The Rubinstein International Music Society
THE ISRAEL CHAMBER ORCHESTRA Founded by Gari Bertini Music Director: Yoav Talmi The 22nd Season 1987 — 8 Mim Cuma ffflM FOUNDED BY GARI BERTINI MUSIC DIRECTOR: YOAV TALMI
In cooperation with The Arthur Rubinstein International Music Society
HOMMAGE TO ARTHUR RUBINSTEIN
Christoph Eschenbach conductor and pianist
Tzimon Barto conductor and pianist
“Tones and Voices”- Concert no. 1
Haifa, Haifa Auditorium Monday, 7 September 1987
Jerusalem, Jerusalen Theatre Tuesday, 8 September 1987
Tel-Aviv, The Fredric R. Mann Auditorium All Series: Thursday, 10 September 1987
at 8.30 p.m. ARTHUR RUBINSTEIN by Emanuel Krasovsky
Photo by Lotte Meitner-Graf, London
In the Jerusalem forest, near Kennedy memorial, aptitude, inimitable mastery of the sound, sincere there is a breathtaking spot overlooking the and profound feeling, crystalline clarity and majestic Judean Hills and, at a distance, the healthy fortitude blended into interpretations Golden City itself. This is where - after long, directed at the very hearts of the listeners. glorious life as a veritable citizen of the world - Indeed, playing from the heart and to the heart Arthur Rubinstein was laid to eternal rest. He had was the quintessence of Rubinstein’s optimistic, willed it so. life-loving art. During his last visit here, the 92- Hardly an artist on our century’s musical scene year-old pianist gave a master-class to his young had enjoyed so towering a position in his lifetime. Israeli colleagues. “Play simply, from your His playing has been studied, admired, extolled - heart”, was his insistent, oft-repeated advice. but so was the work of numerous other The music lovers never failed to respond. musicians. Rubinstein the artist, however, was Whether he played in pace-setting world’s music above all loved. His overwhelming instrumental centres or in far-away towns of South America and Oceania, Rubinstein’s concerts sold out long the conductor - Leonard Bernstein. The violin in advance, with additional performances soloist was Isaac Stern, the cellist - Paul scheduled whenever possible. Tortelier. Rubenstein loved his public, giving on the stage Rubinstein, whom the Israeli audiences adored all of himself. “I am sure my love to them with an ever-increasing passion, held his communicates through my music.” he said in an listeners here in high esteem indeed. “Before interview. His other phrase, “Don’t tell Sol Hurok every concert in Tel Aviv or Jerusalem, Arthur (Rubinstein’s manager), but I enjoy my recitals so was nervous as if appearing for the first time”, much that I could play them for free”, has reminisced his widow, Nela, in a conversation become a legend. with this writer last January. “It was not easy: It is impossible to separate Rubinstein the artist even though he knew people loved him, he felt he and Rubinstein the human being. Born 28 had to prove himself each time anew. Whereas in January, 1887 in Lodz, Poland, he lived through a London, for example, once they liked you, they tortured period of human history. The pianist saw remained yours forever”. two world wars and the repeated rape of his It was not surprising, therefore, that Rubinstein’s homeland. He witnessed the Holocaust - albeit feat of a project during the mid-1950’s - the from afar - in which almost all the members of his performance of 16 piano concertos on five extensive family had perished. He did not seek a consecutive nights - presented in New York, refuge in an ivory tower. For artists who London and Paris, was brought to Israel in 1958 maintained that art and politics should not be as a present on its tenth independence mixed, he had neither respect nor patience . anniversary. With the IPO, again under Singer’s “What kind of people are they ? How can they baton, the pianist played in October all the disregard the constant struggle of humanity Beethoven, Brahms and Chopin concertos, the against suppression? Their world is small and Schumann, Rachmaninoffs Second and Rhapsody on a Paganini theme, Saint-Saens’s tiny - and it shows on them when they go on Second, Mozart’s A major and Tchaikovsky. stage”. Also during that stay, Rubinstein auditioned the For Rubinstein, taking unequivocal stand was a best young Israeli pianists for whom he had life-time principle. His attitude towards the established a scholarship fund. (Additional collaborators of Holocaust perpetrators, auditions took place in 1961,63,64,66, and 67). whoever and wherever they were, remained The pianist’s involvement in this country’s life uncompromising. His public statements in the grew. In 1964, he endowed the Chair in late 1960s became a rallying force for the artists Musicology at the Hebrew University in and intellectuals protesting the situation in Jerusalem. In 1972, the Arthur and Nela Czechoslovakia and Poland. Yet never did Rubinstein Arthritis Research Unit at Tel Aviv’s Rubinstein’s voice ring firmer than when he Ichilov hospital began functioning. The proceeds spoke in defence of Israel. The proud and loyal of his Jerusalem recital were earmarked for the son of the Jewish people loved this country with programme bringing young people to all his heart. performances at the Sherover theatre. The long chapter on Rubinstein’s Israel Coming to Israel became a need. “As always, I connection - artistic, emotional, human - was am looking forward to return to my beloved marked by singular warmth and devotion. He first Israel”, reads the last sentence of a business played here when Israel still was the mandatory communication to the IPO. Palestine and Tel Aviv the newly-built suburb of Jaffa. From 1966 to 1971, every IPO season was Some 20 years