organisation de ce deux­ fait un seul reproche aux huit Pierre Reach. trouble le déroulement ? Mon ième concours Arthur Rubinstein, lauréats, réunis en petit comité : — Les prix ? ami Bistritsky a fait montre de Jacob Bistrizky, qui en est l'âme sou­ « Vous jouez trop vite ». leur — Etagés de cinq mille à dons extraordinaires d'organi­ riante et efficace, peut être fier de la sateur. Je pense, voyez-vous, ai-je dit Ni Beethoven, ni Cho­ six cents dollars avec, en outre, manière dont s'est déroulée cette pin, ni Liszt, ni Ravel n’ont une médaille qui reproduit mon qu'une telle constance devant proposé à leurs interprètes des profil gravé jadis par Picasso le péril quotidien doit stimuler prestigieuse compétition: ses col­ courses de vitesse. La vitesse Moi aussi, j'ai été honoré de mes amis français, face aux lègues pourront tous prendre exem­ est la maladie du siècle, sur médailles diverses Combien je difficultés qu’ils affrontent. C’est ple sur lui. les pianos comme sur les suis reconnaissant au gouver­ dans les passes dangereuses nement d'Israël de s'être inté­ que s’affirment les vertus d'une routes ' Pierre-Petit — Le programme du ressé de très près aux divers race. Mais que nous voilà loin concours épisodes du concours ! du piano I — Vitesse mise à part, avez- Clarendon. l__ / 34 r ■x in the above order of performance, for a given Stage only. At the end of the Second and the Semi-Final stages, a GENERAL RULES 13. The competitors will perform only the works submitted as similar ballot will take place, each Member of the Jury their programme. No piece will be repeated. having a number of votes equal to the number of competi­ RULES FOR THE JURY 14. The Jury may not recall a competitor for a second hearing tors to be passed to the next Stage (less one vote for each in any Stage. competitor declared under Rule 6). 15. Competitors who are not ready to perform when called 9. The votes for each competitor shall be counted and the ® bank leumi le-israel Wi ilia upon to do so by the Jury, in accordance with present total votes cast for each competitor shall be expressed as a Rules, may be disqualified. percentage of the number of jurors entitled to vote forthat 16. Members of the Jury and contestants should not try to competitor (in compliance with Rules 6, 7 and 8). establish any contact whatsoever in matters relating to 10. The counting of the votes will be the responsibility of the Prizes sponsored by Bank Leumi le'lsrael B.M. Israel's first and largest the Competition. Every communication between contest­ Competition administration and will be performed in the banking group with over 450 branches, offices and subsidiaries worldwide. ants and Members of the Jury should bethrough interme­ presence of the Jury Chairman and Vice-Chairmen. The diation of the Jury Secretary or the Director of the result of each ballot count will be announced by the Chair­ Competition. man of the Jury to the Jury. 17. If exceptional matters of procedure arise, which are not settled by these Rulesand Regulations, the Jury is sover­ 11. STAGE I, II AND SEMI-FINAL: eign to decide in such matters, in cooperation with the In the event of a tie for the last places, a second ballot will Director of the Competition and the Legal Advisor. be held for those competitors involved in the tie to select the required number of competitors, each Juror having a GENERAL RULES RULES FOR THE JURY number of votes equal to the number of places remaining to be filled (subject to Rules 6,7 and 8). If the result is still 1. These Rules are in accordance with, complementary The prizes will be distributed at a ceremony and The Chairman of the Jury will not vote at any Stage of the indecisive, the competitor with the lowest number of to, and in no way derogate from the Rules published Concert to be performed by the laureates on Apri Competition, except for a situation covered by Rule 11. votes will be eliminated and another ballot held for the in the Competition prospectus accompanying the 1986. 2. The Jury meetings will be conducted by the Chairman of remaining tied competitors. This process will be continued Application Form. The Competition Secretariat undertakes to help promote the Jury. until all the places are filled. If an exactly similar tie results 2. The 5th Arthur Rubinstein International Piano Master the artistic careers of the prize winners by recommending 3. At its first meeting prior to the commencement of the after two successive ballots, the Chairman of the Jury Competition takes place on April 1 —19.1986, in Tel Aviv: them for engagements with leading orchestras, concert Competition, the Jury will elect from among its members shall use a casting vote to decide between the tied compet­ Stages I and