January 1987

Festive Events celebrating the Centenary of the birth of Arthur Rubinstein Under the Patronage of H.E. The President of Israel

Series of 7 Concerts Zubin Mehta conductor

Tel-Aviv, The Fredric R. Mann Auditorium

The Israel Philharmonic Orchestra Founded in 1936 by Bronislaw Huberman Music Director : Zubin Mehta FESTIVE JUBILEE SEASON THE ISRAEL PHILHARMONIC ORCHESTRA Founded in 1936 by Bronislaw Huberman • Music Director: Zubin Mehta The Fredric R. Mann Auditorium • P.O.Box 11292, 61112 Tel-Aviv; Telephone (03) 295092 The 51st Season / 1986-7 Festive Jubilee Season

Festive Events celebrating the Centenary of the birth of Arthur Rubinstein Under the Patronage of H.E. The President of Israel, Mr. Chaim Herzog

Series of 7 Concerts Zubin Mehta conductor

Tel-Aviv, The Fredric R. Mann Auditorium January 1987

At 8.30 p.m.

PUBLIC MANAGEMENT BOARD: Mr. D. Ben-Meir, Mr. A. Duizin Mr. Y. Ettinger, Mr. B. Gal-Ed, Mr. M.B. Gitter, Dr. A. Goldenberg, Mrs. A. Harris, Mr. P. Jacobi, Judge A.F. Landau (Chm'n), Mr. A. Levinsky, Mr. Z. Litwak*, Mr. Y. Mishori*, Mr. M. Neudorfer, Mr. Y. Oren, Mr. Y. Pasternak*, Mr. J. Pecker, Judge L.A. Rabinowitz, Mr. A. Shalev, Mr. N. Wolloch. (• IPO Management members)

THE IPO FOUNDATION - Founding Members: Abba Eban (Chairman), David Blass, Yona Ettinger, Dr. Amnon Goldenberg, M.B. Gitter, Lewis Harris, Ernst Japhet, Y. Macht, Joseph Pecker, Raphael Recanati. Dr. Dapnna Schachner (Dir. Gen.)

AMERICAN FRIENDS OF THE IPO: Zubin Mehta (Hon. Ch'mn); Fredric R. Mann (Pres.); Norman Bernstein, Itzhak Perlman (Vice Pres.); Susan B. Bljimstein (Exec. Vice Pres.); Morton S. Ackerman (Treas.); Robert H. Arnow, Arthur Belfer, Charlotte Isen, Albert Schussler. Room 810, 250 West 57th St., New York, NY 10019, Phone (212) 581-4374 American Friends of the IPO raise funds for the IPO. Contributions are tax-deductible to the fullest extent allowed by law.

The IPO is supported by the Council for Culture and Art of the Ministry of Education and Culture, and is supported and represented in the USA by tne American Friends of the IPO and supported by the America-Israel Cultural Foundation, in Canada by the Canada-Israel Cultural Foundation, in Great Britain by the British Society of the Friends of the Orchestra, and by Friends of the IPO in Australia, Germany and Mexico.

Price NIS 20.- Arthur Rubinstein was born on 28 January 1887 in Lodz, Poland, and started appearing in public as a "wunderkind". What happened since then is legend: he swiftly became one of the greatest pianists of all times, whose fame spread throughout the world. His recit­ als and solo appearances evoked praise that only few ever received. Beyond masterly technique, he was lauded for his profound personal interpretations, for his brimming energy that burst from each note he played, and for his poetic lyricism. His human traits were similar: boundless energy, profundity, lyricism - and a rare sense of humour. It is redundant to detail again his close ties with Israel, and especially with the Israel Philhar­ monic Orchestra. On his frequent visits here he not only delighted thousands with the magic of his playing - he also contributed of his spirit and knowledge to many of our young pianists in his master-classes. It is no chance that Israel was chosen (at his own request) as the site of the prestigious Interna­ tional Master Piano Competition that bears his name. The IPO was privileged to honour him by naming after him the soloist's room at the Mann Auditorium, and planting a forest bearing his name in the Jerusalem moun­ tains. On 21 December 1982 he died, leaving behind him countless fond memories, as well as many recordings and the volumes of his thrilling autobiography. This year, the IPO's Jubilee Year on the 50th anniversary of its founding, is also the Centenary of Rubin­ stein's birth: a coincidence that bears more than a hint of symbolism. We hope that the series of festive concerts detailed herein may bring honour to the memory of the maestro. pnipan The Artists The Pianist as Conductor (In alphabetical order)

Zubin Mehta, conductor Zubin Mehta is simultaneously the Music Direc­ tor of three of the most prestigious music institutions today: the Israel Philharmonic Orchestra (since 1968), the New York Philharmo­ nic (since 1978) and the Maggio Musicale Fioren­ tino (since 1985), besides being one of the most sought-after conductors of concert and opera alike. Born in India in the year in which the IPO was founded, 1936, he led the Orchestra for the first time when both were 25, in 1961. Since then he returned to the IPO regularly and he was named its Music Advisor in 1968, a title that was changed to Music Director in 1978, and extended for life. His father, Mehli Mehta, a violinist and conductor in his own right, started his musical training, which he continued later with Hans Swarowskiat the Vienna Music Academy. In 1958 he won a prize at the Liverpool International Conductors Competition, and was appointed Ass'sfant Conductor .of the Liverpool Philharmonic. A year later he made his debut with the philharmonic orchestras of Vienna, Los Angeles and Montreal, replacing indisposed conduc- Imm!nse access led to his appointment as Music Director of the Montreal Symphony (1960-67), as AssDaniel Barenboim, pianist Daniel Barenboim needs no introduction any­ where in the world as pianist, conductor or both simultaneously. Born in Argentina in 1942, he studied piano with his father, his only Emanuel Ax, pianist piano teacher, who also prepared him for conducting. He gave his first concert there Emanuel Ax catapulted to international fame when he was 7. Two years later his family after winning the First Prize at the First settled in Israel, and it is as a proud Israeli that Rubinstein International Master Piano Com­ Barenboim attained world fame. His career petition in Israel, 1975. In 1979 he also won started to burgeon after his debut with the the Avery Fisher Award. Nowadays he is one Israel Philharmonic Orchestra in 1953. He first of the most sought-after pianists, appearing appeared in Paris in 1955, in London and New as soloist with the most important orchestras York in 1956. In I960 he played all 32 Beet­ hoven sonatas in Israel, a unique feat that he throughout the world, in North and South later repeated in South America, London and America, Western and Eastern Europe, Asia and the Far East. He is also highly acclaimed New York. As a child he also attended Igor Markevitch's conducting classes at the Salz­ as a recitalist and recording artist. He fre­ burg Mozarteum, and in 1960 he made his quently appears in chamber music, often with conducting debut in Israel. He first conducted cellist Yo Yo Ma and violinist Young-Uck Kim. in London in 1967, New York in 1968, Berlin in 1969. He led all the world's leading He played at all the major American festivals, orchestras, and in 1971 was appointed Music Director of the Orchestre de Paris, a including those of Aspen, Tanglewood, Holly­ position he still holds. In 1973 he further broadened his career, making his debut as wood Bowl, Ravinia, Blossom, and New York's "Mostly Mozart", as well as at Spoleto, operatic conductor at the Edinburgh Festival. He is also very active in chamber music. In addition to the complete Beethoven sonatas, he also performed other unique feats, such Italy. He was born in 1949 in Lwow, Poland, as all Mozart piano concertos, which he played and conducted with the IPO and and later moved with his family to Canada and then to New York. He began his music studies in Poland, and later graudated from elsewhere throughout the world, as he did all Beethoven piano concertos. He is also a juilliard and Columbia University in New York. He won several international prizes even most prolific recording artist. In all his frequent appearances in all continents of the prior to the Rubinstein Competition. He previously appeared with the Israel Philharmonic world, as pianist, conductor or in chamber music, including his countless appearances with the IPO, he brings excitement to the world of music and honour to Israel. Orchestra. Yefim Bronfman , pianist

