THE FOURTH

INTERNATIONAL MASTER COMPETITION MARCH-APRIL 1983 THE INTERNATIONAL MUSIC SOCIETY

' THE FOURTH

INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1983 ISRAEL . THE NEW JEWISH NATION HAS FELT, FROM ITS’ EARLIEST BEGINNING, THAT HOMELAND AND CULTURE ARE TWO CONCEPTIONS WHICH CANNOT BE SEPARATED FROM EACH OTHER. .

ARTHUR RUBINSTEIN For Israel this fourth Arthur Rubinstein International Piano Master Competition is an event of deep and moving significance. It is bound up with many aspects of our nation's life, even beyond the Competition's world-wide artistic importance and the aesthetic delight it gives to great numbers

We see it this year as a fitting memorial to the great musician, humanist, superbly charming man and dedicated Jew who shed his luster upon it ever since its initiation in 1974.

We in Israel have benefitted from Arthur Rubinstein's special, generous concern for young talents in the country, and we are happy that young artists from many countries are to participate 1n the Competition. Their presence and the remarkable panel of judges underscore the international nature of music and Israel's place in that great world - a place consonant with Israel's dedication to the arts and the enhancement of human life.

May the fourth Rubinstein Competition fulfil its hopes

Yitzhak Navon , January 25, 1983

Mr. J. Bistritzky The Arthur Rubinstein International Piano Master Competition P.O. Box 29MW

Dear Mr. Bistritzky, I wish to acknowledge with thanks receipt of your letter of January 12, 1983. Certainly, if I am able to do so, I will attend the special concert to mark the close of the Competition which bears the great artist's name. I am gratified that you are continuing with artistic musical activities to perpetuate the memory of Arthur Rubinstein. He was one of the greatest musicians of our day and a devoted friend of Israel. During the last years of his life we became dear personal friends. We exchanged letters and cables, and in this correspondence he constantly expressed his pride in being a Jew and his love for the State of Israel. Arthur Rubinstein passed away after a long life of artis­ tic achievement that few can equal. Millions of people across the world felt their spirits rise on hearing him play for he towered above others. Today he is an inspiration to countless musicians and he will continue to be so for generations to come. Hay the day come when all will be as he was, friends of our people and land. Yours sincerely,

Menachem Begin HONORARY COMMITTEE THE INTERNATIONAL FOUNDERS' COMMITTEE CHAIRMAN VICE CHAIRMEN ASHER BEN NATAN ARYE L. DULZIN ZEVULUN HAMMER GUIDO AGOSTI - MIECZYSLAW HORSZOWSKI — U.f SHLOMO LAHAT HAIM ALEXANDER — Israel SOL HUROK — U S A Mr & Mrs. AMIOT - France RENE HUYGHE - France THEODORE KOLLEK HERBERT ARMSTRONG — U.S A. — U.S.A. ORA NAMIR CLAUDIO ARRAU — Chile MENACHEM SA VIDOR EMILIO AZCARRAGA MILMO - Mexico JOSEPH KESSEL THE FOURTH MICHAEL SELA VLADIMIR ASHKENAZY - Iceland ARTHUR RUBINSTEIN AVRAHAM SHARIR STEFAN ASHKENASE - Belgium IRVING KOLODIN - U.S.A. INTERNATIONAL GEORGES AURIC - France - U.S.A. MENACHEM AVIOOM - Israel NIKITA MAGALOFF - Switzerland PIANO MASTER YAACOV AGMON LEON RECANATI GINA BACHAUER - England FREDRIC R. MANN - U.S.A. COMPETITION DAVID RIVLIN DANIEL BARENBOIM - Israel SIR ROBERT MAYER - Englar SHALOM ROSENFELD A. BENEDETTI MICHELANGELI - Italy ANDRE MARESCOTTI - Switi ESTHER RUBIN WILLIAM MAZER - US A. HAIM BEN'SHAHAR YITZHAK SADAI ASHER BEN NATAN - Israel - India GARY BERTINI PNINA SALZMAN DIANE BENVENUTI - France YEHUDI MENUHIN - England ABBA EBAN MOSHE SANBAR LENNOX BERKELEY - England DARIUS MILHAUD — France WALTER EYTAN SHMUEL SCHNITZER LEONARD BERNSTEIN - U.S A SIR CLAUS MOSER — Englanr UNDER THE PATRONAGE OF BARUCH GROSS AVNER SHALEV JACK BORNOFF England VICTOR NAJAR - France ABRAHAM HARMAN S. SHALOM NADIA BOULANGER - France MARLOS NOBRE - Brazil MR. YITZHAK NAVON REUVEN HECHT MARK SHEPS MONIQUE DE LABROUCHOLLERIE - Fr EUGENE ORMANDY - U.S.A ERNEST I. JAPHET MICHAL SMOIRA-COHN MARQUESA OLGA DE CADAVAL - Porte GREGOR PIATIGORSKY — U f PRESIDENT EPHRAIM KATZIR EDITH TEOMIM DOLORES CARRILLO-FLORES Mexico CARLO ALBERTO PIZZINI - Il OF MOSHE MAYER GABY CASSADESUS France KRZYSZTOF PENDERECKI - THE STATE OF ISRAËL BEN-ZION ORGAD ALFRED WITKON PABLO CASALS Spam ROBERT PONSONBY - CARLOS CHAVEZ - Mexico MARCEL POOT - Belgiu VAN CLIBURN - U S A. STANLEY R. RADAR - U. AARON COPLAND — U S A. HAROLD ROSENTHAL - CLIFFORD CURZON - England BARON ALAIN DE ROTHSCHILD - HENRI DUTILLEUX - France ALBERT SABIN - U S A. RUDOLF FIRKUSNY — U.S A. BRUNO SEIDLHOFER - H E. DAVID GOSS. Ambassador of Ausiralia JAQUES FEVRIER — France RUDOLF SERKIN - U H.E. OTTO PLEINERT. Ambassador of Austria ANNIE FISCHER - Hungary MILES SHEROVER - H E VERNON TURNER. Ambassador of MAUREEN FORRESTER — Canada STANISLAW SKROWACZEWSKI - H.E. JACQUES DUPONT. Ambassador of France PIERRE FOURNIER - Switzerland SIR GEORG SOLI H E DR. NIELS HANSEN. Ambassador of W. Germany ZINO FRANCESCATTI - Italy ISAAC STERN - H.E. PATRICK H. MOBERLY. Ambassador of Great Britain HENRI GAGNEBIN - Switzerland ROBERT SUMMER - H E GIROLAMO NISIO. Ambassador of Italy BERNARD GAVOTY - France - H.E. HARNOURI KAYA. Ambassador of ARTHUR GELBER - Canada H E CONSTANTIN VASILIU. Ambassador of ALBERTO GINASTERA - Argentine ALEXANDER TANSMAN - H.E. ERNEST BAUERMEISTER. Ambassador of Switzerland MARQUIS DE GONTAUT BIRON - Fran MARION THORPE - Ena H E. SAMUEL W. LEWIS. Ambassador of the of. CAMARGO GUARNIERI — Brazil MARIE-ANNE DE VALN RODOLFO HALFFTER - Mexico FANNY WATERMAN - Mr. & Mrs. LYONE HEPPNER — Canada Mr. & Mrs. GEORGE R. LAJOS HERNADI — Hungary CARLO ZECCHI - Italy

Leonard Bernstein as conductor and soloist with the Philharmonic Orchestra in the Berlin Philharmonie during his concert of October 21, 1981

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The Symbol of Music in Vienna

15 The Arthur Rubinstein International Piano Master Competition State Medals Tel-Aviv 12th April, 1976. o\y*hj> inivoh nnnnn hv nvnshn« Jivbi»

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

Dear Mr. Bistritzky,

standard^I1™/^0683.01?”0 First ComPetition “d its undoubted artistic qprnnd m’ J r h ppy to learn that arrangements are well in hand for the Second Master Contest, to take place in April 1977. am particularly grateful that the Competition activities continue to be •elf-supportmg .»a that th.y „„ „ „ th<

«Sa^i:;tsrs.th'”tOT ** *-• °f |H ™ " 19 March 1983

There is joy and there is sadness. One can only anticipate with excitement the Arthur Rubinstein International Piano Master Competition, to be held in Israel this spring, which has become one of the foremost events of its kind. And yet this year, as this Competition becomes a memorial to Arthur Rubinstein, we all feel deeply the loss of this great man, great musician, and great friend of Israel's and Jerusalem's.

He shared a love for Jerusalem which was poetic and musical in its quality. He loved its hills and its walls and its alleys. Among the many honors and awards he received throughout the world, the Arthur Rubinstein Forest in Jerusalem gave him the most pleasure and pride.