II on April 1 —13 at the Recanati Auditorium managements and recording companies. two Vice-Chairmen, with voting rights. itors. The Chairman of the Jury will announce the ol the Tel Aviv Museum. Stage III on April 15—17 at the The Jury meetings will be strictly private, except for the required number of competitors. The Chairman of the 9. The Competition Secretariat reserves the right to all Jury will announce the final results of the ballot to the Frederic R. Mann Auditorium in Tel Aviv. recordings and films of any or all auditions and the concert attendance by the Director of the Competition, the Jury A Gala Prize Winners Concert and Prize Distribution’ Secretary, the Legal Advisor and their assistants. Jury. After this announcement, there can be no re-vote or performed by the laureates ( "live chronicle"). This right discussion. Ceremony will be held on April 19 at the Binyanei extends to the use of such recordings for radio, television, 5. No Member of the Jury may communicate any of the Ha’Ooma in Jerusalem. films and records. Contestants may not claim fees for Jury's proceedings or deliberations outside the Jury meet­ Stage III (Semi-Finals and Finals) and the Gala Concert ings. The Chairman of the Jury will announce results after 12. FINAL STAGE: performances or any reproductions thereof within the First Prize Winner will be decided by a simple ballot for the will be performed with the Israel Philharmonic Orchestra. framework of the Competition. each Stage. 3. The Competition is open to pianists of all nationalities 6. Every Member of the Jury shall declare to the Jury Chair­ winner of the First Prize only, with each Jury member between the ages of 18 and 32. 10. All stages of the Competition are open to the public. Con­ man any competitor who is, or has been, his/her pupil and having one vote (subject to Rules 6 and 7). If no competitor 4. The applications were screened by the Admissions Com­ testants will not be interrupted during performance, but shall not vote on that competitor, marking the voting paper receives an absolute majority of votes, another ballot will mittee and advice of inclusion in the Competition mailed the Jury will have the right to determine whether the accordingly. be held to decide between the two competitors with the to applicants by December 15, 1985. works be played in whole or in part, in order not to exceed At the end of each Stage, the Jury (excluding the Chair­ most votes. The competitors teachers will not take part in 5. The Competition Secretariat provides free board and lodg­ the allotted time. Competitors concerned will be advised of man) will vote on the competitors to be admitted to the this ballot. Should there be a tie, the Chairmanof the Jury ing from two days prior to the commencement of Stage I such Jury decision before the beginning of each Stage. next Stage. Votes must be recorded on the voting papers will preside over a discussion of the Jury, after which a further ballot will take place. This procedure will continue through the period of official participation in the 11. With the exception of the Chamber Music (Stage II), all provided and the voting paper signed by each Juror. Competition. 12 competitors will pass from Stage I to Stage II. until a conclusive decision has been reached. works must be performed from memory. There will be one When the winner of the First Prize has been decided, the 6. Prizes: A total of six prizes will be awarded, at the discre­ rehearsal for the Chamber Music and one rehearsal with 6 competitors will pass from Stage II to the Third (Semi- tion of the Jury: Final) Stage. Second. Third and subsequent prize winners shall be First Prize — The Arthur Rubinstein Award, a Gold Medal the orchestra for each concerto. 3 competitorswill pass from the Semi-Final Stage to the decided by simple ballot in each case (subject to Rules 6 and S10,000 12. Competitors will play in the order determined by ballot Final Stage. Second Prize — A Gold Medal and S5.000 before the First Stage. This order is to be maintained In the ballot at the end of Stage I, every Member of the 13. In awarding the prizes, the Jury will take into considera­ Third Prize — A Gold Medal and $3,000 during the entire competition. In unforeseen circumstan­ Jury will have twelve votes, all of which must be used (less tion the performance of the competitors in all the Fourth, Fifth and Sixth Prizes — A Silver Medal and ces — competitor's illness, etc. — the Director of the one vote for each competitor declared under Rule 6). No stages of the Competition. $1,000. Competition and the Jury Chairman may allow a change competitor may be given more than one vote by any juror. 14. All decisions by the Jury are final and beyond appeal.