later, in the winter of 1951, he opened by Rubinstein’s concerto and recital performed with the Israel Philharmonic Orchestra appearances. Unfailingly sold-out, these conducted by Georg Singer the Brahms B-flat Rubinstein festivals remain a unique and major concerto and gave several recitals. The unmatched treasure of our cultural past. unique chemistry - even by Rubinstein’s With incomparable generosity, Rubinstein standards - may have started right then. The unveiled before the spell-bound music lovers his glowing press accounts on the pianist’s success immense repertory. He played Schubert (the last contain a shade of astonishment at the emotional sonata and Impromtus), Schumann, Brahms, intensity of the public’s response. Bach-Busoni, Liszt, Debussy, Ravel, Granados, When the Fredric Mann Auditorium, the IPO Villa-Lobos, de Falla, Stravinsky and, of course, permanent home, was to be opened in Tel Aviv, lots of Chopin. there was no question whatsoever who the During the Mann Auditorium tenth anniversary pianist at the festive concert would be. This time, celebrations, he afforded a glimpse of his the concerto was Beethoven’s "Emperor” and beautiful chamber-music art, performing with Stern and Tortelier Beethoven (“Archduke”) and everyone, at a lesser contest, would easily have Brahms trios. won a first prize”. Rubinstein’s influence on this country’s musical This year, on Rubinstein’s birth centennial, the culture is difficult to overestimate: a generation of entire music world salutes the memory of the performers and teachers were exposed year in Maestro. In January, the Israel Philharmonic and year out to the shine of his uniquely civilized Orchestra held a series of 7 concens and 5 art - at once inspiring and setting lofty practical recitals during which, with Zubin Mehta on the goals. The fact that young Israeli pianists have podium, 17 concertos were performed by twelve been doing increasingly well on the international from among today’s most famous pianists. The circuit may have much to do with this. Jerusalem Symphony featured Leon Fleisher in a The grateful nation paid the Maestro in kind. In special performance under Sergiu Comissiona. 1973 , the Tel Aviv University bestowed upon The Arthur Rubinstein International Music Rubinstein its honorary doctorate. A year later Society, with relevant bodies worldwide, the Hebrew University followed suit. In 1976, his sponsored a series of events entitled “Hommage 90th birthday approaching, the Maestro was à Rubinstein”. On 7 October, 1986, a piano given the honorary PhD of the Weizmann Institute recital by Nikita Magaloff in Madrid served an and the Freedom of City of Tel Aviv. A grove was occasion for formation of Arthur Rubinstein planted in his honour by the IPO in the Jerusalem Music Society in Spain. On 25 January, a Forest. Rubinstein Memorial Day was held at the London Turning the great artist’s legacy into a vital, Royal Festival Hall, in the course of which the continuous component of this country’s cultural Polish Requiem by Penderecki was performed by life remains the paramount goal of the Arthur the B.B.C Orchestra conducted by the Rubinstein International Music Society, composer, a piano recital was given by Françoise established in Israel in 1981. Duchable, with an exhibition and films The plans include holding seminars and complementing the offering. Also in January, symposia, sponsoring summer courses and memorial events were held in Rome and Venice - master-classes with world famous artists, both cities with strong Rubinstein ties. making scholarships available to outstanding The gala Hommage recital by Alicia de Larrocha young musicians, establishing a Chair in Piano at the Real Theatre in Madrid in June took place Performance at an Israeli University, and so on. In under the patronage of Queen Sophia. On that that effort, the Society requires and deserves all occasion an auspicious exhibit, “Rubinstein and the support from the authorities, artistic Spain”, was mounted. Also in Spain, this year’s institutions and the people of Israel. Paloma O’Shea Piano Competition in Santander was dedicated to Rubinstein’s memory. In September 1984, the first International Piano Later this month, the soloists of tonight’s “Hom Master Competition, bearing Rubinstein’s name mage à Rubinstein”, Christoph Eschenbach and was held in Israel. No great fan of the competition Tzimon Barto will appear with the NHK Orchestra institution, the Maestro had initially been of two in Tokyo. In December, on the fifth anniversary of minds about the event. Yet the unique format of Rubinstein’s death, a memorial recital will be the contest and highest artistic criteria conceived given in Jerusalem by Andras Schiff; on 9 by Jacob Bistritzky, who had been invited to January, the ICO offers a memorial performance serve as Director of the Israel Festival and whom in Geneva with Shlomo Mintz as conductor and Rubinstein knew from his days as the director of soloist and Yefim Bronfman the piano soloist. the Chopin Institute in Warsaw, won the Maestro The event will signify the beginning of activity by over. In addition, the competition would serve a “Memorial Arthur Rubinstein, Geneve”, an solid means of binding the great pianist’s name association affiliated with our Society. Finally, on to Israel’s cultural life. At the event, Rubinstein the great pianist’s 101st birthday, a gala perfor who sat on the international jury, did not hide his mance is to be held at the UNESCO Hall in Paris, enthusiasm: “Never, never, never have I met co-sponsored by that organisation and the such a concentration of talents before - Arthur Rubinstein Internaitonal Music Society.
