ES THE ISRAEL PHILHARMONIC ORCHESTRA

RUBINSTEIN FESTIVAL

TWO RECITALS: JERUSALEM ■ TEL AVIV

TWO SPECIAL CONCERTS: TEL AVIV CONDUCTOR: ELIAHU iNBAL

September 1968

ARTUR RUBINSTEIN

ne Israel Philharmonic Orchestra again a galley slave,” Rubinstein answered : returned each year since then to triumph­ as the pleasure and profound honour to "Excuse me, Madame,a galley slave is ant successes. welcome the illustrious Pianist, ARTUR condemned to work he detests, but I am RUBINSTEIN, whose artistry has brought in love with mine; madly in love. It isn’t Rubinstein married the beautiful Aniela enjoyment and spiritual fulfillment to many work, it is passion and always pleasurable. Mlynarski, daughter of conductor Emil thousands of music lovers in our country, I give an average of a hundred concerts Mlynarski under whose baton he had to yet another RUBINSTEIN FESTIVAL. The a year. One particular year, I toted up one played in Warsaw when he was 14. Four great virtuoso, whose outstanding inter­ hundred and sixty-two on four continents. children were born to the Rubinsteins, pretation is so highly revered, has retained That, I am sure, is what keeps me young.” two boys and two girls. the spontaneity of youthfulness despite the Artur Rubinstein was born in Warsaw, the In 1954 Rubinstein acquired his home in passing of time. youngest of seven children. His remark­ Paris, near the house in which Debussy able musical gifts revealed themselves spent the last 13 years of his life, by the Artur Rubinstein could now be enjoying Bois de Boulogne. It is there that he now the ease and comforts of ‘‘The Elder very early and at the age of eight, after receiving serious encouragement from lives in between the tours that take him Statesman”, with curtailed commitments all round the world. With the exception of and extended periods of leisure. Instead, Joseph Joachim, he was sent to Berlin where he studied piano with Henrich Barth, Tibet and Afghanistan, he has visited all he continues to stick to a full schedule of the countries of the world and is fêted concerts and travel, one that many younger a pupil of Bulow, Tausig and Liszt. At eleven he played for the first time in everywhere as the greatest pianist of our irtists would not dare to undertake. Corn­ time. ered to most artists, Rubinstein is a public with Joachim conducting and a little /larathonian. One especially remembers later began giving concerts in the main Today Maestro Artur Rubinstein has play­ nis 1956 series of five Carnegie Hall con­ towns of Germany and Poland. In 1905 ed more concerts before more people, sold certs within two weeks, playing seventeen he made his first tour of the U.S.A, play­ more record albums (over 5,000,000), and concertos, a feat which was repeated in ing above all in Philadelphia and New York. attracted a greater following than any Tel-Aviv two years later, and his 1961 He then went back to Berlin and Paris other classical instrumentalist in history. exploit of performing ten solo recitals, the and played in the principal European cities. Yet for all the powers of the mind it is proceeds of which he donated to ten In 1916 Spain received him with acclaim; Maestro Rubinstein’s irrepressibly warm­ different charities. Each year he under­ he gave 120 recitals and became a familiar hearted and romantic spirit, his ebullient takes some comparable series for which figure in royal circles. A similar success love of life and people, that have created he stubbonly refuses to take any credit. awaited him in South America and it was the unforgettable personality which charms there that Rubinstein's outstandingly suc­ one and all. When an admiring lady once warned him cessful international career commenced. In We are happy to welcome again Maestro against overexertion, saying ‘‘You work like 1919 he again toured the U.S.A, and has and Mrs. Rubinstein and their daughter Alina. ELIAHU INBAL