pianist Alfred Brendel, Yefim Bronfman is one of the Israeli musi­ Alfred Brendel started his international career cians who have earned enviable success at all in 1949 after winning the Busoni prize in music centres of the world. He often Bolzano, Italy. He was born in 1931 and appeared with the Israel Philharmonic studied with Edwin Fischer, Paul Baumgartner Orchestra here and on IPO tours abroad. He and Eduard Steuermann. He made his debut was born in 1958 in Tashkent, USSR, and in 1948 at the age of 17. Mr. Brendel played began his piano studies at the age of 7 at the with most of the leading orchestras of the Ouspensky Conser-atory there. Even before world. In addition to his regular engagements settling in Israel in 1973, he appeared as throughout Europe, he made annual tours of soloist and in recitals throughout the USSR. North America, the Near East, North and In Israel he was awarded Share» Scholarships South Africa, Australia and New Zealand. by the America-Israel Cultural Foundation for Alfred Brendel's festival appearances include studies with Prof. Arie Vardi at the Rubin Edinburgh, Aldeburgh, Athens, Granada, Academy in Tel-Aviv. In 1976 he won AICF Warsaw, Prague, Puerto Rico, Vienna, Salz­ scholarships to study at Marlboro and at the burg, Lucerne, Bath and Cheltenham. He Curtis Institute in the USA. Since then he regularly appeared at the Henry Wood Prom­ appeared as soloist with all orchestras in enade concerts. Mr. Brendel, whose reper­ Israel, and with the major orchestras in the toire encompasses the classics as well as USA, Europe and the Far East, including the modern music, was the first pianist to record NY Philharmonic, Los Angeles Philharmonic, the orchestras of Chicago, Philadelphia, all the works of Beethoven for the piano. He frequently teaches master-classes in Vienna, Cleveland and other US orchestras, the Berlin Philharmonic, Munich, Zurich and all London, the U.S.A, and in Israel. He wrote a book of essays "Musical Thoughts and major London orchestras. He also appears in recitals throughout the world to great Afterthoughts". In addition to his outstading musical career, his interests lie in art, acclaim. His festival engagements include Ravinia, Mostly Mozart of NY, Hollywood Bowl literature and linguistics. His previous appearances with the Israel Philharmonic and London Proms. He records for major labels. Orchestra won him many admirers here, as well as elsewhere. Alicia de Larrocha, pianist World famous pianist Alicia de Larrocha, who already appeared with the Israel Philharmonic Orchestra, was born in Barcelona, Spain. Her first appearance was when she was five years old, and by the time she was 12 she already appeared as soloist with the Madrid Sym­ Radu Lupu , pianist phony Orchestra. She is well known all over Radu Lupu achieved his first success in the the world. Her tours took her to the USA, West in 1966 at the age of 20, when he won Canada, Latin America, South Africa, Japan, the American Van Cliburn competition. Born Australia and New Zealand, and of course, in Rumania in 1945, he began studying the throughout Europe. She appeared with most piano at the age of 6, and made his debut of the major orchestras and was invited, on when he was 12. When he was 17 he was several occasions to play at international awarded a scholarship to the Moscow Con­ events, such as the United Nations Day servatory, where he studied with Neuhaus. In Concert. Miss de Larrocha was awarded many 1967 he won the Enescu Prize in Bucharest, prizes and distinctions both in Spain and and in 1969 the first prize at the Leeds outside it. She received the Paderewski International Piano Competition. Since then Memorial Medal, medals of the Order of Civil he played all over the world, in recitals, Merit and of Isabel la Católica in Spain, as chamber music, and as soloist with most well as the "National Prize of Music" in Spain, awarded to her by King Juan Carlos and the important orchestras. He is also interested in Ministry of Culture. Her numerous recordings have twice won her the coveted Grand Prix conducting, which he intends to study thor­ du Disque, the Grammy and the Edison Award, and "Musical America" named her oughly. Israel audiences will remember his Musician of the Year 1978. previous appearances with the IPO. Maurizio Pollini, pianist When Maurizio Pollini previously appeared in Israel with the Israel Philharmonic Orchestra in 1968, he was announced as "a rising star of the younger generation of pianists". Today he is one of the greatest master-pianists of our Murray Perahia, pianist age, and his appearances throughout the world are eagerly awaited. Born in Milan, Murray Perahia, one of the foremost pianists Italy, in 1942, he made his debut at the age of of the younger generation, first gained wide­ 9 and caused an immediate sensation. He spread notice when he won the Leeds Inter­ studied with Carlo Lonati, Carlo Vidusso and national Competition in 1972 and, in 1975, at the Verdi Conservatory in Milan, from the Avery Fisher Award. Born in New York to which he graduated in 1959. His many awards a venerable Sephardic family in 1947, he include the Ettore Pozzoli Competition in studied piano with Jeanette Haien, Artur Bal­ Seregno (1959) and the First Prize at the sam and Mieczyslaw Horszowski, and con­ ducting with Carl Bamberger at the Mannes International Chopin Competition in Warsaw School of Music. He appeared as soloist with (1960). Since then he appeared in recitals and all major American orchestras, as well as with the leading orchestras and conductors throughout Europe and in Japan. He also throughout the world to unanimous acclaim. He is renowned for his analytical gave much-acclaimed recitals throughout the interpretations that enrich his immense expressive power, in a repertory ranging from the USA and Europe, and often appeared in Baroque to contemporary music. He is considered one of the most profound interpreters chamber music with such luminaries as Cas­ of Chopin, but he is no less a master of the classic and romatic repertory. He greatly als, Morini, Pears, Schneider, Curzon, Ser­ kin, and the Budapest, Guarneri and Galimir extended his range to the masters of modern music, such as Stravinsky, Bartók and Quartets. He is a frequent participant in the Schoenberg, and is also a champion of contemporary music, having premiered works of Marlboro Festival and a prize-winning Luigi Nono and Pierre Boulez, among others. Thus he has become truly a master of all recording artist. He will be recalled from his previous appearances with the Israel pianistic styles, and he excels equally in all of them. He also teaches master-classes, often Philharmonic Orchestra. at the famed Accademia Chigiana of Siena. Arie Vardi, pianist Arie Vardi previously appeared with the Israel Philharmonic Orchestra as pianist and as conductor. Born in Israel, he gave his first recital at 16, before studying at the Rubin Academy of Tel-Aviv with Ilona Vincze-Kraus and at the Hebrew University in Jerusalem. Later he studied piano, composition and Pnina Salzman, pianist conducting with Baumgartner, Boulez and Stockhausen. He first appeared with the IPO Israeli pianist Pnina Salzman is well-known to in 1960, and since then with the IPO and all IPO audiences through her many appear­ ances with the Orchestra. Miss Salzman, Israel orchestras, in recitals and chamber whose international tours have taken her to music, and on radio and TV. He annually five continents, made her orchestral debut tours Europe, the USA, South Africa, Japan with Maestro Paul Paray and the Colonne and Australia. His prizes include the Israel Orchestra. She studied with Alfred Cortot at Chopin competition (1960) and the Romanian the Ecole Normale de Musique, and later at Enescu Competition (1961). He serves as juror the Conservatoire National de Musique de at international competitions. A great inter­ Paris with Magda Tagliafero, winning its First preter of impressionist music, his repertoire Prize. Since then she has toured throughout extends from Bach, through all Mozart con­ the world with such baton luminareis as certos, to contemporary music, including Israeli compositions, many of which were Munch, Paray, Krips and Giulini. In Israel she dedicated to him. He recorded for major international labels. He is a professor at the appears regularly in recitals, with the IPO, Tel-Aviv Rubin Academy and was its director. He teaches master-classes in various the Haifa Symphony and the Jerusalem Sym­ countries, and currently, on his Sabbatical, he is Guest Professor at the Hannover High phony Orchestra. She is a member of the School of Music. He is a frequent conductor-commentator of youth concerts at the IPO Israel Piano Quartet and is active in the and the Israel Chamber Ochestra. chamber music life of the country. Yaron Taub, pianist Yaron Taub was born in Tel-Aviv in 1964. He started his piano studies at 11 with Ya'acov Valt and later studied with Dr. Emanuel Krasovksy of the Rubin Academy of Music in Tel-Aviv. He is a winner of AICF scholarships with distinction for several years. During his military service he was pianist of the Air Force Orchestra. Later he studied with Prof. Käm­ merling at the Hannover High School of Music. He appeared in recitals and in cham­ ber concerts in Israel and in Germany. Yaron Taub is the son of Chaim Taub, concertmaster of the Israel Philharmonic Orchestra. This is his first appearance with the IPO.