H1s music and he himself have become a legend and will inspire generations of pianists, many of whom will play in a Competition bearing his name. OPINIONS OF LEADING MUSICIANS

ISAAC STERN: "I 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 "... I am certain that following its great success at the initial venture, it Ithe Rubinstein their careers most auspiciously. . ." CLAUDIO ARRAU:

MARLOS NOBRE: ".. . Express my deep enthc ' the competition. ' YEHUDI MENUHIM: "You have my deep admiration and all my prayers for the success of the competition which have created and which should rank among the most important in the world. "I shall be more than delighted to discuss with you a parallel event in the field of the violin.' 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 anc, affection for him as a great human being. . . " LORIN MAAZEL: ". . . I am most impressed by the criteria interpretations of music in various styles be a member of the International Founds

J THE LAST MASTER-CLASS

Four years ago, on his last visit to Israel, the Maestro agreed to play simply and heartily, as though he were condensing all the listen to the playing of a few promising piano-students, as he philosophies and aesthetics into this credo. His most had always expressed an interest in the development of future frequently repeated words were: simplicity, clarity, sincerity, generations of pianists. heartiness, nobility, propriety, modesty and purity. The meeting was supposed to be a brief one. but it went on and Of what did Rubinstein not speak? Well, he made no reference on. growing out of itself and turning into an unforgettable to textual problems, to "Urtext". nor to structural analysis. Was event, in which dream and reality appear intermingled each he aware that today's youngsters are overburdened by these with the other. In retrospect it all seems like a legend of bygone problems? days, and only the video-recording affirms that it did indeed Then Debussy's "Poissons dor" ("The Goldfish" from "Images, II") was played. Rubinstein, with a prankish gleam in As Rubinstein entered the studio early in the morning the his eyes, relates the "contents" of the piece. With fascinating symptoms of his advanced age showed clearly. Is he perhaps story-telling and acting talents, with free reign given to his too tired? Is this gathering perhaps beyond his strength? The fantasy and imagination, he tellsa story of love betweena male Maestro apologizes for being somewhat tired, for his failing and a female fish The vitality of the tale, the story-teller's eyesight and his inability to recognize old acquaintances. He evident enjoyment of each detail, and, above all else, his tells, regretfully, of his impaired hearing, and seeks to turn his childish innocence combined with his rich experiences of a good ear towards the pianists. lifetime — are not all these the key to the interpretation of the Will he relax in an armchair, or sit. as is customary in master­ classes, at another piano? Everyone indicates the armchair, Another student plays Chopin's first Ballade, and all are aware but the 94 years old Rubinstein, now for some time retired that the class nears its end. Rubinstein listened, praised and from performing, hesitatingly strides over to the piano. criticized, but he did not illustrate by playing the piano himself. A young pianist began to play a Prelude by Scriabin, the Though he sat at the piano — he was hesitant to touch the photographers began to move around — and the magic keys. Will he play? With the second theme of the Ballade he started The first lesson is a class in listening. Not obvious and can no longer contain himself. He tries to play the theme but demonstrative listening from the judge's high bench, but fails. Something in his system went wrong. Long moments of creative and eloquent listening of a true partner. And suddenly embarrassment ensue in the studio. He tries again and again, one is reminded of the way the Maestro used to listen to obstinate, tense, but helpless. Then, suddenly, the dam bursts himself (not without a trace of enjoyment) on the concert and a sea of tones streams forth as ever, perhaps even more platform. wonderful than ever, slower than usual, as though wishing to By now that Rubinstein reality, in which things assume new place each tone where it belongs, and to leave it enough space meanings, is established. The Scriabin piece was played better to breathe. All this in a sweep of streaming life. The piano than expected, and another student plays Brahms. Again responds in heavenly, other-worldly pianissimo. occurs that special listening of one who expresses essentials Before he started to play the Maestro had requested that the through silence. movement of the E-flat Major arabesques be played not as an But the Maestro also spoke. He spoke and sang in his warm, opening declaration of a new idea, but as a final dream of deep voice and stressed the progression of various musical events past... phrases. Again and again he exhorted the young musicians to ARIE VARDI MEMBERS (FOUNDERS) AND PUBLIC COUNCIL OF THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY

8ARUCH GROSS. Chairman JOSEPH HACKMEY, Treasurer JACOB BISTRITZKY, Director MEMBERS MENACHEM AVIDOM GIZA AGMON YAAKOV AGMON" tions. which contributed much to the development of the REGINA BEN-AMITAI cultural life of the country, the Arthur Rubinstein Inter­ ERIKA BEN-NATAN national Music Society was created in 1980. ASHER BEN-NATAN" The Society, founded by prominent public figures, aims YOHANAN BOEHM to observe and maintain the spiritual heritage of Arthur Rubinstein, an artist who did not contain himself or seek NAVA DISENCHIK THE FOURTH ARTHUR ADOLF EBNER RUBINSTEIN INTERNATIONAL seclusion in his art alone, but sought to enrich the very ABBA FROMCHENKO” texture of cultural life the world over. It was his profound DOV GOLDSTEIN" PIANO MASTER COMPETITION belief that the art of music can bring joy to mankind MIRIAM GROSS always and everywhere. is the first to be held after the passing of the great The great artist and humanitarian who embraced the ERNEST I. JAPHET" Maestro, but a few months before the event itself. world in his spirit, remained a proud and faithful son to The Competition has won world recognition and is uni­ SHLOMO LAHAT" his people, loved Israel and admired its leaders. It is YITZHAK MOR versally considered one of the leading musical contests. therefore perfectly right and natural that the Rubinstein POLA MOZES It has attained this high standing thanks to the unique Society has been established in Israel to preserve and personality of its Patron, the great Jewish artist who has further his splendid artistic legacy for generations to MOSHE NEUDORFER* become a legend in his own lifetime and in whose spirit OGI PILOWSKY it was conceived. His trusted friend, Jacob Bistritzky. the The foremost task that the Society has taken upon itself LEON RECANATI" initiator of the Competition and the man who set up its is the continuation of the tradition of the Piano Master YEHOSHUA ROTHENSTREICH" framework and high artistic demands, persuaded Rubin­ Competition in Israel, aimed at bringing the Israeli public ESTHER RUBIN" stein to lend his name to the Contest. There was, how­ PNINA SALZMAN in general and the youth in particular closer to the art of ever, one condition attached to his permission for the the pianoforte and perpetuating a cultural and artistic MICHAEL SELA" Competition to bear his name — Arthur Rubinstein event of which the State of Israel can justly be proud. insisted that an independent fund be established for the The Arthur Rubinstein International Society of Music ZALMAN SHUVAL" financing of the Contest and to this end he entrusted the extends sincere greetings and wishes every success to MICHAL SMOIRA-COHN initiator of the event with the use of his name, his fac­ the honoured guests who by their presence contribute GAD SOMECH simile signature and portraits of himself drawn by his EDITH TEOMIM" so much to the artistic standard of the Competition, and friend Picasso and the sole rights to use them for a to the organizers of the event. We are also most happy to special issue of exclusive gold medals. The income from welcome again the public, supporters and friends of our YIGAL WEISSMAN the sale of these medals was to be dedicated to the Contest, whose ranks grow from year to year. AYALA ZACKS-ABRAMOV" Competition Fund and ensure that the event would be self supporting and never burden either public or state B. Gross, Advocate ESTHER ZUHOVITZKY Chariman JONATHAN ZUHOVITZKY Following the resounding success of the past 3 Competi- The Arthur Rubinstein International Music Society " BOARD OF TRUSTEES J 26 27 28 r