Eliahu Inbal was born in Jerusalem, conduct several orchestras, notably in Israel, in 1936. He received his musical Paris, as permanent conductor of the education at the Academy of Music, Jeru­ “Orchestre de la Cité Universitaire Inter­ salem (1952—1956), then with Paul Ben- nationale de Paris”, and the Conservatory Haim (1958—1960), Franco Ferrara, in Hil- Orchestra. versum (1960), Louis Fourestier and In 1963, he won the GUIDO CANTELLI In­ Manuel Rosenthal in the Paris Conserv­ ternational Competition for Conductors in atory (1960), and with Sergiu Celibidache, Novara. This, and the success he achieved in Siena (1961—1962). in the Winner’s Concert, brought him en­ After his graduation in 1956 (violin and gagements in many musical centers: Lon­ theoretical subjects) he began his con­ don, Zagreb, Bologna, Turin, Milan, Paler­ ducting career as guest conductor of the mo, Israel, etc. Radio Symphony Orchestra, the Haifa Mr. Inbal joined the Israel Philharmonic Symphony and the Zahal — Gadna Sym­ Orchestra on its tour to Australia and the phony Orchestra. He held the posi­ United States, where he led the orchestra tions of permanent conductor of the Zeire and Yehudi Menuhin in three concerts and Hagadna Symphony Orchestra and the Jascha Heifetz in the famous Hollywood Haifa Youth Symphony Orchestra and Bowl concert. He has also recently con­ Choir. In 1960, he was sent abroad for ducted The London Symphony Orchestra further study by the America Israel Cul­ with great success. tural Foundation, recommended by Leonard Bernstein, and later invited by the French We take this opportunity of expressing our Government to continue his studies. Dur­ congratulations to Maestro and Mrs. Inbal ing this period, he had the occasion to on the occasion of their recent marriage. IN THE FOREFRONT The New York Times SUNDAY, APRIL 28, Poland’s Anti-Jewish Campaign To the Editor: of public performances of an international Zionist con­ Some days ago the world “Dziady”, the masterpiece of spiracy, Zionist lackeys of observed the 25th anniversary Mickiewicz, Poland’s greatest Western imperialism.” Jewish of the Warsaw ghetto uprising, poet. Will the music of Chopin philanthropic organizations when 40,000 Jews took up arms be next to be prohibited from which have poured millions in a doomed effort to combat being heard in public? The of dollars into the economic Maestro Rubinstein Raises His Voice Against Injustice the Nazi forces. This was political ideology of Chopin and and social rehabilitation of surely one of the glorious chap­ his friend Mickiewicz was war-torn Poland are accused ters in the annals of martyr­ identical. of conspiracy, sabotage and Israel, Poland, Czechoslovakia,... These are the latest in the dom and heroic resistance to Since then Poland has been espionage at the behest of tyranny. What irony and trag­ undergoing a massive system­ international Zionism and long list of causes in which Maestro Rubinstein has personally edy that at this moment viru­ atic course of purge and pro­ Western imperialism. identified himself with the fight against injustice. lent anti-semitism is being re­ paganda whose central feature The moral nadir of this vived on Polish soil soaked has been its undisguised anti- campaign is the falsification with the blood of millions of Semitism. The Jewish commu­ and distortion of the facts of During the crisis prior to the Six Day War, at the protest Jews. The wave of anti-Jewish nity of 18,000, many elderly Jewish martyrdom at the rallies in Paris and during the difficult days that followed, hysteria in Poland is being or ill, is accused of disloyalty hands of the Nazis, the ob­ whipped up by potent reac­ and browbeaten into self- scene denigration of the Artur Rubinstein was always in the forefront, leading the list of tionary forces in the regime abasement. Dozens of distin­ Jewish victims of mass mur­ distinguished Artists who spoke up clearly and strongly and exploited as a weapon in guished Jewish academics, ar­ der. a power struggle, a scapegoat tists, writers and intellectuals This is the brutal lexicon for the right of human dignity and freedom. for popular discontent, a of international repute are used by Stalin and his anti- smoke-screen for economic called alien to Poland, charged Semitic purges of 1948-52 and When Poland began its anti-intellectual, anti-liberal and and political ills, an instru­ with being spiritual instigators in the infamous doctors’ plot ment to stifle progressive re­ of the student movement, ex­ he concocted in January 1953. anti-semetic campaign, it was the Maestro’s public statement forms demanded by the intel­ pelled from the Communist It is, tragically, the very lan­ ligentsia and students. The party and dismissed from their guage that has been revived (see letter in “The New York Times”) which proved to be the close link between anti-intel­ positions. in the Soviet Union since the lectualism, anti-liberalism and rallying force for over 1,000 Professors from some 100 Purge of Intellectuals Arab-Israel-War last June, in anti-Semitism is once again an ominous propaganda cam­ Universities in the United States, which endorsed and personally tragically demonstrated. Scores of students are. ar­ paign against the Jewish rested. All, intellectuals and associated themselves. On March 8 thousands of people. This is the policy and Warsaw University students students alike, are named and the propaganda now taken demonstrated for freedom of are pointed out as Jews. Many over and carried further by Now again with the invasion of Czechoslovakia by Russia and expression, fair trials and an hundreds of others less pro­ the Polish authorities. her satellite countries, the Maestro was the first to announce end to censorship. These de­ minent are also being purged I appeal to the leaders of monstrations spread swiftly to more quietly but not less efficiently. Poland to cease this outrage. publicly that he would not appear in any of those countries other universities throughout I appeal to world public while their invasion forces remain on Czech soil. the country, and were met by Most shocking is that all opinion to rally to the defense police violence and arrests. this is being done to the ac­ of the Polish intelligentsia and companiment of a vast pro­ Polish Jewry. We salute the Maestro and join the world in applauding his Play Suppressed paganda campaign which has It is universal knowledge charged the country’s atmo­ ARTHUR RUBINSTEIN courage, convictions and actions for the cause of justice that the outbreak of students’ sphere fearfully. Jews are ac­ Paris, April, 16, 1968 and human freedom. demonstrations was due to the cused of being "cosmopolitans, The writer is the well-known suppression by the authorities national nihilists, members of concert pianist. PROGRAMME NOTES