Daniel Gortler, pianist Daniel Gortler was born in Israel in 1965. He studied with Naomi Hacohen and with Prof. Ilana Vered , pianist Arie Vardi at the Rubin Academy of Music of Born in Tel Aviv, Ilana Vered studied in the Tel-Aviv University and currently with Israel, at the National Conservatory of Music Prof. Vardi at the Hannover High School of in Paris (where she won First Prize, graduat­ Music. Since 1977 he is regularly awarded ing at the age of 15), and at Juilliard in New AICF scholarships and in 1984-85 also won the York. After touring France and South Clairmont Award. In 1985 he won the third America, she made her US debut in 1963 and prize of the Geneva International Piano Com­ her English debut in 1971. Since then she petition and the second prize of the Munich appeared with most of the leading orchestras International Competition. He appeared with in Europe, USA, South Africa and the Far the Berlin Radio Symphony Orchestra, the East, including the London Symphony, the Bavarian Radio Orchestra, the Suisse London Philharmonic Orchestra, the Royal Romande Orchestra, the Munich Radio Philharmonic, Halle, BBC, Philharmonia, the Orchestra and the Collegium Musicum of Scottish National Orchestra in Britain, and in Basel. He gave recitals in Germany which the USA with the orchestras of Boston, Bal­ were also broadcast there. In Israel he played timore, Cincinnati, Chicago, etc. She often with the Israel Chamber Orchestra, the Kib­ was soloist with the Israel Philharmonic butz Chamber Orchestra, in a Youth Concert Orchestra. She has also made several record­ ings, including all the Chopin Etudes. of the Israel Philharmonic Orchestra and with the Jerusalem Symphony Orchestra in a special concert which was broadcast by the EBU to 9 European countries. THE ISRAEL PHILHARMONIC ORCHESTRA ______MUSIC DIRECTOR: ZUBIN MEHTA ORCHESTRA MEMBERS THE 51st SEASON /1986-87