The kind assistance of Messrs. Heinz Berger and Efraim Mittelmann of the IPO archives is appreciated with gratitude. Christoph Eschenbach, conductor and pianist
Christoph Eschenbach’s reputation as pianist is world wide ever since he won the prizes of the Munich Competition in 1962 and the coveted Clara Haskil Prize in 1965. Since then he appeared in recitals and as soloist with all the major orchestras of the world. Since his 1972 conducting debut he has also become a sought- after conductor. He led the major orchestras of Europe and the USA, among them the Berlin Philharmonic, the Vienna Symphony (including on tour to Japan in 1986), the Orchestre National de France, Santa Cecilia of Rome, the London Symphony, the orchestras of Boston, Chicago, Cleveland, the New York Philharmonic and many more. In 1978 he made his operatic conducting debut in Darmstadt, and in 1984 he first conducted at the Royal Opera House Covent Garden. His numerous recordigns have won him the “Grand Prix du Disque” and the Edison Prize. Beside his activities as pianist and condcutor he plays chamber music with well known musicians and ensembles and lately appeared in Lieder evenings with Fischer-Dieskau, Edith Mathis and Peter Schreier. This is his first appearance with the Israel Chamber Orchestra.
Tzimon Barto, conductor and pianist
Twenty-three years old Tzimon Barto began his piano studies with his grandmother at the age of 5, wrote his first opera when he was 8 and began to conduct at 14. He studied at Juilliard with Adele Marcus and is the first musician to have graduated form Juilliard with triple honours: in piano, conducting and accompanying. In 1984 he recieved the Lila Acheson Wallace Endowment for his conducting activities with the American Opera Center in New York. He was also presented with “the most outstanding conductor” award by Gunther Schuller at the Tanglewood Institute. His European debut as both pianist and conductor was at the Spoleto Festival in 1985. Since then he appeared in January 1986, Mrs. Arthur Rubinstein, attending Germany, France, Holland, Australia and in 1986 his debut recital in London, engaged him with made his US debut with the Boston Symphony at concerts in honour of Rubinstein’s 1OOth Tanglewood under Christoph Eschenbach. In birthday in Monto-Carlo, Tokyo and Israel. JOHANN SEBASTIAN BACH (1685-1750) Concertos fortwo keyboard instruments and string orchestra
Concerto no. 1 in c minor, S. 1060 Allegro Andante Allegro
Concerto no. 2 in C major, S. 1061 Allegro Adagio ovvero largo Fuga
It was a common practice in Bach’s days to soft pizzicato accompaniment by the strings. The rearrange works composed for certain energetic and rhythmic element returns in the last instruments in versions for other instruments. movement, where, again, there is thematic unity Bach made many such arrangements of his own of the solo and accompaniment roles. works and of the works of other composers (mainly Vivaldi), especially during the period Concerto no. 2 in C major was probably when he directed the Telemann Music Society in originally composed by Bach for two keyboards. Leipzig (1829-36), where he had to present very The orchestral part is quite diminished here. The frequent public concerts. Probably Bach himself lively first movement is mainly a dialogue and his sons played these concertos on the between the two soloists, who present all the harpsichord, but nowadays they are often played themes, while the string orchestra merely on modern pianos. All three concertos are in C stresses a few of the melodic lines and provides (two in the minor and one in the major scale), and soft and delicate accompaniment. The slow all three are in the customary th-partite structure second movement is for the solo pianos alone, of fast-slow-fast. without any accompanimnet. It is a sort of interlude with many canonic imitations within The Concerto no. 1 in c minor was originally each piano part and between the two pianos. The written by Bach for violin and oboe, and the first final movement is a three-voiced fugue. At first all piano part indeed reflects some “violinistic” three voices are presented by the first piano, then passages that were barely altered, while the they are all played by the second piano, and only second piano has many sustained notes, such as then does the orchestra join the proceedings. A are suited to wind instruments. The first transition by the two pianos leads to the movement is rhythmic and energetic, with close reiteration of the fugue-theme, which is now thematic relationships between the solo parts developed by soloists and orchestra, until the and the orchestral accompaniment. In the impressive conclusion of the concerto. second movement the two pianos play a calm Orly Tai and pleasant melody with canonic imitations, to WOLFGANG AMADEUS MOZART (1756-1791) Concerto no. 20 in d minor for piano and orchestra, K. 446
Allegro Romanza Rondo: Allegro assai
The concerto in d minor was composed in 1785. interrupted only once by an excited interlude, At that time Mozart was at the peak of his recalling the stormy atmosphere of the first success and happiness. We do not know of any movement. The Finale opens in a fast and event in his life which might inspire a work of such restless mood, not unlike the first movement. But dramatic and sombre spirit. later on the lighter element appears and is integrated into the music. The new “lighter” The first movement is characterized by constant melody is also the basis for the coda — this time shifts between this dramatic mood, personified in D major. The major shift was perhaps intended by the orchestra, and the lyric, nostalgic as an optimistic final statement. Such a tunefulness, of the solo opening theme. These procedure appears also in Beethoven’s Third come to a dialogue in the middle section, which Piano Concerto (in c minor). Beethoven felt a ends without any reconciliation of the opposites. particular inclination to Mozart’s d minor concerto. He not only composed for it the now The second movement is titled “Romance” famous cadenzas, but certainly was deeply which means a simple strophic song, or a influenced by Mozart’s most “Beethovenian” songlike instrumental piece. A typical romance concerto. Ido Abravaya like melody is repeated many times, and is WOLFGANG AMADEUS MOZART (1756-1791) Concerto no. 24 in c minor for piano and orchestra, K.491