RECITAL

the only works ever written under such a The always surprising Brazilian composer Schumann was at the height of his crea­ Villa-Lobos is represented by one of his tive power and about to marry his bride, title and the composer is said to have Suites “O Prole de Bebe”. Clara Wieck, when he wrote his eight been inspired by the poems of Mickie- “Phantasiestuecke”. The poetic titles were wicz. The earliest is the one in G minor. It starts as if a harp would introduce the The Spanish piece “Navarra” by Albeniz, not a programme but were added only leads into the kind of folkmusic which later by the composer. They show the bard-singer. Its sadness changes to great excitement but later the mood becomes was mainly perpetuated by Liszt in those romantic contents of the various pieces works where he used Hungarian or rather and also the imagination of the composer. quiet again and towards the end, an im­ mense climax in fast tempo is reached. Gipsy music, as a national inspiration. Very typical are his 15 Hungarian Rhap­ He even describes in detail the last Chopin wrote about twenty small poetic sodies, which were originally composed piece in a letter to Clara : — “Everything works under the title of “Nocturne”. Here for the piano, with all the dazzling virtuous finally resolves into a gay wedding but we have one played as a kind of an inter­ writing of the composer. The 12th is towards the end the suffering for her mezzo between two great works. The dedicated to Joseph Joachim, the violinist, returns and now it sounds like a wedding Scherzo in B flat minor, also one of four, who came from Hungary and who belong­ and a deathtoll all in one.” Each of these ed to the circle around liszt but left him pieces has its own intricate elaboration is the most famous one. After its tense beginniing it changes into a beautiful broad later to join Brahms and his friends of an and no single piece is built up similarly, opposing musical party. thus achieving a most beautiful unity. melody. Now a fully fledged movement is developed, filled with fantasy. A recapi­ Uri Toeplitz The four Ballads by Chopin are almost tulation leads to the brilliant conclusion. PROGRAMME NOTES