First Violins Violas Flutes Horns Chaim Taub Daniel Benyamini* Uri Shoham* Yaacov Mishori* Arie Israeli* Uri Pianka Yossi Arnheim" Meir Rimon* Miriam Hartman** Bezalel Aviram Jeffrey Lang* concertmaster0 Michael Appelman Moshe Murvitz Peretz Yaron Anatol Krupnik Avraham Bornstein Sergio Feidman Sally-Ann Meth Menachem Breuer Amihud Elroy Ezra Molcho Ferenz Gabor Yossef Rabin Izia Brakier Rachel Kam Picolo Shelomo Shohat Marina Dorman Yuval Kaminkovsky. Peretz Yaron Raphael Frankel Shimon Koplanskio Sergio Feidman Trumpets Rodica losub Avraham LeventalC’ Kenneth Cox* Zinovi Kaplan Zvi Litwak Ilan Eshed** Raphael Markus Nahum Pinchuk Oboes Raphael Glaser Avraham Melamed Abraham Rozenblit Bruce Weinstein* Yoram Levy Robert Mozes Chaim Jouval" Ron Porath Merril Greenberg Trombones Hermann Openstein Anna Rosnovsky Cellos Ray Parnes* Zvi Segal Michael Haran* Stewart Taylor* Eva Strauss-Marko Yehoshua Pasternak* • Marcel Bergman* English Horn Mordechai Youvaf Shulamit Lorrain** Zvi Ostrowsky Paya Yussirn Alla Yampolsky •• Merrill Greenberg Matos Zalmanovicho Yoram Alperin Bass-Trombone David Barnea Clarinets Mattityahu Crabler Paul Blassberger Micha Davis Second Violins Richard Lesser* Elchanan Bregman Yaakov Barnea** Elkayum Zaltsman* Naomi Enoch Tuba Lazar Shuster* Eli Eban Baruch Gross Israel Zohar Shemuel Hershko* Yitzhak Geras** Ya'acov Mense Shimeon Abalovitch Raphael Morag Timpani Shulamit Alkalay Gideon Steiner* Piccolo Clarinet Alon Bor** Elimeleh Edelstein Yaakov Barnea Yigal Fisher Eli Eban Nachum Fruman Basses Percussion Celita Goldenberg Teddy Kling* Alon Bqr* Nathan Greenberg Peter Marek* Gabi Hershkovich Bass Clarinet Ayal Rafiah Levia Hofstein Yevgeny Shatzky** Israel Zohar Elizabeth Krupnik Ruth Amir Eitan Shapiro Kalman Levin [Dov Katz | Yoram Livne Eli Magen Bassoons Wolfgang Valk Talia Mense-Kling Mordechai Rechtman* Michael Nitzberg Zeev Dorman ** Gabriel Volé Walter Meroz Dov Yaari Marvin P. Feinsmith "Canada Concertmaster-Chair Contrabassoon OOn Sabbatical Judith Liber* Marvin P. Feinsmith

IPO Management: Zvi Litwak, Yaacov Mishori, Yehoshua Pasternak General Secretary: Avi Shoshani Assistant to the Music Director: Shalom Ronly-Riklis Musicians' Council: E. Bregman (Chm'n),E. Eban, M. Greenberg, B. Gross, R. Frankel, G. Volé Review Committee: Zvi Ostrowsky, Ilan Eshed Supervisor: Ray Parnes • Inspector: Zvi Segal • Assembly Chm'n: W. Meroz Comptroller: Yochanan Ben-Ja'acov • Press relations: Lapidot-Meroz Administrative coordinator: Tamar Sten Treasurer: Yael Zagouri • Subscription Dept.: Varda Zohar

THE PROGRAMME: Editor and graphic layout: Gideon Tamir. Assistent to the editor: Orly Tai. Cover design: Int Ganor. Computer phototypesetting: the editorial staff and University Publishing Projects. Films, mounting and plates: Shekef-Or. Offset printing: Tavnit Press. Binding: Shahaf. Production service and advertising: Zurah-Adam Advertising. IPO Jubilee logo: Margalit Tsfati and Irit Ganor. The Israel Philharmonic Orchestra Founded in 1936 by Bronislaw Huberman Music Director: Zubin Mehta Festive Jubilee Season

Festive Events celebrating the Centenary of the birth of Arthur Rubinstein Under the Patronage of H.E. The President of Israel, Mr. Chaim Herzog 7

ZUBIN MEHTA conductor DANIEL BARENBOIM pianist

Concert no. 7 Tel-Aviv, The Fredric R. Mann Auditorium Wednesday, 28 January 1987 On Rubinstein's 100th Birthday PYOTR ILYTCH TCHAIKOVSKY (1840-1893) LUDWIG VAN BEETHOVEN (1770-1827) Concerto no. 1 in b-flat minor Concerto no. 5 in E-flat major for piano and orchestra, op. 23 for piano and orchestra, op. 73 Allegro non troppo e molto maestoso ("Emperor") Andantino simplice Allegro con fiioco Allegro Adagio un poco mosso Rondo: Allegro

It would be interesting to learn exactly can do nothing but give up the battle. But what happened when Tchaikovsky in impressive bravura passages and in the showed his b-flat minor Piano Concerto, cadenza Tchaikovsky shows himself at the the first of three concertos he wrote for peak of his inventive prowess. This is that instrument, to famed pianist Nicolay especially apparent in the new ideas that Rubinstein, to whom he wished to dedi­ appear in the reprise. Many criticized the cate it. The composer complained that composer for having abandoned the Rubinstein bitterly attacked the work as a impressive theme of the introduction. But whole, and the piano-part in particular. there can be no doubt that this contri­ Tchaikovsky was adamant and refused to buted much to the dramatic effects after alter even a single note. He tore up the which Tchaikovsky strove. dedication, and gave the concerto to pianist-conductor Hans von Bülow, to In the second movement the flute pres­ whom he rededicated it. Von Bülow gave ents a serene theme against the back­ the concerto its world premiere on his ground of softly plucked strings. This lyri­ American tour of 1875. Since then it has cal melody undergoes transformations in been a perennial favourite all over the varied changes of keys. A waltz-like world. Even Nicolay Rubinstein changed French chansonette is the base for the his mind a year later, and frequently middle-section of the movement, which is played it both in Russia and abroad with a sort of miniature scherzo. The muting of "An emperor among concertos" — thus three movements. The first movement, great success. the strings throughout the movement called a French army officer during the allegro, is unquestionably the "emperor" contributes towards the dream-like among the three movements, in its Napoleonic occupation the Fifth Piano Most composers saw the concerto-form charmed atmosphere. Concerto by Beethoven, when it was first length, the richness of its themes and the atmosphere of breadth and regal ease as a duet of soloist and orchestra. performed in Vienna in 1812. The title The third movement returns to the stormy that is felt throughout it. The two other Tchaikovsky, however, treated it as a duel stuck since then, and enhanced its regal, atmosphere of the first. A joyous synco­ movements serve as contrasting ele­ between two antagonists. From this view­ grandiose character. pated Ukrainian melody is presented by ments. The second is in fact a lyrical fan­ point one should listen to this concerto. the pianist, and later by the orchestra. tasy, and the concluding Rondo is dance­ In this concerto (as in the preceding Mighty fanfares of the horns, reminiscent The many repeats of this tune endow the Fourth) Beethoven transcended tradi­ like and of unceasing melodic and of the "Fate-motif" from Beethoven's movement with the structure of a rondo, rhythmic flow. tional concerto-writing. Contrary to cus­ Fifth Symphony, open the first movement despite the development-section which is tom he permitted the piano, rather than of the Concerto. Piano-chords, encom­ reminiscent of the sonata-allegro form. A the orchestra, to open the work. He also The pianist who played it at its 1812 pre­ passing over four octaves, are a festive new, delicate theme is presented by the enriched the piano part with quasi- miere in Vienna was one of the great vir­ background to the famous first theme, violins. It is slowly developed into an orchestral sound that stands on its own tuosos of the 19th century: Carl Czerny, presented by the violins. The piano impressive virtuoso passage, which leads, against the full instrumental body. In fact, better remembered nowadays for his adopts this melody and embarks on a dar­ after a brilliant cadenza, to the conclusion he brought, in these two concertos (the innovations in pianistic technique and for ing cadenza, until the strings repeat the of the concerto. last he composed for the piano), the his exercxise books. Czerny was the con­ necting link between Beethoven's stormy theme and conclude the introduction. piano-orchestra combination to a cross­ Tchaikovsky wrote of this work: "We are and inaccurate pianistic style and the bril­ The first theme of the movement-proper road. After Beethoven composers had dealing here with two equal opponents: liant virtuosity of Liszt. This places a is based on an Ukrainian folk-tune, here the choice of writing virtuosic piano parts the orchestra with its power and inex­ query-mark against the accepted tradition presented by the soloist in two rhythmic with orchestral accompaniment (as did haustible variety of colour, opposed by that Liszt and his contemporaries were versions. As a contrast, two secondary Weber, Liszt, Chopin and others) or sym­ themes appear, one by clarinet, the other the small, but high-mettled piano, which phonic writing for orchestra with piano incapable of playing Beethoven "prop­ in muted violins. An important part of the often emerges victorious in the hands of a obbligato (as did Brahms). erly". Who is to say that today we pro­ duce more "proper" interpretations of development is given to the orchestra, gifted performer." treating fragments from the themes with This concerto's special character is further Beethoven's piano music? great colourfulness. Seemingly the soloist OFERTORIEL enhanced by the imbalance between its ZMIRA LUTZKY 7 7 1987 28 ,T"nVD D3V3 T"3 ,'T DV Wednesday, 28 January 1987 pwnan bv loo-n inPin ova On Rubinstein's 1OOth Birthday