36 37 STAGE I THREE GROUPS (A-C) ARE INCLUDED IN THIS STAGE. THE CONTESTANT IS REQUIRED TO PLAY SEVEN WORKS IN A RECITAL PROGRAMME OF APPROXIMATELY 55 MINUTES DURATION. \______J c STAGE II COMPETITION FIVE GROUPS (A-E) ARE INCLUDED IN THIS STAGE. THE CONTESTANT IS REQUIRED TO PLAY FOUR REPERTOIRE WORKS IN A RECITAL PROGRAMME OF APPROXIMATELY 55 MINUTES DURATION (A-D) AND TO PERFORM ONE CHAMBER WORK (E). \_____ J (------\

STAGE III TWO ROUNDS (SEMI FINAL, FINAL) COMPRISE THIS STAGE. THE CONTESTANT IS BE REQUIRED TO PLAY ONE CONCERTO IN EACH ROUND.

J \______/ 39 z A Repertoire STAGE 1: Three Groups (A — C) are included. Group D — Oedoen Partos: Metamorphoses for Piano "t nsnp nnx ni»»» □’innn> nniws iwx Jinx n>>xiw’ m’so Group A — Four works nnnnn rtnnn as!? o’win J BACH: Ricercare (in 3 parts) from The Musical Offering 'n nsiap Group E — Beethoven: one of the sonatas for violin 'n nsnap MOZART: Sonatensatz (Allegro), K. 400 (372a) and piano or for cello and piano n’-inxp ni»»’ CHOPIN: The last Mazurka in F minor ninnbvn nnx RAVEL: Alborada del gracioso The Chamber Works (Group E) will be performed by all contestants separately on the third day of Stage II. Group B — Two virtuoso works a nsnip CHOPIN: one Etude LISZT: one Etude itl’HXWl’t >------< Group C — a work of the contestant's choice ’> 7W3p STAGE Illa — Semi-Final: ’oh nnx DI’SI’ The contestant may choose one of the following concetti: ina »sin DDDDOD Dl’na s______MOZART: K. 466 in D minor imn inx wvsjtp JWTSiJipD J1SI13J? i MOZART: K. 503 in C major MOZART: K. 595 in B-flat major STAGE II: Five Groups (A — E) are included. BEETHOVEN: One of the five concetti

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X______J 40 PROGRAMME OF THE COMPETITION