ARTHUR RUBINSTEIN'S LEGACY Petrushka S laRubinstein for decades. "Still, I took heed not to Tel-Aviv-Jaffa Road. Impresario Baruch Gillon sold the BY: MICHAEL OHAD record my version, because I knew my friend Stravinsky's expensive tickets for more than 5 shillings each — a fortune in heart. He might wake up on the wrong side of the bed one those days. When he returned in 1952, Israel was already a morning, listen to my recording and declare: Rubinstein has State and Rubinstein — a living legend. In Lodz, he heard from betrayed my creation..." his father the Jewish greeting: "Next year in Jerusalem.” now In addition to Rubinstein’s Bach and Stravinsky we also miss he realized that greeting, he established a department of Rubinstein the improviser. In his youth he fascinated his musicology in his name, planted a forest in his name and gave friends by playing them Strauss' Salome (which at the time his name to the Piano Master Competition. In his old age he felt was a sensation), or the second act from Tristan — and when at home here. His Israeli years were his 60's, 70's and 80 s A Rubinstein played, you could hear not only the orchestra but smiling old man. not too tall, walks on the stage, presto, as if the voices as well. coming from a long walk and not wishing to make his audience He was the antithesis of the modern pianist whose main wait one extra minute (when actually, all he did was walk down concern is technical perfection. Rubinstein was first and a few steps from the dressing room); he plays three concertos foremost a musician, and in addition to that he was gifted with in one evening but finishes with a string of encores saying: a phenomenal memory. Coming to the Piano Master "Don't tell my agent. Sol Hurok, but I enjoy each recital so Rubinstein was a great devotee of chamber music all his life. played the K. 488 Piano Concerto before World War I) and the Competition bearing his name in Israel, he sat with the young much I would do it for free.” He played sonatas, trios and quartets with colleagues such as reviews spoke of "silver pearls on black velvet." He recorded contestants until dawn, analysing their versions and giving The aged man — that isthe imprint he left in our memories, but Milstein and Heifetz. Feuermann and Piatigorsky. Szeryng and trios with Heifetz and Feuermann in the 40's. Piano and Violin examples of their perception and his criticism, not by playing there are other Rubinsteins: The wunderkind in Lodz, the Stern for sheer pleasure from the beginning of the century. The Sonatas with Szering in the 60's and in the 70‘s he found a the piano (he had stopped playing by then), but by using his old rebellious student in Berlin, the youth tasting the high life of music he liked most, however, he didn't play, as it was not piece which he had never played before — Dvorak's Piano hoarse voice. , or: the close friend of King Alfonso of Spain, or. the 55 written for his instrument. "I wouldn't like to be one of those Quartet Op. 87. so he recorded it with members of the I once asked him how he could play for the umpteenth time the year old refugee from Paris who escapes the Nazi army and persistent old men who refuse to die," he said when he Guarneri Quartet. One of the critics said: "The recording of the "Emperor" Concerto or the Military Polonaise. Rubinstein starts a new career in the United States. And back to the fiery reached 85. "I'd rather die in an accident, but if I die in bed. my year? Rubbish, this is the recording of the centuryl” laughed heartily (he liked laughing and enjoyed making his young man playing Scriabin and Brahms in the same recital, family promised me to put the Adagio from Schubert’s String Stravinsky is missing from Rubinstein's legacy, although the companions laugh) and quoted Picasso. He used to frequent Scriabin gets furious: "If you like me, how can you possibly play Quintet on the gramophone. I know no music which is more two had met and conversed a lot. "Why don’t you play my Piano Picasso's studio in Paris between the two World Wars. beautiful." Rag Music?" Igor used to ask Arthur. "Because I am a pianist of Rubinstein would sit and talk while Picasso would listen and What is war? What is revolution when you speak of an 85- At 95, near his death, hegavea last interviewtoan old friend of the old school," Rubinstein answered, "and you treat the piano paint — a bottle of sherry, a table or a guitar. One day year-long career? When Rubinstein was born in 1886, Lodz his. TV personality. David Frost. Those who saw the as a percussion instrument. You know pretty well that the Rubinstein had the guts to ask: "Aren't you tired of painting the had the atmosphere of a Jewish town. His older sister studied programme could see a man between two worlds. The white public doesn't understand* you. Do you remember the first same bottle over and over?" Picasso cast a sullen glance: the piano without any talent or inclination, only because it was head was reduced to skin and bones, the eyes were dull but the performance of "The Rite of Spring”? When I play your music "What are you chattering about. I am a new man every day, the proper thing to do in Jewish homes. Two-year-old Arthur thought was clear and the laughter was vigorous as it had on the piano, they understand.” While Stravinsky is laughing, each hour shows me the bottle in a different light, so I always stood by and turned the pages so that the grown-ups would always been. The most crucial day in his life? It was that far Arthur walks to the piano and plays to him Petrushka a la paint a new bottle." think he could read music. To get rid of him. his father bought away day, in the beginning of the century when he ran out of Rubinstein. "Now tell me, does it sound like percussion or like And Rubinstein adds — "I'm different every night. Every night I him a violin. A violin, an instrument with some soul, a typical money and the future looked hopeless. He hanged himself music?” Stravinsky found, to his surprise, that the piano could play for a different audience and I play a new "Emperor" and a Jewish instrument! But little Arthur angrily smashed the using the belt of his bathrobe and fell to the floor when the belt speak in a thousand and one languages when Rubinstein used new Polonaise. " violin. He already preferred the infinite possibilities of the broke. He wept, then cheered up, sat down at the piano, played, his fingers on it. "You must teach me how to produce such I once waited for him with my tape recorder at the Israel piano. He longed for this instrument. "I'll teach it to sing!" he went out into the street, had a bite to eat and then saw the sounds from the bass ', he said, after which he promised to Philharmonic Guest House, which was built thanks to his world with new eyes. It was then that the lust for life, which write for him a sonata based on Petrushka. substantial donation. I waited and heard the great man curse in Rubinstein refused to teach, but he liked young people and accompanied him throughout his entire life, was born. Stravinsky was sharp tongued: 'You pianists make millions Polish while shaving. Then he entered dressed immaculately encouraged them, although he had reservations about their "I am the happiest of men," he said, "and I would prefer not to from the music which the starved Schubert, crazy Schumann, in a grey suit, pink shirt and a very youthful tie. He apologized preoccupation with technical perfection ("They are and consumptive Chopin wrote for you," he used to say when aristocratically, lighted a Havana cigar and with a smile on his phenomenal; they are much better than I"), and about their When he passed away, he left behind a vast quantity of his Rubinstein invited him to a meal (both were connoisseurs of face started the interview with his typical Rubinstein reluctance to imprint individuality on the piece they are recordings. He frequented the recording studios and so. today food and wine), but he still kept his promise and dedicated the enthusiasm. This was the man — all that he did. he did playing. "When I am wrong, I m completely wrong. I'd rather we know how he played Chopin before and after the war, as a three parts which he transcribed from Petrushka for the piano wholeheartedly He could love or hate but never be indifferent. make a gross mistake than play with unfeeling hesitation. 40-year-old and an 80-year-old. We can choose between three to: "My friend Arthur Rubinstein, the great artist.” Rubinstein He first visited Israel in 1927, twenty years before the State When I listen to the polished impersonal playing of young different versions of Beethoven's five piano concertos which had a few technical reservations about the transcription, but was declared. Tel-Aviv was then the green suburb of Jaffa. pianists, I become worried. They are afraid to feel, to express he recorded with Krips, Leindsdorf and Daniel Barenboim as the intoxicated Stravinsky hugged him saying: "Play Petrushka Rubinstein didn't play in the Mann Auditorium, for nobody had themselves, afraid of making mistakes. Who pays any attention conductors. He returned to Mozart at 60 "on his knees" (he your way, the work belongs to you. treat it as you wish." even conceived of such a building at that time. He played inthe to mistakes when you say what you have to say with passion? says), after having neglected him for too long a time (though he Rubinstein acted accordingly and excited audiences with First Exhibition Hall, which was a big wooden building on the Playing the piano requires taking chances. The world dislikes

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cowards. If you wish to play it safe, you'd better choose another strings? Why don’t they invent new instruments to suit their profession, give the piano and the audience all you've got. If you don't lose three kilos or a few drops of blood, you haven't Unlike his colleagues, he refused to isolate himself in an ivory given a real performance!" tower. His friend King Alfonso of Spain gave him a Spanish What things he saw during his long lifel He remembered the passport, Benito Mussolini awarded him with a medal of Cossack pogroms of the Jews in Lodz, he remembered coming proficiency. When ’ll Duce’ decided in 1938 to adopt Hitler's to Petersburg, the Tsar's capital, to take part in the Anton Nurenberg racist laws. Rubinstein returned the medal Rubinstein Competition: the hungry pianist was desperate to accompanied by a cable which he signed: "Arthur Rubinstein win the two-thousand-rouble first prize. He learnt from the — a Jewish pianist" This reached the Paris headlines before paper that the Tsar and his prime minister Stolypin rejected the Mussolini received the cable. academy director s request to allow the participating Jewish Rubinstein was great not only as a pianist. contestants to stay more than the permitted 24 hours in the After World War II he was invited to play at the first assembly of capital. However, Rubinstein decided to take part in the the U.N. which took place in the San-Francisco House. competition even though rumour had it that someone named Before sitting down at the piano he said: "In a place where the Alfred Hoehn already had the prize in his pocket, because of a leaders of the world converged to establish a better world, you letter of recommendation from the Grand Duke of Hesse to his forgot to raise the flag of a country for which you went to war — sister Alexandra, the Tsar's wife. my homeland." The delegates listened open mouthed. Then he Rubinstein electrified the audience and the jury playing the sat down and played his native Poland's anthem. Anton Rubinstein virtuosic Piano Concerto (which he played Every time he came to Israel and played for free, he said: "Don't for the first time in his life). The audience cheered frantically thank me, I'm paying off an old debt to my father." When the but the jury gave the award to Alfred Hoehn. The conductor Palestine Mandatory Govt, sent a refugee ship back to Serge Koussevitzky, however, invited the disappointed pianist Hamburg, he was about tocancel all his performances. to do a concert tour of offering him two thousand Finally he gave in to Hurok and appeared on condition that all roubles in advance, as compensation for the prize which the posters state that revenues will be dedicated to the aid of the Tsarina deprived him of. Jewish victims in Hamburg. "Why won't you accept the fact A rebel he was and a rebel he remained to the end. From that Palestine belongs to the Arabs?" wondered his English Picasso to Stravinsky. Mussolini to Ben-Gurion (who friends, "I read somewhere that it was promised to the Jews”, reprimanded poor Fredric Mann in his presence, for building he smiled, "and it was the Jews who built the City of David and the auditorium in Tel-Aviv and not in Jerusalem), he met them put a wall around it. or maybe I didn't read my sourcebooks all. When he arrived in New-York he was presented by his H?s musical legacy is kept in 200 recordings, most of which friend Feodor Chaliapin to a little fat Jew. "Beware of him, Artusha." thundered the great bass, "he understands nothing have already been deleted from the catalogues. However, part about music." This musical "ignoramus", however, of them will no doubt be re-issued now that he died. His contributed more than anyone else to the American career of humanitarian legacy isn't of any less importance, however. All Arthur Rubinstein. It was the impresario Sol Hurok. Hurok his life he had his say loudly and proudly. It seems he had a wished to "sell" Rubinstein as "The Prince of Pianists." When more intensive life than you or me. After an unsuccessful the pianist protested against this vulgarity Huroksmiled: "Let's attempt at suicide and as if returning from a faraway dark make a deal, I won't interfere with your repertoire, you don't country, he learnt to accept life as it is. Instead of saying "how interfere with the publicity I plan for you." 'Well," retorted happy I could be if I were young or rich", he found out that he Rubinstein, "in my next recital I will express my gratitude to could be rich without setting any conditions on life, and the Mr. Hurok. the pianists' God." Hurok gave up his "prince happiness in his heart found its way to his playing. When his sight dimmed at 90. he said: "You don’t have to feel After World War II he concentrated more and more on the sorry for me. up to my 80th birthday I had the sharpest pair of classics and romantics — from Mozart and Beethoven to eyes in the world I lived my life fully, I am the happiest man I Chopin and Schumann. He refused to touch Boulez or have ever met. I had my share of tragedies but they never Stockhausen: "They brutalize my instrument." he said. "They succeeded in making life hateful. I am blessed with a happy ignore the real nature of the piano, maybe they are right, but I nature and no one can take away from you something which am old and they are young, why do they have to hit the keys you bear deep inside you." with their fists? Why do they kick the piano and break its Blessed be his memory.