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(1827-1770) pinua ]ni rn-nb LUDWIG VAN BEETHOVEN (1770-1827) irijpab 1YJND bina ’n-a 5 'pn ivTsnp Concerto no. 5 in E-flat major for piano ("ap’pn") 73 'aw ,mrambi and orchestra, op. 73 ("Emperor")

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npuari Intermission

PYOTR ILYTCH TCHAIKOVSKY (1840-1893) (1893-1840) ’ppatp«'s 'yP’N ipi’a

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7 'Dn vnsmp Ino '7 p’7772 nmnn barn ,a>3N-bn 1987 7N1P3 28 ,T"DÏ>ri J73V3 T"3 ,'7 01’ Concert no. 6 Saturda' Ÿæ Frednc R- Mann Auditorium pwnan ïv ioo-n irnhin nrn Saturday, 24 January 1987 LUDWIG VAN BEETHOVEN (1770-1827) JOHANNES BRAHMS (1833-1897) Concerto no. 2 in B-flat major Concerto no.1 in d minor for piano for piano and orchestra, op. 19 and orchestra, op. 15 Allegro con brio Maestoso Adagio Adagio Rondo: Molto allegro Rondo: Allegro non troppo

The d minor piano concerto is Brahms s effects, Brahms resorted to contrapuntal earliest orchestral composition. He began devices harking back to the late Baroque; working on it in 1854, but finished the while his contemporaries used classical composition only in 1859. During these forms only loosely and formally, Brahms five years the work underwent several understood their essence. From other major changes. Brahms's initial intention points of view, however, Brahms is Beethoven wrote five piano concertos. concerto's dimensions is not an external was to compose a symphony. Accord­ thoroughly romantic. Among various The one called no. 2 is in fact the first one aspect of simply writing a longer work: it ingly, he began drafting his ideas in a aspects, his piano writing in this con­ that he wrote, and it was numbered 2 stems from internal growth, from exten­ score for two pianos. (Working out the certo, as elsewhere, shows a mastery of only because it was published after the sion of the musical material and contents, main outline of an orchestral work first on the intimate, miniaturistic piano "charac­ later composition. especially the development sections. a piano — or two — and later to orches­ ter piece" so typical of the romantic mus­ trate it, is a common procedure with ical style. This is more important than mere The first movement begins with a theme some composers, especially at the stage The initial reaction with which Brahms's chronological pedantry: a composer, new that is clearly divided into two parts: the where they still lack experience in writing concerto met was devastating. Brahms to a genre that he has not mastered yet, is first — assertive, self-assured, and the for orchestra.) In this case, however, described it to his friend and mentor wont to follow in his predecessors' foot­ second — ruminative and lyrical. This Brahms grew to consider the sound of the Joachim thus: "The first and second steps, even if he already shows signs of motivic dualism is typical of Mozart, too piano indispensable to the musical idea movements were listened-to without the things to come. In his first symphony, for (as in the opening of his last symphony, itself, and finally turned the piece into a slightest display of feeling. At the end, instance, Beethoven followed the ways of the "Jupiter"). piano concerto. three pairs of hands were brought Haydn (with whom he had briefly together very slowly, upon which a per­ studied). But besides the traditional A lyrical melody, supported by extended This gradual shaping of the work may fectly distinct hissing from all sides for­ character of the work there are already serene chords, introduces the middle account for the highly symphonic sound bade any such demonstration." The movement. When this opening section is of many sections (especially the opening) clear indications of Beethoven's own mus­ reaction of Brahms, only 26 years old and ical stamp and of the trends he was to repeated at the end of the movement, it is as well as for the nature of the piano writ­ still groping for a personal musical idiom, more than a structural closing of the cir­ ing. Although very demanding, the piano take in subsequent works. Thus also in is indicative of his stubborn character and the piano concertos, in which Beethoven cle: it is a final release of musical energy, part is never exhibitionistic and is always artistic integrity: "The failure made no which affords the aesthetic pleasure at the service of the musical idea. This is chose to adopt the Mozartian model as a impression whatever upon me. After all, I starting-point. Mozart developed the inherent in the realization of musical in sharp contrast to an important trend in am only experimenting and feeling my piano concerto as a vehicle for personal expectations. the romantic concerto literature, which expression, as an elaborate musical work­ culminated in the works — and per­ way." The rondo, with which Beethoven con­ sonalities — of Paganini and Liszt, that shop, and he brought this form to its In the light of that harsh criticism, it is cludes his concerto, is an attractive musi­ aimed at dazzling the listener with unpre­ highest point in the classical period. Most only appropriate to mention some of the of Mozart's concertos were written to be cal form, inasmuch as it enables the com­ cedented virtuoso feats. poser to present a sequence of familiar comments of Sir Donald F. Tovey, a played by himself in the concerts he gave renowned British critic, who stresses the and of new material (A-B-A-C- etc.) and The refusal of Brahms to succumb to cur­ in Vienna. Young Beethoven also wrote "unprecedented tragic power of the con­ his early concertos for his own use during thus create a contrast of familiar material rent trends of viruoso writing is in line with his strong leaning towards a more certo" and thinks that "Brahms attained his first years in Vienna. Contemporary and contrasting unrepeated ideas. The classically oriented conception of music. maturity in it at every point." Tovey, who accounts indicate that Beethoven was an return from unknown realms (the new thematic ideas) to the unchanging familiar Indeed, from several points of view he is not given to emotional overstatement, impressive concert-pianist. Viennese goes as far as to say that "the first theme audiences were especially amazed by the motif makes for feeling "at home" with must be considered a conservative: while the music, it helps to focalize the perma­ the romantic trend was to fuse separate of the opening tutti is one of the might­ demonic improvisations of this eccentric iest utterances since Beethoven's 9th musician. Beethoven used Mozart's con­ nent theme and to illuminate it each time movements into a large aggregate, certos as a model, but it must be remem­ in a slightly different light. Brahms kept the movements apart, the symphony." bered that this was no mere imitative way the classics did; while other roman­ Dr. SHAI BURSTYN assimilation. Beethoven's extension of the Dr. SHAI BURSTYN tics excessively concentrated on harmonic 6 1987 1NW3 24 ,T"DVD D3V3 3"3 Saturday, 24 January 1987