Allegro Larghetto Allegretto
There is no era in the history of Western music The tragic vein of the c minor concerto is fully that gave such predominance to a single musical apparent, but still, it is a much more introverted mode to the extent the second half of the work than the K. 466. The special impact of K. eighteenth century gave to the major mode. One 491 is intellectual no less than emotional, as one could, of course, give this or that explanation, already realizes in the opening theme - which is which finally does not explain much, but this quite unlike anything Mozart had compsoed phenomenon of absolute disparity between the hitherto (Charles Rosen has found a quite similar frequency of occurrence of the two modes is theme in Haydn’s Symphony no. 78). It is highly quite striking in the music of Mozart (much more original, full of chromaticism, tonally ambivalent, than in Haydn’s music, for example). In rough and is clearly constructed of small units, in a way estimation, about 5 percent of Mozart’s works, or more typical of Haydn. With an opening theme even less, are written in minor keys. Should one like this thé course of the first movement is conclude, then, that the minor mode is less determined, in a way, to be outside of any significant for Mozart than the major one, or conventional framework, and the audience at the perhaps just the contrary? Certainly, major keys concert given by Mozart on April 7th 1786 might are for Mozart (and for most of his have been unprepared for it. contemporaries) a musical “terra firma”, on which a clear and stable tonal fundament could The second movement is a relatively simple be laid; but this fact alone should give the rare Romanza, not unlike the second movement of occurrences of minor special significance. the d minor concerto (K. 466), but without its Mozart usually reserves the minor key for stormy middle section. The middle section here emotionally charged moments. Thus the two is of a lyrical mood, with a prominent and typical piano concertos in minor keys (K. 466 and 491) part for the clarinets. have a special position in his work, and have often bbeen it named 5 “romantic”, “tragic”, or The Finale is a set of variations on a terse, even “demonic”. The choice of key in both works introverted march-like melody, becoming more had been a dominant factor in determining their animated only in the last variation. character. Ido Abravaya THE ISRAEL CHAMBER ORCHESTRA ASIA HOUSE Ltd. 4 Weizman St. Tel-Aviv Tel. 210102
MUSIC DIRECTOR: YOAV TALMI GENERAL MANAGER: RONI ABRAMSON
Members Members of of the Orchestra: The Public Board:
Violin Flute Members of Isaac Reuven, Concertmaster Michael Weintraub* The Public Board: Eliahu Shulman, concertmaster Margalit Shinan Dr; Chaim Huber (chairman) David Braude’ Oboe Mr. Aharon Amit Arthur Zisserman” Oded Pintus" Mr. Itzhak Artzi Ovidio Avramovitch Gilad Hahalili Mr. Menachem Aviram Arie Bar Daroma Mr. David Braude • Laura Dayan-Steinmatz Clarinet Prof. Yeheskiel Broun Simon Draiblate Eli Heifetz’ Mr. Avieser Chelouche Rina Gutkin Sharon Ben-David Adar Mrs. Nava Dissentschik Pessach Kuperman Mr. Nissim Gilam Meir Lakunishuk Basson Mr. Gilad Hahalili • Haya Livni Ziv Ben* Mrs. Aviva Goldman Bertha Yunger Carol Patterson Prof. Arie HarelIM.D. SorenaZiso Mr. Shimon Kalier Horn Mr. David Mosevics Haim Sened’ Viola Mr. Gad Narkis Dan Etrogi0 Gad Lewertoff • Mr. Leo Osheroff Aharon Yaron' * Mr. Alexander Sacharov Lena Apelman Trumpet Hanan Freidman’ Dr. Uri Sharvit Orna Godlavsky Mr. Chaim Shenhav Nachum Spiegel Timpany & Percussion Prof. Herzel Shmueli Gene Cipriani* Mr. Peleg Tamir Cello Mr. Arnon Tiberg Stage Manager Emanuel Gruber’ Mr. Shmuel Warshavsky Uri Vardi0 & Librarian ’Orchestra member Israel Berkovitch Ilan Amidror Lev Tolchinsky Melanie Mason * Principal Administration: Double Bass "Ass. Principal Orit Zelniker’ 0 On Leave Boris Berger Advertising & Public Relations: Daphna Cohen-Mintz Orchestra’s Secretary: Ilana Parnes Sales Promotion: Esther Morgenstern Secretariat: Guest Players: Yael Eshet Abigail Arenheim, clarinetist Programme Editor: Accounting: Sarit Wolfus, trumpeter Orly Tai Hanna Hasin
THE ISRAEL CHAMBER ORCHESTRA is sponsored by: The Ministry of Education and Culture-The Tel Aviv Municipality-The America-Israel Cultural Foundation
Programme Design and Production: Studio Max Eden Typesetting: Otron Ltd. THE ISRAEL CHAMBER ORCHESTRA
The Israel Chamber Orchestra was founded in many others. The orchestra’s repertoire ranges 1965 (as the Chamber Ensemble) by Gary Bertini, from Baroqoue to contemporary chamber works, who served as its Artistic Director and Conductor especially emphasizing vocal music and for ten years. Luciano Berio followed him in this encouraging Israeli composers and performers. post for two years. In 1977—1981 Rudolf Barshai The ICO presents subscription concert series in served as Music Director and Conductor Tel-Aviv, Jerusalem and Haifa, a special series of followed — for a short period — by Uri Segal. In Youth and Family concerts and regularly plays 1984 Yoav Talmi was appointed as the throughout the country. On tours abroad the Orchestra’s Music Director. Numerous well- orchestra played in Europe, the USA, Canada, known artists have performed with the orchestra the Far East and also participated in many since its foundation: Isaac Stern, Vladimir prestigious festivals including those of Hong Ashkenazy, Mstislav Rostropovich, Neville Kong and Salzburg. This season the orchestra Marriner, Jean Pierre Rampal, Heinz Holliger, will tour in Hungary (thus being the first Israeli Paul Tortelier, Maureen Forrester, Itzhak orchestra to play there), Japan, Britain, Portugal Perlman, Pinchas Zuckerman, Shlomo Mintz and and the USA. .■’perm 'a .nrnwin p>vwan nnnn mid nna nbnpn n>i inuw ny idnh With Nela, his wife, at recepton following the first Rubinstein Competition. Photo by G. Rozanski
»pnuma npy1 m ,]nNH dp ,nnnnn .nwi "pnwmnp nnnn" ,1979 ma ,nnn :nib»x 1979, “Hammage a Rubinstein” at Venice. Pictured with the artist: Mr. J. Bistrizki Photo by Gyenes, Madrid.