z X r z TUESDAY 1, WEDNESDAY 2. THURSDAY 3. APRIL 09.00-13.00; 16.00-20.30 RECITALS THE TEL AVIV MUSEUM STAGE FRIDAY 4, APRIL. 09.00-12.00; 14.00-16.30 RECANATI AUDITORIUM PERFORMED BY THE CONTESTANTS SUNDAY 6, MONDAY 7. ‘TUESDAY 8, APRIL 09.00-13.00; 16.00-20.30 ■subject to .»b. .< comp««»» X __J X______/ X y X / X r x X r ----- X RECITALS THURSDAY 10, APRIL, 09.00-13.00; 16.00-20.30 CHAMBER MUSIC THE TEL AVIV MUSEUM STAGE II FRIDAY 11, APRIL, 09.00-12.00; 14.00-16.30 RECANATI AUDITORIUM PERFORMED BY THE CONTESTANTS SUNDAY 13. APRIL. 09.00-13.00; 16.00-20.30 WITH URI PIANKA VIOLIN; SII*4CA HELED-CELLO (CHAMBER MUSIC) X / X______/ X______/ X / X /• X z X / X CONCERTOS for PIANO and ORCHESTRA THE F. MANN AUDITORIUM STAGE III A PERFORMED BY THE SEMI-FINALISTS TUESDAY 15. APRIL, 20.00 TEL AVIV WITH THE ISRAEL PHILHARMONIC ORCHESTRA WEDNESDAY 16. APRIL. 20.00 CONDUCTOR: JAN KRENZ - POLAND < J X / X______J x___ / / X ( X r X / X CONCERTOS for PIANO and ORCHESTRA PERFORMED BY THE FINALISTS THE F. MANN AUDITORIUM STAGE III B THURSDAY 17. APRIL. 20.00 TEL AVIV WITH THE ISRAEL PHILHARMONIC ORCHESTRA X J CONDUCTOR: JAN KRENZ X / X ____7 X ------"A GALA LAUREATS CONCERT and DISTRIBUTION of PRIZES BINYANEI HA'OOMA SATURDAY 19, APRIL. 20.30 JERUSALEM PERFORMED BY THE LAUREATS WITH THE ISRAEL PHILHARMONIC ORCHESTRA CONDUCTOR: JAN KRENZ J < J < ■ X______J 42 43 z————\ z X JURY MEMBERS FOR THE 'N 3h\y tyüty ni»iJ nt i>tyi 5TH ARTHUR RUBINSTEIN INTERNATIONAL .On) nwnp yity iMb wpnn’ mnnon PIANO MASTER COMPETITION 55 ni T’n’ nmni nri’s’ .ni’pi nipi onaron -nn \______y h\y uuWb wonn mnnnn z x p>v>\y3’an mniN \y”y

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THE ISRAEL PHILHARMONIC ORCHESTRA mbxnw’n nmannb’an mmwi Founded by Bronislaw Huberman • Music Director: Zubin Mehta nynn pan : ’^p’vio bron • imam a^o’nia >i>a mou

.na’pnai ,o>myy o’bxnp’ o’xp’oia bv nmaan myotnb ’i’a 1936 nwa mtni mbxnp’n mnannb’on nmatnn jin ,a’ax_bna pan wy np’viob roaipxn oy in’ mmatnn nnx”b ova navro x>m ,pjnjin ajtvnna man bw iwn mi nnpan p>ab .rrpysn mnannb’an nmatnn bp anva bsxm ’mannn parbi ”obiya -inva nibiyan :Dbiya inva mpwyn mmatnn nnx oí »ntt ,"bxnp’ ’Bixbn '(ONOb npbn m nanin miomn nyub mbnn miro o’tnsnp 2io-aa nw na ny’oio x>n mmo 01 ny’oin x»m b»ns ’b”nb o’an owmmpa nmatnn .mnoixa oyo na) onnva imm¡a ,o”wab o’nvp dj namy nmatnn .Dawxnn mtnn-’npa nonbo ,bxnp>a o’bmn aw«n »nana mynpa ny’ota nunpb nonnn owbi awpsn bw minaa b”ina o’invo iyi poya pun-nana yixn >ann baa onnva ownsnpm nann mopw nmatnn matb .nain !m»ti baa ,orvnn nmatnn nx íxnn D«aixbva o’nvo orna nn’oix DB’nba bp man mms’ bw nmaa-’yvpa — "mmaa" .obiyn ’pbn anb moran o>nyb yawnxaa "i’anai txn" nwwxn myaim .o’bxnv’ 'inwny bp W’anp nnn nbp nmaan nyain txa "naTOn-n-nn" ,(1973) nmoix ,(1968) onb-ma ,(1948) ba uyaa oy nmatnn ny’oin ,napr>nban aaptrto ’i>a mpbn naaro nmatnn .narrai ,(1977) pjab biaia nnuy nxt tay im .obiyn bp o’bwn oabiom o’naion nmatnn ’i>i> minx ’rar ,bxnw> np’nax mamn pp ,o”aipa pnw’a-’bya bp oin’yi onimob man nmatnn .mjw manxa o’jaxn nwn oy D’iaan o’an ta>bxnw> oobwi o’naia 'bp’oinn nayvb npnp pan inopia mano 1968 rowa nmatnn oy on’myatna rowxnb ab nawnb tai obiya rmron .»bp’viD broab nxn row 1977/78 nny nwxnai nmatnn non manea nnvi .mbxnp’n mnannb’on inx”a nmatnn bp i’anan nan’pb man nam matnnn bp oinna os man npw nmatnn .bxnp’a nebí nbw .’•ova obiyn baa nnva o’awnn o>’bp’vian nnvian np’ya o’an o’biy wbpi n’nnwai ,n>byn nwbp mnann ao’o bw O’an ow’bpna tai ny’oia nmatnn nn ovppa oí pbn nbtro nmatnn .a"nnxai a"n’naa íbia vnptan vnanp oye ’io np’ina .o’xp’tna bp i’nyn 54 55 ( Y" >