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LUDWIG VAN BEETHOVEN (1770-1827) (1827'1770) pinva JN1 jrp-nb

Concerto no. 2 in B-flat major for piano inroab ivjnd bina nra 2 m iPTsiip and orchestra, op. 19 19 ’aiN ,mtnmbi Allegro con brio 1’13 lip iU>N Adagio i’JNIlst Rondo: Molto allegro iu>N ivbin :rnn

Intermission npp2n

JOHANNES BRAHMS (1833-1897) (1897'1833) PnnNia DJNH1'

Concerto no. 1 in d minor for piano impair lira m-a 1 'vn lvi'anp and orchestra, op. 15 15 ’aiN ,mmmbi Maestoso irivpsp Adagio i'JNTN Rondo: Allegro non troppo iaiiv pi :iuii (1897-1833) P137IN33 PINTÓ’ (1827 -1770) pinVO INI P1HÚ

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6 'PQ VW)p Concert no. 5 INn't pnna w"j> nmm ba’n .a’as-hn Tel-Aviv, The Fredric R. Mann Auditorium 1987 3N1P3 24 ,T"DVn H3V3 2"3 ,V"210 Thursday, 22 January 1987 traina 1001 WOLFGANG AMADEUS MOZART (1756-1791) 1001 Faces Concerto no. 20 in d minor for piano and orchestra, K. 466

Allegro Romanza Rondo: Allegro assai

This concerto was written in 1784-5 for makes the concerto a vehicle for the most Mozart's subscription concerts in Vienna. personal expression of his private and The d minor concerto, K. 466, is dark, musical feelings. The second movement, ruminative, Beethovenish in its heroic a romanza in major, is only seemingly character. The structural elements are innocent, but in fact it is not remote from turned here to new purpose. Mozart the minor key of the work. (The stormy sharply broke with his Viennese sur­ middle section of the romanza does in­ roundings and moved to hitherto un­ deed return us to the atmosphere of the charted realms, that carried him beyond first movement.) This romanza and the his time into the 19th century. Orchestra­ concluding rondo are but different rhyth­ tion, scales, melodic and rhythmic mic and melodic expressions of the same themes — all bear a unifying emotional dark storm and tender sorrow, which are and expressive stamp. Turning away from evident in Mozart's works to follow. popular demands of his public, Mozart ZMIRA LUTZKY SREGEI RACHMANINOFF (1873-1943) CHARLES CAMILLE SAINT-SAËNS (1835-1921) Rhapsody on a theme by Paganini Concerto no. 2 in g minor for piano and orchestra, op. 43 for piano and orchestra, op. 22

Saint-Saëns was a man of many talents: this theme, treating it with much pianistic- pianist, organist, conductor, composer, virtuosic ornamentation. Growing accel­ critic, poet, writer, musicologist, cartoon­ eration returns the work to the first theme, ist, teacher and researcher of antiquities. now played by the orchestra, with the This multi-faceted fertility may explain the soloist accompanying in parallel octaves. speed with which he wrote his second This virtuosic display is followed by a piano concerto. In 1868 Anton Rubinstein cadenza, leading to a return to the calm arrived in Paris and requested Saint-Saëns opening atmosphere. The entire move­ to arrange a concert for him. Saint-Saëns ment is, thus, built on a single theme, with secured Pleyel hall for a date only three important prelude and postlude. weeks later, but, despite the short time left, he promised to write a new concerto The customary slow second movement is to be played by himself under the baton of replaced by a vigorous scherzo. The Anton Rubinstein. He indeed kept his drums open in leaping rhythms and the promise. Moreover, this concerto ranks, piano presents the main theme, full of alongside his fourth, in the permanent mischievous humour. Surprising harmo­ Paganini's famous Caprice for Violin, No. when he introduces as a counterpoint the repertoire of concert halls, and they are nic transitions in quick broken chords 24, was used as a basis for variations first liturgie "Dies irae", also known from Ber­ the outstanding of his five concertos. (arpeggio) add a satiric feeling to the by the composer himself, and then by lioz's "Symphonie Fantastique". Later a movement. Brahms. In one of his later works, written group of variations takes the place of a In its three movements Saint-Saëns fol­ in 1934, Rachmaninoff took the same slow movement, having all the out­ lows the classic sonata-allegro form, yet he The third movement is a sort of tarantella theme for a larger work, a kind of sym­ spoken, open-hearted sentimentality does not hesitate to deviate from it when (a fast Italian dance) with much lively phonic variations, calling it "Rhapsody". which, while one of this composer's he deems it advantageous. activity. A broad chorale-passage, played assets, relegates him back to the by the orchestra against continuing trills Nineteenth Century, even if the work was A curious device is found in the opening Instead of the customary orchestral ex­ by the soloist, is highly impressive. of the work where the first variation is written in the 1930s. position, the concerto opens with an played, before the theme, fittingly left to impressive cadenza, reminiscent in its Pianist Arthur Rubinstein wrote in his the violins, is presented. As is the case with all the variations, the memoirs Of this work: "It has everything theme is remembered again in the Finale. style of Bach's keyboard Fantasias. Only — dash and elegance, dazzling brilliance Dazzling speed with immense difficulties Here also the "Dies irae" reappears, until, after the orchestra joins, the pianist pre­ and temperament; it is good music, too, if in the piano part dominates from the start in orchestra and piano, the conclusion is sents the first theme, taken from an exer­ of these twenty-four variations. With very effectively attained. cise in composition by Saint-Saen's stu­ not devoid of a certain banality". some slowing-down comes what has been dent, the composer Gabriel Faur6 (1845- called the "dark tinge" of Rachmaninoff, Dr. URI TOEPLITZ 1924). The development is built only on OFER TORIEL 5 5 Thursday, 22 January 1987 1987 3N13»3 22 ,T"nU>D H3P3 N"3 ,T1 DT»