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RULES bank leumi le-israel 'niNh pn

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<■ A A < A < A A A r c) 3 photographs (9x12 cm, suitable Recording (records and video­ mencement of Stage I and through­ The 4th Arthur Rubinstein Interna­ for reproduction); d) Certificate of All applications will be screened by The Jury will assess contestants' per­ cassettes). engagements, concerts out the period of official participation tional Piano Master Competition Studies, including results obtained the Admissions Committee. Advice of formances by allotting up to 12 points with various orchestras of interna­ in the Competition. The Competition will be held in Tel Aviv — 20th and listing names of teachers; e) let­ participation will be mailed to appli­ each stage. The 12 contestants with tional renown, and contracts with sig­ Secretariat can arrange for contest­ March-7th April 1983: Stages I and II ters from candidate's current or most cants no later than Dec. 15. 1982. the highest rating in Stage I will be nificant European and American ants a 50% discount on any direct at the Recanati Auditorium. Tel Aviv recent institution of music studies, or allowed to compete in Stage II. The 6 concert managements are also round-trip, by EI-AI Airlines. Contest­ Museum — from 20th-31st March teacher, recommending participation contestants with the highest ratings offered. ants who wish to receive this dis­ and Stage III at the Frederic R. in The Fourth Arthur Rubinstein The auditions are open to the public. in Stage II will be admitted to Stage count should notify the Seretariat and Mann Auditorium — 5th, 6th. 7th International Piano Master Compe­ The contestants will not be inter­ lll-A (Semi-Final). The 3 contestants mail their application forms and docu­ tition; f) additional recommendation rupted during their performances, but with the highest number of points in The Prizes will be distributed at a Fes­ ments NO LATERTHANOCTOBER A festive Prizewinners' Concert and from musicians of recognized inter­ the Jury will determine whether the Stages I, II and lll-A will be admitted to tive Laureates Concert. 1st, 1982. Distribution of Prizes Ceremony will national stature; g) details and pub­ works chosen should be played in Stage lll-B (Final). take place on 11th April, 1983. lished references of musical activity whole or part in order not to exceed XII XIV Stage III (Semi-Final and Final) and the time alloted. IX The Competition Secretariat reserves Additional information concerning the Festive Concert will be performed releases, reviews, etc.; h) list of works All decisions rendered by the Jury are the right to all reproductions (via the Competition will be published in with the Jerusalem Symphony to be presented at the Competition., final and beyond appeal. recording or filming) of any or all audi­ forthcoming issues of our bulletin. Orchestra. ISA. chosen by the candidate from the Contestants should choose editions tions. and the Laureate Concerts Further details may be obtained from: musical repertoire suggested below that adhere to the original text. Works ("live chronicle"). This right extends The Secretariat. The Fourth Arthur (see VII); i) a receipt indicating that a must be played from memory with PRIZES: A total of 6 prizes will be to the use of such recordings for Rubinstein International Piano The Competition is open to pianists of non-refundable entry fee of $50 U.S. the exception of Chamber Music awarded, at the discretion of the Jury, radio, television, films and records. Master Competition, Shalom all nationalities between 18 and 32 has been remitted to the Competition (Stage II). to the following group: Contestants will not claim fees for Tower. 5th Floor. P.O.B. 29404, years of age. Account. No. 14788-5. Israel General Contestants will be granted one performances, or any reproductions Tel Aviv 61293. Israel. Tel. 03- Bank, Ltd., 28 Achad Ha'Am St., Tel rehearsal with members of the 1ST GROUP: First Three Laureates 651604. Chamber Ensemble and finalists will — The Arthur Rubinstein Prize — framework of the Competition. Candidates are requested to send be granted one rehearsal with the Gold Medal and S10,000, $5.000, their application forms to the Compe­ orchestra. $3.000. respectively. XIII tition Secretariat (address below) Application forms and all other doc­ The Competition Secretariat will pro­ accompanied by the following: a) uments must be mailed no later 2ND GROUP: Three Prizes — Silver vide contestants with free board and birth certificate: b) curriculum vitae: than Nov. 1, 1982. Medal and $1.000 each one. NOTE: The English text is definitive. < ______j J \.______J J 34 35 c

STAGE I FOUR GROUPS (A-D) ARE INCLUDED IN THIS STAGE. THE CONTESTANT IS REQUIRED TO PLAY NINE WORKS IN A RECITAL PROGRAMME OF APPROX­ IMATELY 55 MINUTES DURATION.

STAGE II FIVE GROUPS(A-E) THE CONTESTANT WILL BE COMPETITION REQUIRED TO PLAY FOUR WORKS IN A RECITAL PROGRAMME OF APPROX­ IMATELY 60 MINUTES REPERTOIRE DURATION (A-D) AND TO PREPARE ONE CHAMBER WORK (E). \/ r------a

STAGE III TWO GROUPS (SEMI FINAL, FINAL) ARE INCLUDED IN THIS STAGE. THE CONTEST­ ANT WILL BE REQUIRED TO PLAY ONE WORK FOR EACH GROUP.

______y y 37 STAGE 1 'N abw

GROUP A BACH: One Prelude & Fugue from the Well Tempered Clavier 'X nsis? ONE WORK Book 1 & II. nrw mm»

z" MOZART: Sonata in F Major K. 189e (280) GROUP B SCHUBERT: Impromptu in G-flat Major, op. 90 no. 3 'a nan? FOUR WORKS DEBUSSY: Des pas sur la neige (Preludes. Book I) mm’ j>aix PROKOFIEV: Suggestion diabolique. op. 4, no. 4

z’ GROUP C ’> 7)315? THREE CHOPIN: Two Etudes from op. 10 8i op. 25 VIRTUOSO mm’ wibw LISZT: One Etude nvnxioi’i WORKS

GROUP D x’w bo n’nwnvn mm’ itnab mnnnn bio’ 'n nbw bw nnonn nnbvnb 'T 71315? ONE WORK nnx mm’ CONTESTANT'S The contestant may choose any important composition (approximately mnnnn ni’nn CHOICE 15 minutes duration) to complete the programme of Stage I. S- STAGE II '5

GROUP A 'X 7)315? ONE WORK BEETHOVEN: One of the following Sonatas: op.2 no.3, op.7, op.10 no.3, op.22, op.26. op.31 no.2, op.53, CONTESTANT'S mnnnn nuns CHOICE op.57, op.81a, op.101, op.109, op.110, op.111.

GROUP B '5 71315? ONE WORK CHOPIN: One of the following works: Ballade, Barcarolle, Polonaise — Fantasie. Sonata op.35 or op.58 CONTESTANTS mnnnn m>na CHOICE

’job D’wTn nwbv mnnnb nnbw> ivn nrw n’bxnv’ mm’ .nnnnn nb’nn GROUP C One Israeli Composition which has been sent to the contestant '> 71315? ONE WORK three months prior to,the opening of the competition. nnx mm’ MAAYANI: Impromptu no. 2

38 39 'N -up mnN nùtni ni .(T-N) H13 wn wpnn> nnnnon 55 nu -nn’ nonna nn’y .rirvpa nip-r k_ y y

u ab\y nirap won mPPni ni rùvn .(n-N) nbnunsn V21N pib wp3D’ nnnnon 60 m -pn> nonna nrpm nn’no n-N) arnpa nipi nnnnn rnpT 10 na (n) nnN n’noNp .arppa k y r