■psp trnoN nnnn N’vn ny -nniymn p’vunnn nnnn ,1974 rnbiyiT ,pn ivia 1974, the first Rubinstein Competition - with President Katzir. Photo by Ross, Jerusalem TONIGHT’S PROGRAMME:
JOHANN SEBASTIAN BACH (1685-1750) Concertó no. 1 in c minorfortwo pianos and string orchestra, S. 1060 Allegro Andante Allegro Christoph Eschenbach, conductor
WOLFGANG AMADEUS MOZART (1756-1791) Concerto no. 20 in d minor for piano and orchestra, K. 466 Allgero Romanza Rondo: Allegro assai Tzimon Barto, conductor and pianist
INTERMISSION
WOLFGANG AMADEUS MOZART (1756-1791) Concerto no. 24 in c minor for piano and orchestra, K. 491 Allegro Larghetto Allegretto Christoph Eschenbach, conductor and pianist
JOHANN SEBASTIAN BACH (1685-1750) concerto in C major two pianos and string orchestra, S.1061 Allegro Adagio ovvero largo Fuga Tzimon Barto, conductor
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,piran ns twain nt 1 vn’snpa n’wnvn nnnn nira» manyen npwinn mnPina naipn nw pn nra ivn’snpa n»Nn nniara inn nann N’n in ’aa aran nnN ’Pprara nProP nvPn na nia’nji sin nt lvvanp bv nnnnn mn mira bn 18-n nNnn Pw n’i»n manan namyn» ppn»n nnnn .’»in nwn mna N’n ’PNwpPvi’N .manan nnNi qpN paP nnP n»3N .’ai'jnn nPran 'nan vynn nn»n ,nn'x>n nN nman wna nan ,itn nyamn pn .nann nmapn m’N paran» ma nan pran Nan pm) vnmn ana» nnN N»11 mirani nnnn nPron main pa »Pian wan n»ii .(]n”n nNn 78 'rm nmanran pn n»ii pa1? .mvniN’n mnaP ,ia»ni nnn» na» naipna ni’wnwrinai npvNnnaa n’»ji piipn pa Pa P» npraraa pyP nnpntn »nn ,m’iat ’ii»a nn”aiN -pan ,nnsp m’Pinn aanrai ,m’Piw nanyna ,(p”n Pnn ,P»nP .nina nann) canin p»nn» a«nn raayp»a nw nan ,p”nP mNn P» i’nn’X’n mnnN n»rana ,nm nramciw ,ra»Pa nPaipn nnann nnt’a pmn nw pnan .mira tipian mama (mnn nw ’Pind vnsra 7-3 vnxin pay» vnsnpa Pnpn» ny»P Ppi anainP ai»n miran nPian» p’anP »’ pan twn .nvyn nP nnnnn3 nnn ,1786 PnaNa ,mnN .pain Nin paran ’Pin narran pn nina nnivan ,nawra ypnpn Nin wnsran nnnn ,nninn n»ynP Nim ,nm’ nnnn vt»a ’i»n pnan mann nN miaP pn’i n’Py» ,nwn»mnm lvn'snpn pmn nromnn nN vwna nP nn’atnn nnnm nnnn iPi ,pa pina pN pn’Nn ’Pnvn na’vn .nywn n”i’arrppn nPP in ,niira nra miran nPron para ma» mynn ,naPa n»Nn nni’ nw nytril minima nt pnan n”i’an uñara .ni'ran jipan Py arara nina maParra .nmnnPpn nmraa mvPia nai ,tarai lnPran niraan miw» mymP aran »ana tmiN raí» npiaa nnroaP man'snpn ’)» nraatn pa .m»n pawn n»h Pp mwN’nNi nnnra Nin mran pna man'Snpn minian ,(49Ti ,466 'pi mira rapna n»pun aspnni ,naPra’» nnn "nipNP'n mpn ,"n”iinn"n in ,"D”iNPV”n "m’uiniT'n .pnan P» nm’ »rum n’tran rairaP ny nnnn nnw’a npian ñama, ,anam P» imw’a nmra nwanaN mi> ■P’aiN nN yaipn ’tana mía pac nPP Nra nPN (1791'1756) VISin pur™ «NJahll 446 'p ,nnnmhi inipo1? ii?n Tira 20 'on ivi'xnp
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1060 'V ,111’E 1T2 l'ÜE IVTXlIp ìuPn nvwnN illbb!