<______7 56 57

REPERTOIRE REPERTOIRE

GROUP A Ricercare (in 3 parts) from The GROUP A Ricercare (in 3 parts) from The Musical Ottering Musical Ottering Sonatensatz (Allegro). K. 400 (372a) Sonatensatz (Allegro), K. 400 (372a) The last Mazurka i Alborada de! gracioso Alborada det gracioso GROUP B GROUP B

GROUP C Prokofiev Sonata op. i GROUP C Mephisto Waltz STAGE II STAGE II GROUP A GROUP A Beethoven GROUP B Chopin GROUP B Fantasy in I GROUP C Debussy "La Soiree dans Grenade" GROUP C Scardo from Gaspard de la nuit GROUP D Oedoen Partos Metamorphoses for Piano GROUP 0 Oedc i for Piano GROUP E GROUP E

STAGE III A: Concerto i STAGE III B: Tchaikovsky Concerto STAGE III B:

58 59 s------\______7 \______y sk. ~>

<______/

• r V / GROUPB ------STAGE «0UP. CROUP GROUPA STAGE GROUPC Age: Natasha Z'

30

C III II

B:

TADSON, ------Liszt Liszt Chopin Ravel Chopin Mozart - Mozart

Israel ______Donjuán Transcendental Alborada Sonatensatz Musical Concerto Etude The “ —

last

in

Offerì Mazurka

A-flat no. del

Fantasy S""

(Allegro). gracioso 3 ng

major, in Etude

in 0

minor, F “

1 op. K. "Feu* minor

400

” 10

op.

Follets"

no. (372a) *

30

10 \ / ÎÙ>1 IN’VV’TD-VJXn rpjonra-wo 23 :>’» ,1’in v"V np’vini> n>DTpN to'TO’b ,np»oiD>nninP"n»3 :o’-nn’> 3>3N->n fTO’OT3>)lN

Hans-Christian WILLE, W. Germany Asaf ZOHAR, Israel Age: 28 Age: 23 School: Hochschule fur Musik, Hannover School: Rubin Academy of Music, Tel Aviv >Address:— Backhausweg— 20. 3305---- a SKKTE. FRG Address: 1 Hama'alot St., Givatayim 53259, Israel REPERTOIRE REPERTOIRE

GROUPA Ricercare (in 3 parts) from The GROUP A Ricercare (in 3 parts) from The Musical Offering Musical Offering Mozart Sonatensau (Allegro). K. 400 (372a) Mozart Sonatensau (Allegro). K. 400 (372a) Chopin The last Mazurka in F minor Alborada del gracioso Alborada del gracioso GROUP B Chopin GROUP B Chopin Concert Etude "Gnomenreigen" GROUP C Sonata H. XVI/50 GROUP C Beethoven Bagatelles op. 126 STAGE GROUP A GROUP A ("Tempest") GROUP B Chopin GROUP B Schumann Davidsbündlertënze, op. GROUP C Sonata GROUP C De Falla GROUP 0 Oedoen Partos Metamorphoses for Piano GROUP D : for Piano GROUP E Sonata for Cello and Piano in A GROUP E Sonata for Cello and Piano in ,

STAGE III A: Concerto no. 3 in C minor, op. 37 STAGE III A: Concerto no.. STAGE III B: Prokofiev STAGE III B: Brahms

y k. nnnnn D'QIN^JDH rwnnn crucco EMOU nltnk

1986