CONCERT

Overture to “Don Giovanni” the pitiful answer in the violins, conveying remote key of E major. It is a tender Wolfgang Amadeus Mozart Don Giovanni's attempts to regain his cantilena, full of charming ornamentation The Overture to “Don Giovanni”, the last composure, and then the strange scales in in the piano part. Here we are in the piece of the opera to be completed, was the violins and flutes complete for the realm of genuine human feeling, which is written just before the first performance in listener the depiction of the restless striv­ untouched by the blows of fate pictured in Prague in the year 1787. The adventures ings of a man who, throughout the whole the first and last movements of the work. of the famous libertine were well known opera, is portrayed by Mozart with fright­ oven before Mozart’s time. An insatiable ening eloquence. Concerto No. 1 in D minor for appetite drives Don Giovanni from adven­ Piano and Orchestra, Op. 15 ture to adventure and in the end he pays Concerto No. 3 in C minor for Piano Johannes Brahms and Orchestra Ludwig van Beethoven for his peccadilloes with his life. The Seldom has a work suffered so many birth father of one of the women he plans to Beethoven’s Piano Concerto in C minor pangs and undergone so many changes seduce interferes and is killed in the is the perfect expression of the earlier as the first of the four concertos written ensuing duel. Later in the opera Don Beethoven to whom the key of C minor by Johannes Brahms, the Piano Concerto Giovanni encounters the statue of his vic­ symbolized inner conflict and struggle. in D minor. Even when it was finally per­ tim in the cemetery grounds and invites From the very beginning of this concerto formed in public in Hannover and Leipzig, the statue to dinner. The statue duly keeps we are conscious of great tension that it found no understanding from the listen­ the appointment and then, to the crash of finds its contrast and release in the ers, and from Leipzig Brahms wrote to his thunder, Don Giovanni is seized and second theme where the composer returns friend Joachim : “At the conclusion three thrown into hell. While the Allegro of the to the Mozart manner. The tension returns pairs of hands were brought together very Overture may be taken as picturing Don in the last movement, but towards the end slowly, whereupon a perfectly audible hiss­ Giovanni’s life of levity — although in­ the key changes to C major, bringing the ing from all sides forbade any such de­ wardly demonic — its slow introduction is work to a radiant conclusion. monstration". taken from the fatal scene at the end. The hammer-like sequences of the opening, The true counterpart of these two move­ This happened in 1859, but we have to go later marking the appearance of the statue, ments is the slow one, written in the back to 1853 for the beginnings of this work. That was the year that Brahms made decided to rewrite it and thus it became "Benedictus qui venit in nomine Domini” his entry into the great musical world. He the first piano concerto. He used the first (Blessed be he who comes in the name became known among leading musicians two parts for the new work, while the third of the Lord), and apart from its religious and Liszt, Schumann, Berlioz and the part found its place in another of the significance, this is a reference to Schu­ famous violinist Joseph Joachim were some earlier works, the "German Requiem” and mann, according to Brahms’ biographer of the celebrites he met. It was Schumann a new movement was written for the con­ Kalbeck. who hailed the 20 years old composer as certo. The third part, written especially for this the coming genius in his article "New concerto, is the most concertante of the Paths”. The next year brought Schumann's This concerto, and this is what was diffi­ three movements, a genuine Rondo with breakdown, his attempted suicide and the cult to understand at that time, did not two themes, a fugato, a Cadenza quasi attachment of the young Brahms to Schu­ become one of the usual virtuoso con­ Fantasia, and a comforting turn into the mann’s wife, Clara. To the same year certos, but rather a “symphonic” work. major at the end, which gives the work a belongs Brahms’ fast-growing friendship Moreover, it is the “storming to heaven” happy conclusion such as can come only with Joachim. confession of a young composer. There is the desperate note at the beginning, the after much suffering. In his article, and surely also in personal famous drum roll, then the unusual and contact, Schumann had given Brahms the elegiac entrance of the soloist and the The public’s lack of understanding of this idea of writing an orchestral work, even a comforting second theme. The recapitula­ work must have made a deep impression on Brahms because from thereafter he symphony. His first orchestral work was to tion is very original, as the main D minor be the first of the two Serenades for is avoided here. Most beautiful is the re­ took the way of prudent moderation, turn­ Orchestra, Op. 11. But before this Brahms appearance of the second theme, which in ing more to the classics. Today we have tested himself on a symphony. He had his its D major, poco piu moderato, leads the a special liking for the qualities of this difficulties including that of instrumentation hearer into the mood of the second move­ concerto, and we feel a certain regret at and of this work he made a version for ment. the composer's subsequent course of de­ two pianos, which he played privately velopment and which makes this concerto several times with Clara Schumann and The Adagio is in a more religious vein. the more precious to us. others. Not being satisfied with it, Brahms Brahms wrote above this part the words Uri Toeplitz SPECIAL CONCERT

with ARTUR RUBINSTEIN

Conductor: ELIAHU INBAL

TEL AVIV — Fredric R. Mann Auditorium, at 8.30 p.m. Thursday, September 19, 1968 Saturday, September 21, 1968

PROGRAMME

Overture to “Don Giovanni” MOZART (1756—1791)

Cocerto No. 3 in C minor for Piano and Orchestra, Op. 37 Allegro con brio BEETHOVEN (1770—1827) Largo Rondo

INTERMISSION

Concerto No. 1 in D minor for Piano and Orchestra, Op. 15 Maestoso BRAHMS (1833—1897) Adagio Rondo — Allegro non troppo RECITAL

with ARTUR RUBINSTEIN

JERUSALEM — Binyanei Ha'ooma Tuesday, September 17, 1968 at 8.30 p.m.

TEL AVIV — Mann Auditorium Wednesday, September 18, 1968 at 8.30 p.m.

PROGRAMME

FANTASIESTUCKE Op : 12 SCHUMANN (1810—1856)

Des Abends Aufschwung Warum Grillen In der Nacht Fabel Traumeswirren Das Ende des Leides

BALLADE in G minor CHOPIN (1810—1849)

NOCTURNE CHOPIN

SCHERZO in B minor CHOPIN

O PROLE DE BEBE VILLA —LOBOS (b 1887) Branquinha Moreninha Negrinha Bruxa Probesinha Polichinello

NAVARRA ALBENIZ (1860—1909)

RHAPSODIE No 12 LISZT (1811—1886)