1061 'V ,11’lND 1T3 2 'VE IVTXllp ìllbN lllNb liaìN l'INÌN naia
mt> w ,’is’bisr pian mnn nsinnri n’as’pn pira’ iia’y bei innn ™n nm ina bis vraa rapara nnranar ’i’pan pa nwn nnnn t» ini ina .rainN n’bab n’n’nnn n’bab lapsus .raiibnn n®pr’’ba n’inN u’i’nbn bai mran Nir l’nira’ nx inyb ransa pnì nwyb nai’n Nin .nnns n’bab .’nn1? nsmxn minmr i’pan 2 'nn wi'snpn wv np’ninb riann" ns bnn ny ,1829’36 pa wn pin an bnmn ,m’vr ,pwin piaa n’visnp piHb n’n impara raa”ba "pubi? n’ibinn w erran pian pw 'rfr .n’minar ne> nin inai -|Naia ’Ninb anp .n”ama npannn nmnmn ib’Ni ramsn rawiir nn nivranpn pn (amia .ibuan'u) nibp’n-’baa ni’1? wpai rainN n”iibn nmp rumana .ramina’lisa hto raniinn Nbb ,iaba n’ibinr ’lis nnnn nvn paaa .ump® pyn imm ’V’n pía irr .’nmnm nrt npna ira ’T by anai rara ira l'un ìvranpn ni n’ai ranimp n’np’n ía vn ,rama-rara (iwn iti Nin ni) 3 ’un ìvi’anpn mianbi iwab pian .ramroan ms pa nn mira ba bis n’pana mima n®b lira rra ivi'snpn bay iin’y Min pin nb’nn .mbip nvibwa riiaa nía ns’bwi .anni ii’isn ira 2 'pn ìvranpn ib’Ni ,1N3 nsn nibipr msibis nran in pwin araran maibia .mbp’n-’ba nisb inpna .rxiin baa msibis un níin minar ran 1’ipn ,nNibna bis nbaipnn nnanna rampa mvranpn yvp ’ipn .nvpn-’ba raairan w pía nibipn .l’nn - ’V’N - l’nn ppiiNStì ìvranpn nenbva rpar nisd ais n’iranan nía bis iavn nran ra/piSNir minan pin nb’nn .nibip aiasbi ni’ab Tipna anai l'va ivi'snpr unse ne>n minan ran 1’inN pwibna mbipn msibis u’vvpa pnanb pn pwir iropan l’pana pNi .mspn-’ba raairan m pn nibipr rambla pn nya ,113’ya ima Nb bbaa in vynav "traila" npan wn ais rairanan nía bis iayn yvp nnn ,rapina rab’bx is’ msn mirar l’panma nni’nb iy .minmni raibinn rama nnanm parai pisNin pian .nanar’baa nirab ran’Nnnn .rram bis n’vmr raibinn ’rapar pa pnn ’nvìi nsp wn ’ampi raminan ma rama nvn piaa .’minmn ’H’bm bv ’bi w ,n”iiiNp ranp’n pn rubisi rapii) nrayi mniNn .n’is’in nv’iaa aniN railba n vpn’’bai liropmnsra'lìVVna ina1? iPn paipaa insiwn qippna ima 1962’3 pan nnnna piaanat tua n'ayn 'ama pam ma .1965’3 PppNn m>p p"p piasi ìnb .□'miia nnmmn av’n ny pipai nPv’pia mavì Nini ,ninna di painh naia Nin 1972 nsn Nm ,iara mnipiann nmainn iiin ninna pnn .spinsi nan’Na niarenn nnmmn iv n’hyu’) nm 'ni nman’pn ,pPa 'ni nnminPan bui n’nwPi minmn ,(i 986-a p>a ii’pa di nan nman’pn .Nana n’P'x'x nvip mmm .noia ,Drappi iiNp’n> .pppia anima ,]rnP 'ni 1978-a .nnnN ami pii’ in 'iti nnminPan nnmiap» PNpyaiNia maiN 'n niWNP nxn minima mawn n’aa nniPN-ó nan 1984’31 pira iman naia l’vppn .pupa pini vmp nsiaa miPpa iai>n .pp’iN piani "ppn n na m> n’inNp np'pia pp naia Nin palpasi paia nmnNp m»’’pn’ dPpbnpini dibn a’TN ,iNpp>TW>a l’iv’i m> "iip” >aipa mi nnvNin layain mir .ims> ivai p'vnb .aPNTO’n anaNpn minmn
provai nw ,ÌV1N31ìn’2 nini uaW ’ina u>Pvi nwn p ivisa ]inni maiN aaa 8 p mina ,5 Pia inap 'isn laipaa piain Ptn ìisn nWn Nin .nsP ^nn 14 Piai natv iiN’P'i Pu ppiNin man Ntm iiN’Pvia .niPài ninna .inipaa :mi”vxn inb nypya pnPnii pp'XN nP> w» piim ’lap Nm 1984-a maiN1? np’TONn rainn mi ninna mipjia nny p’pxnn nsinn" mas ni nar Nin .pii’ ina paia Nin .mPiw pana iP’vi inni nm "ini’a ha’ppaa ninna pi paipaa p nan’Na niwih .naia annua pam laa ind ,1985-a iupap 3"niNa nmPNiP pam 1986-ai .n’PvpiN ,iiPn mPiNva lippa ‘iti nman’pn minmn ny 1986 inìi’s -iNaiyN qippna bui ip’aiu> nnn nnaivi .p’vwan nniN P>> minPN miN ni’mn D’visnpa rnainP .prnPa Pp> mpan Pv’pis Pepimi 'ni ioo-n imPn ni’ una1? Pnipi vpiv .iPiNp’nvnna mp”b nnhin nnmrn mina qihan mypn nainmn .antt-hn a>yn hv man mnaittai pyn TW aNina 25_n .iaana pmiyran amatt jrniN .d^vit aya maah ay ny vi mnnaninan pnnba "hin hampa httna"a pmunmah paar dp nnnnn httama naayi ,1974 aanvapa Dttmpan DN .