ZUBIN MEHTA conductor niin EMANUEL AX ppN hmmy ILANA VERED th YEFIM BRONFMAN insjp? tna’ pianists n’jinipfl

WOLFGANG AMADEUS MOZART (1756-1791) (1791-1756) VINSin WTO JWaObil

Concerto no. 20 in d minor for piano inivah urn nra 20 'vn ivi'xnp and orchestra, K. 466 466 'p .minmbi Allegro Romanza FI^NDin Rondo: Allegro assai ’NPN ÌU>N :TTJH Emanuel Ax, pianist rmira ,ppis Pminp

SREGEI RACHMANINOFF (1873-1943) (1943-1873) ”J3P

Rhapsody on a theme by Paganini for piano nnroa'j n’wwa nvii ira nnipaNt and orchestra, op. 43 43 ’aw jrmnrti Ilana Vered, pianist imnira ,TU rahw

Intermission nppan

CHARLES CAMILLE SAINT-SAËNS (1835-1921) (1921'1835) CWP-|P b’ONf

Concerto no. 2 in g minor for piano -irovap urn birra 2 'tra iVTXitp and orchestra, op. 22 22 ’aw .minmbi Andante sostenuto ÌV1JVPÌP ni?)NTJN Allegretto scherzando njNnjZP Presto ivtrja Yefim Bronfman, pianist props n>a> (1921—1835) rawqtl (1943-1873) qipjtsnnsn "np nu’a bwa 2 'pn ivnnnip nnNJNa bp npu by nnipaNn 22 '21N ,nmaTnbi nnjpab 43 '21N .nmnrnbi nnroob ivnvpiü HVJN7JN iisNripp firpbÑ ivtns

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With President Ben-Zvi

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’h'rn ’> niN’nan inn i’no n-rtna nhvnnn-WT ny .With Prime-Minister Golda Meir and Health-Minister I. Barzilai

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pbip nu dPvii’ n«i’y wtr> ,inron ny )na a”N nronmn h"atm With his wife. Mayor of Jerusalem Teddy Kolleck and Abe Cohen, Sec'y Gen. of the IPO

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□„ran n‘>pn'»N Festive Events TI33b celebrating hw inihinh nsnn mty the Centenary of the birth of pwran Tims Arthur Rubinstein rnpna Under the Patronage Jinn □”n an .nrmn K’vi 'aa of H.E. The President of Israel, Mr. Chaim Herzog 5 4 nvnn pan ZlBIN MEHTA conductor ops Sxnnp Y\RON TAUB TO. ni>’N DANI:L GORTLER inaaiia ma» MURR\Y PERAHI A pianists

5 'vn irnmp Concert no. 4 ]Nn 'a pnna v"y niaann ba’n .a’aN'hn Tel-Aviv, The Fredric R. Mann Auditorium 1987 aNira 22 ,T"nvn nava N"a ,'n tn’ Wednesday, 21 January 1987 JOHANN SEBASTIAN BACH (1685-1750) In his Honour Concerto no. 2 in C major for two keyboards and string orchestra, S. 1061 Allegro Adagio owero largo Fuga

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rninmn nmHnrrn’aa mwbv mn Suite at the IPO Guest-House named for him

It was common practice in Bach's days to orchestra merely stresses a few of the rearrange works composed for certain melodic lines and provides soft and deli­ instruments in versions for other instru­ cate accompaniment. ments. Bach made many such' arrange­ ments of his own works and of the works The slow second movement is for the solo of other composers (mainly Vivaldi), espe­ pianos alone, without any accompani­ cially during the period when he directed ment. It is a sort of interlude with many the Telemann Collegium Musicum in Leip­ canonic imitations within each piano part zig (1729-36), where he had to present very and between the two pianos. frequent public concerts. Probably Bach himself and his sons played these concer­ The final movement is a three-voiced tos on the harpsichord, but nowadays they fugue. At first all three voices are pre­ are often played on modern pianos. sented by the first piano, then they are all played by the second piano, and only then The Concerto no. 2 in C major was does the orchestra join the proceedings. A probably originally composed by Bach for transition by the two pianos leads to the two keyboards. The orchestral part is quite reiteration of the fugue-theme, which is diminished here. now developed by soloists and orchestra, until the impressive conclusion of the The lively first movement is mainly a concerto. iwp’a roro TOTO nv’pb nror dialogue between the two soloists, who The Piano Competition named for him present all the themes, while the string ORLY TAL was adorned with a drawing by Picasso FELIX MENDELSSOHN (1809-1847) LUDWIG VAN BEETHOVEN (1770-1827) Concerto no. ling minor for piano Concerto no. 1 in C major for piano and orchestra, op. 25 and orchestra, op. 15 Molto allegro con fuoco Allegro con brio Andante Largo Presto — Molto allegro e vivace Rondo