’> nh\y non noi >sn .nonap >nw nibboi ni nbwn mo’ wpnro nnnnon .nsiap bnn nnN

40 PROGRAMME OF THE COMPETITION

( A 7 A ( A / A THE TEL AVIV MUSEUM RECITALS SUNDAY 20. MONDAY 21. TUESDAY 22, WEDNESDAY 23, THURSDAY 24 MARCH 09.00-13.00; 16.00-20.30 RECANATI AUDITORIUM STAGE PERFORMED BY THE CONTESTANTS FRIDAY 25 MARCH 09.00-14.00 SUNDAY 27 MARCH 09.00-13.00; 16.00-20.30 A ___ 7 k___ ) I__ ___ 7 k J A / A i I RECITALS and CHAMBER MUSIC L THE TEL AVIV MUSEUM WEDNESDAY 30 MARCH 09.00-13.00; 16.00-20.30 RECANATI AUDITORIUM STAGE II PERFORMED BY THE CONTESTANTS THURSDAY 31 MARCH 09.00-13.00; 16.00-20.30 WITH MENAHEM BREUER-VIOLIN; ZVI HARELL-CELLO k______J k 7 k__ y k 7 A ( A A / A CONCERTOS for PIANO and ORCHESTRA STAGE III A THE F. MANN AUDITORIUM TUESDAY 5 APRIL 20.00 TEL AVIV PERFORMED BY THE SEMI-FINALISTS SEMI-FINAL WITH THE JERUSALEM SYMPHONY ORCHESTRA IBA. WEDNESDAY 6 APRIL 20.00 k J CONDUCTOR: MEIWI RODAN k 7 k_ J k 7 7 A Ç A A / A CONCERTOS for PIANO and ORCHESTRA THE F. MANN AUDITORIUM STAGE III B PERFORMED BY THE FINALISTS TEL AVIV FINAL THURSDAY 7 APRIL 20.00 WITH THE JERUSALEM SYMPHONY ORCHESTRA IBA. CONDUCTOR: MEN DI RODAN 7 k y k______/ I 7 A z < A Ç r GALA LAUREATS CONCERT A. A and DISTRIBUTION of PRIZES BINYANEI HA'OOMA MONDAY 11 APRIL. 20.00 JERUSALEM PERFORMED BY THE LAUREATS I______J WITH THE JERUSALEM SYMPHONY ORCHESTRA IBA, CONDUCTOR: MENDI RODAN \ y k______7 k______/ DIRECTOR OF THE COMPETITION: Jacob Bistritzky HONORARY LEGAL ADVISER: Adv. Baruch Gross ASSISTANT: Gil Firstenfeld, Adv. SECRETARY TO THE JURY. Dr. Emanuel Krasovsky CONTESTANTS’ COORDINATOR: Gabi Franco ASSISTANT TO THE DIRECTOR: Ilana Parnes FINANCIAL ADMINISTRATOR: Isaac Levinbuk, C.P.A. SECRETARIAT: Miriam Morgan, Varda Gal Shalom Tower. 5th Floor, P.O.B. 29404, Tel Aviv 61293, Tel. 651604 EDITORS OF THE BROCHURE-ALMANACH: J. Bistritzky, Ilana Parnes PUBLISHER: The Arthur Rubinstein International Music Society ADVISER AND PRINTING CO-ORDINATOR: I. Stefanicki IN CHARGE OF COMPETITION PIANO TUNING: Johanan Ricardo PHOTOGRAPHS BY: J. Bistritzky; G. Rozanski; Ross Photo; Israel Sun PRINTED BY: Hamakor Press Ltd., Jerusalem /" PIERRE COLOMBO The Swiss conductor Pierre Colombo, ru'» up .ntatnp >wwn ns)»n after having studied flute, piano, violin, .nis’jt n’s’nsnip ,i»pi nniop .»ro composition and conducting, was nis’P nmn nmn nitro rot po ir>Nb awarded the highest degree for ttp >’3p»a .btiaay np’tnnb n’otpra conducting at the Academy of Music in P pwin ow ,iNtp by nv'pro'jiro o> Basle. Simultaneously he studied at the , .D’yirot np’po’jiro ini» University of Lausanne, where he received a degree in mathematicsand ,ro>'t nnnupn jntotnn uh innpip o’Piyn dn> niv 17 iy>M unpin noy With the assistance of Ernest Ansermet. Pierre Colombo founded the nbn> nnbsnb Chamber Orchestra, with which, during the greatest soloists of the o’ba’WM maini .nun» nn»tn e performed, and with which Ntn n’ts’twa .trai D”»wb>’3 he attained his greatest successes. by mvbpm onrpiipa an ’bPy ntsio Pierre Colombo has been a guest conductor of more than 120 well known been President of the International symphony and opera orchestras, and Rostrum of Composers at the UNESCO tppjiNb ’oiNbron onrem ire» has appeared in many International in Paris He is an individual member of n>»wb»3n nyyioa nan xtn p’nba European Festivals. the International Music Council msnon H»wn (vprnw np>viob In Switzerland he principally conducts (UNESCO). He is President of the p w nv»iNbj'3 nipp'tno mmnni concerts and radio recordings of the Federation of International Music ni’nnn by o’yoiy nnsnia nana ina» "Orchestra de Suisse Romande". Competitions, and very often member of maiwn nvmxbin nvbp’vi» k From 1960 to 1980 Pierre Colombo has the jury of famous music competitions. ______y JURY JURY A qiinio nv’p’i ORAZIO FRUGONI Y *JMnO VSNUN Grazio Frugoni was born in Switzerland and studied in . Siena and Geneva, one of his teachers being Dinu Lipatti. Since his debut at Carnegie Hall in 1948 he has toured extensively in the United States. Canada.South America, the Middle and Far East and throughout Europe. He his Professor of Piano at the Luigi Cherubini Conservatory. Florence, and the Eastman School of Music. N.Y.. President, CIPIMF (Centro internazio­ nale perfezionamento internazionale musica — Firenze) from 1975. He has conducted master-classes and served as jurymember at competitions in U.S.A.. France and Italy.

y 47 46 Z* “X PIERRE PETIT »va i”a HAROLD C. SCHONBERG V Pierre Petit was born in Poitiers, France. He studied literature at the Sorbonne; imwi nnsp top .nansa -rpu ’vo n«a Born New York City, 29 November 1915. POpNln.l915PPOPl)P 29‘P ppp PIP Ppi) music under the tution of Nadia .p’unPip n’-n py> nrrmra np’tnni BA cum laude. Brooklyn College. 1937 1’tioP tin o’Pwn ,po pnNp ,npp>po no'pNi PN1NP iPPOpPN np’Din MA, New York University. 1938. Studied fin vppi Boulanger and continued his studies at np'oinP nnsn toinPh ippippppjipp iPNtnpkn mppvn the Conservatoire National Superieur de music with Alica Frisca (piano) and at ■pPP Pl TTO’OPP’llNP Musique de Paris. New York University with Marion Bauer. Nini np’oitp pppop ip Np Pip>n imppo Non Pv iwnph dish nN bap 1946 twp Also studied with Kuniyoshi at Art In 1946 he was awarded the Premier Students League. .□"Pp'Dion tp’ppptpn >Pnjo pnNP jwni Prix de Composition — Premier Grand­ bipN’’n Pninp wrwn Nin .nppp’oin Prix de . Music critic. American Music Lover, 0’JHPp O>P1O Pyp n’Hl ,1939-42 1939-42. Music critic. New York Sun, He is the author of a number of musical ."tiNj’O tip" pnvn Pw 'pp’OTOn pppnn ppp PIP .(1948-1958) 'P»NH ■,P010P>"P works and is a producer at the Radio and 1946-50. Columnist for The p»nn 1971 n)WP .Plyi (1950-1960) PO’>P nnnnnpw D’oown nan n'ïpp iron nip Television of Luxembourg Grampphone (London). 1948-58. .JIPIpPp PS’PlO DPS IP Pierre Petit is the music critic of "Le Contributor and columnist. Musical .ipipovpiPp n’t’ipvi Figaro" He is also the Head of the "Ecole Courier, 1946-51. Music critic, staff of □’jpniDOn" Normale de Musique" in Paris and the New York Times. 1950-60. Senior music "D'Pnin D'nsiDn" President of the jury of the Marguerite critic, 1960-80. Cultural correspondent, (1970) "tp'Pnin D’l’nPDn >»n" ,11967) Long Competition. Pulitzer Prize for criticism, 1971. .(1981) "np’pppn ’»P" Contributor to many American magazines. Author of eight books, including The Great Pianists (1963), The Great Conductors (1967), Lives of the Great Composers (1970). Facing the \Music (1981). JURY