■»praran namm nnn lahnnai hiy inu ntt nttiyyp ampab nnwttan mmtthran hvma Eypnn «pnhnn msna 'pxypg hu> nhian hiy bna i>pn nm Nhv «nvpttnn .pmiyran ynttn nnbiynhi hatten TNipnà bv ampab aha yntth innapn ntt ini Nb ,nnnnn min mapn paar >yntt .n>van napini nanyn naayi nnnnn hiy ima inimn vttnaian «ntti ny .nbiy □niyp ny may nw - n^niai ttnna iaayi attira n>a ìyapny rrmam trmnnttn nnmvnpm .pmvranh mpnn hampa hiy ihnma pah pnniy) >pymma apy m njp’htt hv nnn nnnn hvma D”pnn nra ya naiy nyn in ny man pmmraiaiy bttaiy nnip’n nnn mina "bttn" pavttma n'^iatth qpna .iah ntt lav? (nmna iany pan hiy ibnma nanyn m nayn n minima .n>aiv nabnn biy ïv inv namph pyn >yxntt nnnnn nnnn ,ph impan nnnn ,"iaapi pmiyran" nva namin aan hy mnmy «pttn .pana maann «nh pimpan «nava ttm tn «aiiNvittpa "mitt nnibtt’a" ,nhiyn" nnianhnn ntt ampn ttb «nmawn .pmvran bv naih nnyn nmpin iah mip nmam hv ma nana mmai Nh nhiyn nan nm «anr naini nnaa nnnna ,nnn ihn ha - ,aayn vayip nbip iy>av ,m min qip nttiph "•IWNan naaa mhpa •p.n.i namm ny «ivatta pnnn qNanptt qippna hv imnh nynnn nipn Din ,aan^ia .ypma nhiyn yixn «mnhinb nny nun nNhna «nmn Wttanitt hiy hwpa trhvian n»pm ,pmvran nn«p «attira .nvpttnn hv naih ihia -»bprninn manttpn nainmn y>ain «attira 9-a «naih «pi? 5-1 nmayip 7 hv nano mbttamn mnnanb>an pyn nnbv Dy nana inai vayipa mbttamn aman >na nma'yip 17 nm Dahnnav trhvma yns .panna ma* lampan nyi ihipniai nyna pan ny «irm ïv anra mynin nnampan pan inai t>" nmtt hv nmhma nbmn hn p>y ni nmanmn nainmn .nmynn pii hy nppn .nmutth nanpnn "nain «pmiyran ainatth nnnn vayipa amba ptth ntt nrxn rnbiyh’ «hnin lampan hu> 101-n imhin ora «qipah .mimmip nap hv innma ninna «pnttaa ippir nhitta nnnn nyain inyn «npminh mmtthran pmiyraia ainaN mwtt piwran ainaN ninni narm mnttn naim nmm «ihia nbiya n>nii man ny qmnya .npminh mnitthran ."P»viyr3iah nnnn" nanian nnn myntt bv hiy amvah bmpa nnn ,1986 aampitta 7-a
.ansa qpvp hy n’bhnvnn nninanb,>ùn nainrnn pnaNn ìnbu’n nntìtt anbi ana pi«n anb min hv a’nan íyannv ,Nia’N ,y’nan nr mn Nh hy íhia ha nn pan ihnp fn anN pmvraia 16 mm - 5O-n nnv yanNn pmvraia nnaiy nmhN ’nanNV ymvn nN" .nman yainv - maiaa n’aay nvmn ivnn mva'anp vavn .p>Nna nya nnN ,">h^ np’tnnn my^nna 1958-a hNav’h Nain m’aNani panba ,pai’ ina «n in ,(nnnN) piar biüh inauri bN" nbv nnN namrnn nr .’a’vyn nniNnay nvh mnna Nbh nmh ’nhiapp >hv tnhmunnn nini na hv m’aav nnn niv ,mbNav’n nninanh’an .mjKb nan ,"nninn nma'anpn ha fn aampiNn pmvan pn ,a«’T fn ,pwi nnnNaa ,pinvn nnn amnab in^n pnwran pa ananb nvaN Tba fni nvn ma'anpn fn ,)ndiv hv wa'anpn 1887 nNira 28-a abn sin .msn p'vvram fn pnnnna fino n’»Na hv Nvn by mamaNan nnivunn hv nnyn naipna ’ni ,pbia ,'niha nh-n ma'anpn ,üjnu-p hv nvn ma'anpn hnyn tini nbiy ninnbn ’nv nnn Nin .n’vnsn .’pnnip’’’a hv ma'anpn fni imam hv ai'm nbnvh ay mn Nin .ínnhmb Dnrny nnym nnnn innaipn na ba vyna laun nav - pmnn ’a - nvm fn pmvraia ]na ,mmarn nFiNn abo Nin -ív bv baana vban van Nb Nin .nhnan pip atn nivnhv maman D^NW’n D’nnroan .np’V’biai nnnn anyh pN ’a naw nnnsn 66 ,64 ,63 ,1961-a íaayi mann mnna) .nnhm in nbynnb n’hia’ nn a^’a ? nn n’ViN pn ih’N" .(67-1 nnbiy man ana nivnNn hv a’nnnn paNnn .nhan nahn paNn «na pnman hv imaaiyn hy n’hiy nava nma n’h Na ni naai - asi pp nmhipmmh naanpn fn pnyn 1964-a ".nnnn nbnn 1972-a .mbvia’a manyn nvmaariNb ’aab nrnnpy nmn mynvn-an nany nv’pi nbn amaN v"y mmavaN apnb na’mn hiyah nhiyan ’anvn ’aba ínn’ .i«n ’n’ ha p’vvran .a’aN-hFa aib’a’N mbinn-man pmvrnia nNvi ,vn’ Nbv p’m nn’ Nhv ’n ,n’2Nin ny mayha ivapin mhvn’a íbv bvmann nitnann nnv qina nnaman «manan .nvann-’nba v"y pavN’Fa Fiyainh ayn na FNnnh nnamh u’bNivphm’Ni nnnn may ynnn mah nn 60-n .ama’v ibip “¡N .phiaai n’paihnia'aa aann ana innv naso nN ,amna" .qaiah man bNav’n n’aip’an .bNnv’ bv nmara naava nNV ama nnnn n’nn panNn vavnn mn ,"’by nainNn bNav’b ’aivh han hNnv’ nN anN ,’nimn nyn hv ínNn nw ina nammn bN m’pnyn rnamann nnNn •ia’b .nnmanh’an P’vvrain hv mn’ hy nannn -pann pnan nnmanh’an hv nny ha nnnai,1971 ay i966-n - mviJNi muña ,mnnnN nrnan - hsnv’b .mbvmaai naminn ny pmvnnia hv myaina nnvNnb .urna n’nnrn mnmnai nina pman amn íaam nnmmaav ,nhN pmvraia ■’bajuna mmirnnn nrnvha nmn pny hNav’va ]Na pn mann-p Nhbi nin” paa íaNV’’ ,VNan ai ]m mv n’avya .ia’ bv van nana nmn a’aN-bm .nbv ’maann naya mn'anpn nN iNa pn , 1951 qninn ,nni’ nmNn nninrrin ny unnNnn hv nmn bina m-a nan p’mvrnia vaa ,nb nnn pNV mama n«n aniNn hv imana mhNnv’n nninnnh’an mayn aNmaaan tin nmupmn npmmn-’nniN ih’aN - nnmn n’n’an .n’nnN n’hvmn imi nnanNn ntnmn) vaaiv pn Nin .ibv •tn ana «nnaia ,nbnn - n’mvrain nn’n-mpa ,vmh ,nina"]Na mnnNaa ,]NDiv,(mniaamNi bv innban by mnnyn hv n’n’mnn n’mrnn ,mhNa na miaih-nhn miaNiNai ,biiNa pmaa mNnvn bv pnv n’hbia pnnman nnnnn ibnna .piv nann ,pmai ,’pmniNavü .hnpn nnnn hv miman ni’ammi’Nnn hN naan ava’N ,maann ha’nh aivy nNhn p’ah ima ,manNpn npmmn mnna nNbamn imiDN 'a p’nnna v"y mnnnn ha’n ns innb mnyva pinvn nnn nrv’bv m’hvami pvv ny ,mbNnv’n nninnnh’an nnininn bv nmn ,]Nn mnnNaai ("uaia’aaN") vnanpa priman mm ’n Ninv pan ha mn Nh by pmvraia hv inyavn nanyna raanb nvp bv "nn’pn" mn'anp fn pn nyan .nnnn myann hv nbv aia :naaN3 mhpmmn maann ibmn man .p’wna amiN’b mn nainni pinna maim’n miran amrb mv nn lavm n’ami .m’hpnm bia - ib'ani pw pT«N mn mavn na’an uji nNavn nan nmnv - nnama nhaa rbN ’hNnv’n hnpn nanynv p’vvram mbNav’ nnanmav naaiyh .mnin nrvyn .pnNa innNn fn aiNn i’nyn pN ,a’nF nimbi baa v’ nmiNhnan nana aiNn D’n’>xn mama mn .n’bvin’n in n’nN-bnn vnanp ha nah" ■lab pnn avp nsain nnam ,"nnvNnn myain ib n íh’Na vani ninnN 1973-a .ibmaa lavDNnh amn namn a’VN imy m" .anyv aNir vaina ’ny nmvn ,nbi ,imnhN ampia aNin 3’aN-hn nurnaaniN ib npnyn ’a vn Nin, ínianN han ’a ya’v manb :hp mn Nh nvmaaniNn nahn pn anNh mv .apa nvh aiya ,vann nya han may fn mainb i’by mabin nr FNaph ,1976-a .mmapya maayn ìaNvi nn nnanNn nya mai hn ,bvnh ,panbnv pan hv maa nvh vampiaa lavDNnn nai ,90-n ."naih -|bv 1”V1»3’3H UniN riNn ’pvaivip bNimy
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