MICHAL SMOIRA-COHN iri5-mi»t ba’o Michal Smoira-Cohn was born in Tel np’piop nwpw map ,p>pn bnp mpu Aviv, and studied at the University of Uppsala in Sweden. In the past she has ,nPO31N PW npippP’JINPl tP’PWP’P worked as a critic for the Israeli news- "ViNtv' pm> Pw n'pp’piD jnpaa njpn paper. Ha'aretz, and as a lecturer in the -pp’pnPv n’lipip’vppp nppnop nnpim musicology department of Tel Aviv Uni­ np’pinp nvoppNni p>pn Pn nv»p versity and the Academies of Music in Jerusalem and Tel Aviv. Served as the p’pn Pnpi o’Potpp Director of the Music Department of the tiwpp np’cinn raw nPronp nwtw Israel Broadcasting Authority and Pv np'viipp -ninn p-ppi ,pn>vn as Chairperson of the Music Section of .tptonPi nmnp jppamn nuinon o’Pwn’p np’vtpp nwpiei npnio dpp the National Council of Culture and Art. •■pN-re» Pip- Pn» Pw n’pp’oio nsypi Today she is Head of the Jerusalem Pv> jiwcp ppn ;pin inpw iwint» pp Music Academy and Musical Adviser to Pv mrnmoi .np’otDP >nrao>n nipo the ''Koi Israel” Director. Her new book: PIN PNP npN DTO’P ,D”pNPW’ dp >P>W "Meanings in Music" has been pub­ lished recently. .’■np'oiop m’wn" :vmn mov Z" A z MARIA TIPO 10’13 n»7» TAKAHIRO SONODA n»npv Maria Tipo is at present considerec □’nropon 1’3 ora ravr» io>p roio Takahiro Sonoda is one of the leading □»nrovon 1» inx nto mow n»np» of the outstanding virtuoso pianists in ■p’Plon nnnran nx ,o7i»s D’nNiPi’in Japanese pianists playing in Europe □1’3 D’y’Sion mia oawnn D’lO’n the world. She received her musical training first under the tutorship of her mi’o7n Born in Tokyo in 1930, he was given his mother, herself a pupil of Busoni, anc first piano lessons by his father before mN obtwnw »27 ,1’dn nsvms nrooon later under A. Cassella and G. A< iron nnyiKin naoinn nnyoin studying with Leo Sirota, a pupil of rai-roi ,’iiti3 78) 1’1’obno .noii’o in’7 Her first public appearance was a iW H18» »38» n7 1x708)31 ,»31N Busoni, and Marguerite Long in Paris. .v’iP3 mb age of four and at seventeen she n’oix7ian npnp nnnra itonid pnos When Herbert von Karajan conducted in ìn”ninp’11o train »’in i8)N3 ,1975’3 the 1st Prize at the Councnurs Interna­ nn’bxo m”ip3 ns’poo N’n txo .031’13 Japan in 1957. Sonoda played as soloist tional de Geneve. From nnn n»j N’n .73n am 733 □’pnuiip 7v under his direction and was advised by non’N7 na»7 ti’bnn imöonsi pursued a most succet nniotnn o»i □’nuioo ’7m 78> □»anw Karajan to come to Europe. Sonoda went nobn 7»n obntym i’7is7 »to career all over the globe. She played with ,li8>Nin o»’7pn .ima nnwnn to Berlin and took up studies with .1’71331» np’OTOb n’OTpNS nvono the most prominent conductors and with D’n5vi7 nst ,’o7ipo nxo mpnp Helmut Roloff, professor at the Academy rw nniNSi ,1958’3 nii8»Ni7 »’2in V’i23 leading orchestras of the world. Her first ’Np’IOXn ”p’11t1’l" 11» ■of Music in Berlin. n’lioinb’on miotnn o» i’7i3s oi p’l record of 12 Sonatas by Scarlatti was 78> os’nnon no7po"3 Sonda made his debut in Paris in 1958 nn7sn7 nit it n»oin ni3P»3 .1’713 bur acclaimed in the U.S. by the Newsweek 1373 otoisjip n’inropo ni’N i2’v o’no and in Berlin together with the Berlin 3"niKi mwron-n'13 .noii'NS n’i”o Magazine as "...the most spectacular □’i’»s □»mips .oiipd mio □> n7n Philharmonic Orchestra, which were ami irawnn miratnn amo o» »’aim recording of the year". Since then she -Totessor of Ptanc .oiop n’33 ainnn o7i»o ann 730 oai followed by an immediate success in o’nsion aio 78) 00’318) nnn obwn has made many highly praised records. Conservatories of Bolzano and Florence mo3 nunnxo two 0’18)» twos various countries in Europe, USSR and Maria Tipo is not only a concert pianist for the past 20 years. She is often invited 78) D’ii’iiraiTOip3 nropo7 itvonos USA. He was appointed professor at Kyoto but also a dedicated teacher. Many to give Master Classes and to serve on mono N’n nnnp o'ny7 nsn’oi »t7i3 He appeared with major orchestras University of Arts and Tokyo University iiosnai lnso mino li’npo aspiring young pianists in' the world Juries at the most important under the baton of prominent of Arts. He is a member of the Imperial I’pioi ioi’p bo ni’UONb niNO’oi3’»N3 ^received their training at her school. She international competitions. .mia nnwnn ni’oix7 ^conductors.____ Academy of Japan. .10’ bo rt’iaboon n’oipNS uni JURY JURY ______owaw Z A r ARIE VARDI »711 n»7N HUGO STEURER tviisw wn Arie Vardi. born in Israel, is considérée '3100 inN3 1310 ,7N18)’ 1’7’ ,’111 n’IN Hugo Steurer was born in . He ira io7 Nin .pros i7u ii’TO8> »in one of the leading pianists in Israel. He 1311 nN bnn Nin .7ni8)’ 78) o’nrovan studied in his native town at the "Akade­ insiin3 .7’7»n n»ox7 n>oipN3 im7m started his concert career at the age oi 16 b’>3 »’2in 18)N3 .□’»isnpn noa 7» mie der Tonkunst" under Professor 16 and later acquired his musical □”v pò inNbw D'ira .sax br>3 7o’pi3 August Schmid-Lindner, friend and ni’aps 7nn mw un vpo 7y> education at the Rubin Academy in Tel bn3 np’piob n’oipN3 l’iio’b pin nx adviser of Max Reger. Hugo Steurer >33 »»D3»’2ini ,1954 rora i78) nropon Aviv and the Hebrew University ol .□’78’11’3 p’13»n nV’PIS’ilNSl 3’3N started his pianistic career in 1934, and nra’nn np’iox ,3"nnN ,noin’N3 rono Jerusalem. mi 7Ni8>a12181 nuora nst 1960 rara performed in almost every country in □»ra .pimni lis’nn niton .roomni As a prize winner of the Chopin Competi­ -mb’on pniotpn □» 171V3 rowKi7 »a Europe, U S A., South America, Middle -TOI 1TOP27 11021123 ln>3 1958’1943 tion in Israel in 1960, he made his debut 8>"» nnnra nst p 103 n’7Niw>n poto and Far East. From 1943 until 1958 he np'OTOi num toon nas n’noNp np'o with the Israeli Philharmonic Orchestra. □7nz)n7

51 50 MENDI RODAN Mendi Rodan studied violin and conduct­ nob n’nipxa nwn ina inb rm ’Tin ing at the Music Academy in Bucharest wwup bsx ppipiaav np’v with , and subse­ bp ynpn nsina popi ,’tot quently served as permanent conductor of the Rumanian Radio-Television ’> ,1961'3 .bxip’b m’by inxb Orchestra until mnmnb’on minwin by niipxab pn After settling ir □’rob nnx y’oin xin txnt mbxiP’n Rodan made hi Philharmonic Orchestra, with which he xyi’i >pxi nmna pian xin .yixa np’v has continued to perform regularly. As a to’ xin inpn mpi mintnb ’bp’vin dominant figure in the musical life of the nsim D’bwn’ bo minxpn minwm rot country, he served as Chief Conductor and Music Adviser of the Israel Broad­ nmb mix x’an ym ’Tin opto I’V’iinn casting Symphony Orchestra, and niton .non’x ’pbn >ipt mninwi by founded the Jerusalem Chamber nisixi np’iox tarn .n’biooix ,pimn Orchestra which he also conducts. miintJin toy y’oin mix nmna man Mendi Rodan's ever widening reputa­ Orchestra, and other leading orchestras. iiyi i’bi3 .innb ,ni’i bo ni’iian’on tion has taken him to conduct in Europe, Maestro Rodan has been Music Director ’bp’oion bnio? pnpn yin nooxo the Far East, Australia, South Africa and of the Israel Sinfonietta and its Conduc­ txn .mbxiP’n no”iio>’on bo nuinm the United States. Among the many for­ tor since 1977, Dean of the Rubin I’pn P"y np’oinb n’Oipxn ip>t ,1977 eign orchestras who have invited him as Academy of Music in Jerusalem and -’3n tainn xyi’i ni»b npono .o’bprra guest conductor are the Vienna Sym­ Professor of conducting, and Adviser of D’bpn’3 np’oinb ’nixbi phony Orchestra, the London Symphony the Jerusalem International Music \_ Orchestra, the Royal Philharmonic J r < ZVI HARELL ns Zvi Harell came to Israel from Berlin at b’» bxip’b nbyi pbiaa ibn bxm ’as the age of three and began to play the b3p ,'U'v b’13 ib’ia mi’ii nx bnn pibp cello at the age of six. He received his 1i b’>3 bxiw’3 ’bp’cion ia»’n ba nx entire musical education in Israel. His liin ipnnai .rnnbion lmiyom nx bnn solo appearances started at an early age ->b’S ma o’nsin bp ovnaip nnn y’bin and led to subsequent solo performan­ ces with conductors including nsiap bp ppxi pia ina bxm ’as .iiyi Celibidache. Abbado. Mehta. Dorati, n’bxipm n’limnb’on jnwtra lb'sn Paray. Martinon and others. As principal nny y’oim ,O’)P ipyn nbynb bp noipn cellist of the Israel Philharmonic for over ■win ’ii’V3 ini bxip’a in ibioa nm ten years. Zvi Harell was soloist on tours nsiap bp ’vxi pip p ina .b’ina min with the orchestra throughout Israel and myoma .p» bp n’linmb’sn bp ib'sn abroad. Also as principal cellist and solo­ ipx ixwiom ap>n nx nca ibp lbion ist with the Japan Philharmonic for a n’p’bpn” i3n nnbxm’3s .nt ’bab anai period of three years, he played the ’□ma mo’ana i”cn nny "n’bxipm major solo repertoire with the orchestra.

J 52 53 JERUSALEM fronta SYMPHONY jvjw»>p ORCHESTRA IBA mi’wn nwn Musical Director: : ’jiwnx >ro» Gary Bertini >pm3 ’in> Director: Yehuda Fikler .o’inNi uftna uno ,pis pxpt> ."papixn tox ,o>ip>nd -nvi ,»»iv pn>n o’jm jmntjin dv ljnoinv n>P’s mtn> ;>ro» n>ro>-m nvpp roonm ptna ^niwpod nxroi ¡to» rmisrra 1980-a non’»« m«p miotnn

□Pwn nmn im rronju □’vopto

.n’>nnn lp’opo ,rrop ,3"mta n’wirfr’on nuntnn w ron 54 55 » Kb VI13N IH 7»J3’'3J3 ipV'SJTO ¡won David ABBOTT Dan ATANASIU Francesco BENCIVENGA .U.S.A. Rumania

GROUP A GROUP A (Book II) ° P (Book I) 9 GROUP A Prelude & Fugue

GROUP B Sonata in F Major, K 189e(280) I89e (280) GROUP 8 Sonata in F Major Schubert Impromptu in G flat Major, op. 90 G-flat Major, op. 90 Schubert Impromptu in G-flat Major,

'a neige (Preludes, Book II Des pas sur la neige (Preludes. Book Prokofiev Suggestion diabolique GROUP C Chopin Etude op. 10 no. GROUP C Elude op. Etude op. 25 no. 10 Etude op.

GROUP D Scherzo GROUP D GROUP D Toccata in C Major, op

GROUP A GROUP A GROUP 8 GROUP B GROUP C □ ROUP B Maa GROUP C GROUP D Prokofiev GROUP D GROUP E GROUP O GROUP E Brahms Trio in B Major, op. STAGE III:. triar Major. GROUP F t emperor

J I______y STAGE 1: GROUP A Bach Prelude & Fugue In G minor (Book 1) GROUP B Mozart Sonata in F Major. K. 189e (280 Schubert Impromptu in G lial Major, op. no. 3 Debussy Des pas sur la neige (Preludes. Book I) Prokofiev Suggestion diabolique. op. 4. no 4. GROUP C Chopin Etude op. 10 no. 1 Chopin Etude op. 25 no. 10 Liszt Etude d'exècution transcendante no. 4 (Mazeppa) GROUP 0 Chopin Scherzo no. 3 in C-sharp minor. p. 39 STAGE II: GROUP A Beethoven Sonata in C minor, op. 111 GROUP B Chopin Sonata in B-flat minor, op 35 GROUP C Maayani Impromptu no. 2 GROUP D Franck Prelude, choral et fugue GROUP E Ravel Trio in A minor STAGE III: A Mozart Concerto in E-flat Major, K. 482 STAGE IH: B Brahms Concerto no. 2 in B-flat Major, o 83

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Des pas sur la neige (Preludes Debussy Des pas sur la neige (Preludes. Book I) Prokofiev Prokofiev Suggestion diabolique, op. GROUP C etude op GROUP C GROUP C Etude op. 10 no. GROUP C Chopin Etude op. 25 no. 11 Etude op Etude op. 25 no. 11 Etude no. 3 from Six Paganini Etudes (La Campanella) Etude d'exécution transcendante no.10 GROUP 0 GROUP D Fantasy Chopin GROUP D polonaise, op. 22 □ Maior GROUP A Beethoven Sonata in A-flal Major, op. 110 GROUP A GROUP A Beethoven GROUP B Chopin GROUP B GROUP B Ballade GROUP C mpromptu GROUP C Maayani mpromptu GROUP C Impromptu no. GROUP n =antasy GROUP D Moussorgsky Pictures at an Exhibition Gaspard de la "Wanderer' I. I) GROUP 0 Petrouchka (3 mov’ts) GROUP E Mendelssohn GROUP E Brahms Concerto in A Major. K. 488 3 Major, op. 58 Beethoven Tchaikovsky Concerto no. 1 in Bflat minor, op. 23 Concerto no. STAGE III STAGE III: Rachmaninoff Concerto no. J y fe

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81 ARTHUR RUBINSTEIN'S ADDRESS AT THE PRIZE - DISTRIBUTION CEREMONY

SEPTEMBER 1974, JERUSALEM

Your Excellency, the President of Israel. Her Excellency. Mrs. , my old friend and most admired woman in the world, spoke to you in Hebrew, apparently about me. I guessed from her voice, from the expression of her eyes, that she did speak too well about me. I felt 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 . I am very ashamed of it. So please 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 me to

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 of all the competitions at which I have ever been present. And I am old enought to say that I have been at very many. I must say it is a pride for 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 by far the dean of oldest living pianists tonight. And so you couldn't find anybody better for the moment.

In any case, let me thank you from the bottom of my heart to give me so much honor, which I do not deserve, but accept humbly and with love.

Thank you.

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! Arthur Rubinstein

MEMBER OF THE FEDERATION DES CONCOURS INTERNATIONAUX DE MUSIQUE GENEVA 20th March - 7th April,1983 SECRETARIAT Israel Shalom Tower, P.O.B. 29404 Tel Aviv 61293, ISRAËL Tel. (03)-651604

DIRECTOR OF THE COMPETITION J. Bistritzky Maestro Arthur Rubinstein Some notes about the previous Robert Ponsonby (England), Arthur Rubinstein selected applicants were laureates having won top Arthur Rubinstein International Piano Master Competitions (U.S.A.). Michal Smoira-Cohn (Israel). Hugo Steurer prizes in otner serious competitions. (W. Germany). Josef Tai (Israel). Arie Vardi (Israel), THE JURY OF THE THIRD COMPETITION (April Ilona Vincze (Israel). 1980): Guido Agosti (Italy), Arthur Balsam (Poland), THIS MASTER COMPETITION - conceived in the to the great art of the piano. THE SECOND COMPETITION LAUREATES & Jan Ekier (U.S.A.). Leon Fleischer (U.S.A.), Hans Graf spirit of the Great Maestro and The International Jury's task was to select pianists PRIZEWINNERS WERE AS FOLLOWS: (Austria), Akiko Iguchi (Japan). Nikita Magaloff ' is honour — aims at establish- of more than average concert standard, and with a Gerhard OPPITZ (W. Germany): The Arthur Rubin­ (Switzerland). Andre-Francois Marescotti (Switzer­ fostering talented and aspiring mature intellectual and emotional response to music. stein Prize — the competition GOLD MEDAL and land), Michal Smoira-Cohn (Israel). Pnina Salzman young to promote their true artistic The prizes were awarded to a number of pianists of $5,000; contracts with leading American and Euro­ (Israel), Hugo Steurer (Germany), Arie Vardi (Israel). outstanding musicianship and a talent for persuasive, pean artists’ managements, concerts with various versatile rendering and creative interpretation of mus­ THE THIRD COMPETITION LAUREATES 8< In setting the highly demanding criteria for this orchestras of international renown and recording PRIZEWINNERS: stimulating musical confrontation, ical works, ranging from the pre-classical to the engagements. 's own approach were inspired by Maestro Rubinstein /Programme performed: Bach — Prelude & Fugue in c sharp minor. Gregory ALLEN (U.S.A.) The Arthur Rubinstein Prize — the competition Gold Medal and $5.000, contracts with leading American and European artists manage­ Eugene INDJIC (U.S.A.): 2nd Prize - S3.000.andthe ments. concerts with various orchestras of interna­ Competition SILVER MEDAL. tional renown and recording engagements. III. Beethoven - six Venations on an anginal Theme in F ma/or. Op. Janina FIALKOWSKA (Canada) and Seta TANYEL 14, Haydn-Andante and Variations inf minor. Chopin-Elude Op 2! (Austria): 3rd Prize — $2.000 and the Competition Ko. 11. Kachmaninov - Etude Op. }9 No. 5. Debussy - Etüden No. SILVER MEDAL awarded exequo to both contestants. Diana KACSO (Brazil): GOLD MEDAL and $4.000. 4th Prize — not awarded. Etsuko TER ADA (Japan): GOLD MEDAL and $3.000. of Alba SILVER MEDAL and 81.000 each: Oscar TARRAGO (Mexico). Arnaldo COHEN Larry GRAHAM (U.S.A). Natasha TADSON (Brazil). Jeremy BROWN (England), and Jonathan PURVIN (U.S.A.), fifth through eighth prizewinners; (Israel), Boris BLOCH (U.S.A.). each received $600 and the Competition Bronze BRONZE MEDAL and $500 each: Medal. Geoffrey TOZER (Australia), Craig SHEPPARD (U.S.A.), Yitkin SEOW (), Alexandru PREDA (Romania), Mioko KATO (Japan). Jahja Ian HOBSON (Great Britain) The GOLD MEDAL and MURSALIM (Indonesia). $4,000. ADDITIONAL SPECIAL ARTHUR RUBINSTEIN AWARDS of Geoffrey TOZER (Australia) The GOLD MEDAL and $1,000 each (founded by the Maestro): $3,000. Yitkin SEOW for a masterly performance of Brahms's SILVER MEDAL and $1.000 each: Paganini Variations; Craig SHEPPARD for an out­ Lyras PANAYIS (U.S.A ), TRIFAN Mariora (U.S.A.). YUGUCHI-YONOGI Miwa (Japan). THE INTERNATIONAL JURY FOR THE FIRST standing performance of Ravel's "Gaspard de la Nuit". BRONZE MEDAL and $500 each: COMPETITION (September. 1974): Guido Agosti. ADNI Daniel (Israel). BLACKSHAW Christian Vice-Chairman (Italy); Enrique Barenboim (Israel); (Great Britain). BRANCART Evelyne (Belguim). Arturo Benedetti Michelangeli (Italy): Jacques Fevrier EDELMAN Sergei (Stateless), DE PALMA Sandro (France); Henri Gagnebin (Switzerland); Eugene (Italy). WEISS Alan (U.S.A.). Istomin (U.S.A.); Mindru Katz (Israel); Irving Kolodin (U.S.A.); Arthur Rubinstein; Pnina Salzman (Israel); Michal Smoira-Cohn, Chairman (Israel); Alexander Tansman (France): Dieter Weber (Austria). THE FIRST COMPETITION LAUREATES & PRIZEWINNERS: (U.S.A.): 1st Prize — The Arthur Rubin stein Prize — $5,000. and the Competition GOLD MEDAL: recording engagements, concerts with var­ ious orchestras of international renown arid contracts with leading American and European artists' managements. HobsoMliy GregoryAHen (I^Ceof'frey Tozier (III) with the Organ" izer of the Contest. THE JURY OF THE SECOND COMPETITION (April. 1977): Guido Agosti (Italy). Jan Ekicr (Poland). THE THIRD COMPETITION (1980) Jacques Fevrier (France). Marian Filar (U.S.A.) Rudolf 160 pianists from 33 countries across five continents Firkusny (U.S.A.). Akiko Iguchi (Japan). Nikita Maga- applied to participate in this contest. 46 applicants loff (Switzerland). Andre F. Marescotti (Switzerland). were accepted by the screening committee; 35 of the Rules and Repertoire of the

The high musical level of the Contest, and the ”... Now. after the third contest, one can surely claim standard of its organization, were praised by the that this is not just another piano competition among members of the Jury, as well as by the participants in the hundreds taking place all over the world, but one the yearly assembly of the Federation des Concours of three or four which are truly master competitions... Internationaux de Musique. Geneva, music critics of ... The Maestro can be proud of this event held in his 4 th world renowned newspapers, and particularly by name and in homage to his artistry..."(TheJerusalem Maestro Arthur Rubinstein: Post. April 25. 1980)

"...NEVER. NEVER. NEVER have I met such a Arthur Rubinstein concentration of talent before; everyone, al a lesser contest, would easily have won first prize..." (The Jerusalem Post. Sept. 13, 1974). "A week ago, Gregory Allen was just as talented a pianist as he is today. But a week ago he couldn't find a International Piano Master Competition single manager to represent him. and today they are tripping over one another trying to sign him up. What "...The name 'Master Competition given to this happened? He simply won the Arthur Rubinstein Contest was rightly used..." (Prize-distribution Piano Competition in Tel Aviv last Thursday..."(The ceremony, Sept. 14. 1974). .New York Times. April 20, 1980) I. The 4th Arthur Rubinstein International certs given, if any, press-releases, reviews, etc.; Piano Master Competition will be held in Tel Aviv h) list of works to be presented at the Competi­ — 20th March-7th April 1983: Stages I and II at tion. chosen by the candidate from the musical the Recanati Auditorium, Tel Aviv Museum — repertoire suggested below (see VII); i) a receipt from 20th-31st March and Stage Ill at the indicating that a non- refundable entry fee of $50 "But lhere is no doubt that a good competition can be Maestro Rubinstein's cable to Director Bistritzky, Federic R. Mann Auditorium — 5th-7th April, I U.S. has been remitted to the Competition dated Sept. 19, 1974: "...Congratulations and many exciting; and in an atmosphere of such public commit­ Account, No. 14788-5. Israel General Bank, thanks for the brilliant organization of the Piano Mas­ ment and interest as was found in Tel Aviv, it can be 1983. ter Competition in Israel, success of which was due to more exciting still. In its repertoire the Rubinstein is A festive Prizewinners’ Concert and Distribution Ltd., 28 Achad Ha'Am St., Tel Aviv. your relentless enthusiasm and expert handling of possibly the most exhaustive and the most taxingofall of Prizes Ceremony will take place on 7th April. everything and everybody, in spile of great piano competitions...... The decision of the Jury — 1983. Application forms and all other documents must difficulties..." the spirit of Rubinstein must have hovered somewhere BE MAILED NO LATER THAN NOV. 1. 1982. in the wings — to award the First Prize to Allen was I Stage III (SEMI-FINAL AND FINAL) and the Fes­ surprising and gratifyingly "right"..." (Financial tive Concert will be performed with the Jerusa­ Times. June 17. 1980) lem Symphonic Orchestra. IV. All applications will be screened by the Admissions Committee. Advice of participation II. The Competition is open to pianists of all will be mailed to applicants no later than Dec. 15, nationalities between 18 and 32 years of age. 1982.

III. Candidates are requested to send their V. The auditions are open to the public. The application forms to the Competition Secretariat contestants will not be interrupted during their ”... The eleven judges worked long intensive hours to (address below) accompanied by the following: performances, but the Jury will determine render a just verdict in an extraordinarily high-level a) birth certificate: b) curriculum vitae; c) 3 whether the works chosen should be played in contest. Even so, it wasn't until the gala final concert photographs (9 x 12 cm. suitable for reproduction); whole or part in order not to exceed the time was over that the jury began to look happy... There was general agreement that the best man had won... d) Certificate of Studies, including results alloted. ...And what has Greg Allen learned from his foray obtained and listing names of teachers: e) letters into the competition scene? 'I think the important from candidate's current or most recent institu­ VI. Contestants should choose editions thing is to make the jury listen to you. and not to worry tion of music studies, or teacher, recommending that adhere to the original text. Works must be about whether they like you.' The Arthur Rubinstein played from memory with the exception of jury, obviously, did both..." (Musical America. participation in The Fourth Arthur Rubinstein Chamber Music (Stage II). Oct. 1980) . International Piano Master Competition; f) addi­ tional recommendation from musicians of rec­ Contestants will be granted one rehearsal with ognized international stature; g) details and members of Chamber Ensemble and finalists will published references of musical activity — con­ be granted one rehearsal with the orchestra. VII. COMPETITION REPERTOIRE group A Brahms — Concerto No. 1 or No. 2; Tschaikovsky nificant European and American concert man­ Beethoven: One of the following Sonatas: — Concerto No. 1; Rachmaninov — Concerto agements are also offered. Op. 2, No. 3: Op. 7; Op. 10, No. 3;Op. 22; Op. 26; No. 2 or No. 3 or Rhapsody on a Theme by The Prizes will be distributed at a Fes- Op. 31, No. 2; Op. 53; Op. 57; Op. 81, Op. 101; Paganini; Prokofiev — Concerto No. 2 or No. 3 XI. Stage I. Four Groups (A-D) are included in this tive Laureates Concert. Stage. The contestant is required to play nine Op. 109; Op. 110; Op.111. or No. 5; Bartók — Concerto No. 2 or No. 3; works in a recital programme of approximately Ravel — Concerto in G Major. XII. The Competition Secretariat reserves 55 minutes duration. group B the right to all reproductions (via recording or Order of performance of recital at contestant’s Chopin: one of the following works: a Ballade. filming) of any or all auditions, and the Laureate discretion. VIII. The Jury will assess contestants' Barcarolle, Polonaise-Fantasie. Sonatas Op. 35 Concerts (“live chronicle”). This right extends to performances by allotting up to 12 points each the use of such recordings for radio, television, or Op. 58. stage. The 12 contestants with the highest rating group A — one work films and records. Contestants will not claim fees in Stage I will be allowed to compete in Stage II. for performances, or any reproductions of same, BACH: One Prelude and Fugue from the Well group C The 6 contestants with the highest ratings in that are made within the framework of the Tempered Clavier, Books I & II. One Israeli Composition (5-7 minutes) Stage II will be admitted to Stage III-A (Semi- Competition. Final). The 3 contestants with the highest The score will be sent to the contestant 3 months group B four works number of points in Stages 1, II and II-A will be XIII. The Competition Secretariat will pro­ prior to the opening of the competition. admitted to Stage III-B (Final). Mozart: Sonata in F major KV 189e (280) vide contestants with free board and lodging, for Schubert: Impromptu in G flat major Op. 90. two days prior to commencement of Stage I and group D All decisions rendered by the Jury are throughout the period of official participation in No. 3 IX. The contestant may choose any significant com­ final and beyond appeal. the Competition. The Competition Secretariat Debussy: Des pas sur la neige (Preludes, Book 1) position to complete the Stage II programme pan arrange for contestants a 50% Discount on Prokofiev: Suggestion diabolique Op. 4, No. 4 (duration of this work together with works of X. PRIZES: A total of 6 prizes will be any direct round-trip, by El-Al Airlines’. Con­ awarded, at the discretion of the Jury, to the testants who wish to receive this discount should Groups A. B. and C not to exceed the alloted 70 group three virtuoso works following groups: notify the Secretariat and mail their application C — minutes). Two Etudes by Chopin: one from Op. 10 forms and documents NO LATER THAN 1ST GROUP - FIRST THREE LAUREATES - OCTOBER 1st, 1982. and one from Op. 25 group E THE ARTHUR RUBINSTEIN PRIZE - GOLD MEDAL and One Etude by Liszt One of the following Piano Trios: $10,000, $5,000, $3,000, respectively. XIV. Additional information concern- Mendelssohn; Op. 49 ing the Competition will be published in forth­ 2ND GROUP: Three Prizes — silver medal coming issues of our bulletin. Further details group D Brahms: Op. 8 The contestant may choose any significant com­ and $1,000 each one. may be obtained from: The Secretariat, The Ravel Fourth Arthur Rubinstein International Piano position to complete Stage I programme (dura­ Recording (records and video-cassettes), Master Competition, Shalom Tower, 5th Floor, tion of this work together with works of Groups engagements, concerts with various orchestras jP.O.B. 29404, Tel Aviv 61293, Israel. Tel. 03- A. B. and C not to exceed the alloted 55 minutes) of inter-national renown, and contracts with sig­ 651604. Stage III - A - SEMI-FINAL The contestant may choose one of the following Stage II. Five Groups (A-E) concerti: The contestant will be required to play four Mozart : Concerto K482. or K488 or K491 works in a recital programme of approximately Beethoven : Concerto No. 3. or No. 4. or No. 5. 60 minutes duration (A-D) and to prepare one Chamber work (E). The jury will select one or two movements from this work (E) of approximately 10 minutes Stage III - B - FINAL duration. The finalist may choose ONE of the following The Chamber music will be performed before the concerti: recital: total duration of performance 70 Chopin — Concerto No. 1 or No. 2: Schumann — OFFICIAL CARRIER Concerto in A: Liszt — Concerto No. 1 or No. 2; We are privileged to announce a SINGLE WORLD EDITION (strictly limited) of 3 STATE GOLD MEDALS

Bearing the portraits of ARTHUR RUBINSTEIN originally drawn by PABLO PICASSO and dedicated to the great musician.

ONLY 1.000 GOLD MEDALS OF EACH PORTRAIT — individually numbered on the rim, marked with an engraved facsimile signature of the Maestro and the emblem of the State of Israel — will be struck for us by the Israel Government Coins and Medals Corporation, Ltd.

GOLD 22 KRT — DIAMETER 35 MM - WEIGHT 30 GRAMS THESE MEDALS WILL NOT BE OBTAINABLE ON THE FREE MARKET ALL PROCEEDS from the presentation of these medals will be donated to the COMPETITION FUND.

Individuals or legal entities, having contributed to the Fund in the form of a gift or subvention, and artists who donate their services for the benefit of the Fund, will be duly presented with this gold medal and will become members of the International Founders and Sponsors Committee.

DETAILS AND ADDITIONAL INFORMATION MAY BE OBTAINED FROM: THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY P.O. BOX 29404, MIGDAL SHALOM, TEL AVIV, ISRAEL TEL: 03-651604

Mr. J. Bistritzky, • Director, Tel-Aviv The Arthur Rubinstein 12th April, 1976 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. Youi