Mendelssohn was a musician blessed with the three movements of his concerto to many talents: besides his great success each other: instead of the customary and productivity as a composer, he was complete separation, trumpets and horns also active as pianist and conductor. At play a rhythmic fanfare that forms an times he combined his talents, as he did in organic connection with the slow move­ the premiere of his first piano concerto, ment by combining it with a brief lyrical which he played with virtuosity that cadenza for piano solo. amazed his audience. The critics also stressed the orchestral effects that Men­ The slow movement is song-like in the delssohn managed to "squeeze" from the style of Mendelssohn's "Songs without piano. Words." The main theme is presented by violas and cellos before it passes to the Many listeners will remember the manner soloist. There is no sophistication, no The youthful freshness of Beethoven's stand, and offers delight similar to that in which Mendelssohn opened his most complexity of form or profound develop­ first piano concerto (which was actually obtained from the First Symphony. famous work, the violin concerto: a few ment of musical ideas — only romantic written after the second) is apparent from The slow movement has the character of a background notes in the string instru­ the extended introduction which usually and very Mendelssohnian simplicity. romance. It is removed from the vigour of ments — and the soloist makes his entry. opens a concerto prior to the entrance of the outer movements also in the choice The first piano concerto opens in the same The fanfare by the wind instruments is the soloist. This exposition is then repe­ ated by the soloist, who presents the dif­ of tonality, A-flat major. way. It is worth remembering that the repeated, forming a smooth transition to ferent themes in a soloistic manner. In classic concertos (such as Mozart's) usual­ the concluding movement, which is very this concerto the composer is already No less enjoyable are the beauty and ly open with an extended exposition of the fast music — presto, interwoven with going in his own individual way — not yet musical ideas of the last movement, a themes by the orchestra, followed by their virtuosic bravura passages. In the opening very much in spirit, as in the c minor con­ rondo. Its theme is of astonishing irregu­ reprise, with slight changes, by the soloist. movement the piano had served as harmo­ certo of two years later, but in the origi­ larity in structure, and the same witty This gave rise to the term "double exposi­ nic background to the orchestra, despite spirit is maintained throughout. Between nality of his planning. tion" that characterises the first move­ its great activity in brilliant passages and repeats of the main theme in the rondo ments of classic concertos. Beethoven (in arpeggios. Now, in the final movement, The first theme is played by the orchestra form are the episodes, which here have his piano concertos nos. 4 and 5) took a however, Mendelssohn separates the only, and the soloist enters with a new striking originality and charm. radical step and presented the solo instru­ parts of piano and orchestra by "throw­ idea. The first theme is excluded from the ment immediately at the beginning of the ing" the leading role from one to the other solo part till the cadenza. The second While the Piano Concerto No. 1 makes no first movement. Mendelssohn here — a kind of musical "ball game", which is, theme is found in the first tutti, but only great demands on the technical mastery of the performer, it is very enjoyable adopted the same procedure. after all, one of the basic ideas of the in part and disguised in a distant and throughout for its richness and good- concerto form. surprising tonality. Its full and authentic Mendelssohn's originality is evident, exposition is saved for the soloist. The humoured spirit. Dr. UR! TOEPLITZ however, in the manner in which he tied Dr. SHAI BURSTYN movement as a whole is easy to under­ 4 4 Wednesday, 21 January1987 19S7 Inwa 21 nava '□ ,'*r nl’

ZUBIN MEHTA nyni? pair conductor nsin YARONTAUB awv p-p DANIEL CORTLER ibVTP htPH MURRAY PERAHIA n'ma ■’■nsa pianists tninroa

JOHANN SEBASTIAN BACH (1685-1750) (1750'1685) "|N3 '|N‘>VVN3P JNFlt»

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■n ]ma 3n bainn ,an’ya ,]mina pnaa bv 'bniN an pnaa anw bsb .nnronaa av pa nm nnntnn The Israel rvnmnh’an PhilharmOnic Orchestra Founded in 1936 by Bronislaw Huberman inaain ahp’iina »ra rsina num Music Director: Zqbin Mehta npnp pair rbpwin brnn Festive Jubilee Season nnnnn bnrn nnp

Festive Events n>u^n own celebrating ■naab the Centenary of the birth of imbinb findfi rw Arthur Rubinstein pwran tittin Under the Patronage nwna of H.E. The President of Israel, Mr. Chaim Herzog iinn n«n in .nrinn Nn?) 'aa 4 3 Fivnn pan ZUBIN MEHTA nsin conductor 31NV in’ ALICIA DE LARtoCHA ■pviij bN’n RADU LUPU unrig «tnd pianists n’nnjpo

4 'do visnp Concert no. 3 ]NQ '1 pnna v"v rnainn ba»n ,a’aN-bn Tel-Aviv, The Fredric R. Mann Auditorium 1987 iNira 21 ,r"ovn nava 'a ,'i nr Monday, 19 January 1987 MANUEL DE FALLA (1876-1946) ROBERT SCHUMANN (1810-1856) "Nights in the Cardens of Spain'' Concerto in a minor for piano Impressions for piano and orchestra and orchestra, op. 54 Allegro affettuoso In the Gardens of Généralité Intermezzo: Andantino grazioso Far-Off Dance Allegro vivace In the Gardens of the Sierra de Cordoba

Considered the most representative com­ terious in atmosphere. The rich and col­ poser of Spanish national music, de Falla ourful orchestration plays around simple, completed this work in 1915 after return­ characteristic themes. ing from a long stay in Paris. Of his so­ journ in the French metropolis, he writes: Then there is the "Far-Off Dance"; a tune "There I spent seven unforgettable years. is heard as though from far away. It nears, Debussy, Ravel, Schmitt and Dukas were the music becomes more animated. Later my best friends.. .then I wrote my 'Nights it dies down, and, through a transitional in the Gardens of Spain' — I was so far bridge, the third part is reached without a from Spain that I made the nights prob­ break. ably still more beautiful than they are in reality". His manner of writing here is In "Sierra de Cordoba" the nocturnal similar to that of the French impression­ atmosphere changes into that of a party at ists, yet the character is truly Spanish. which there are several orchestras, To the German musical world of the early efforts, as Schumann was not yet ready to among them a gypsy band. With southern 19th century it was obvious that Robert write for large-scale symphonic ensem­ Though there is a very difficult piano part, vehemence and ardour one dance follows Schumann, a promising pianist and young bles. Only in 1841 he began to publish his it is not essentially a concerto for piano; another. This comes to an end. The music romantic composer, should shortly write symphonic works, beginning with the rather it is an orchestral piece with piano quiets down. Night is over. a piano concerto. And, indeed as early as First Symphony ("Spring"). In the 14 obbligato. The three movements picture in 1827 there are in the 17-years-old com­ intervening years Schumann had culti­ three different gardens. poser's notebook sketches for an e-minor vated both his individual musical style concerto, and later, when he studied at and his friendship with pianist Clara The first is "Generalife", a garden on a Heidelberg, there are sketches in f-minor. Wieck, his future wife. hill in Granada, Arabian in type and mys­ Dr. URI TOEPLITZ These abandoned attempts were unripe (Continued next page) SCHUMANN: Piano concerto (Continued from previous page) SERCEI RACHMANINOFF (1873-1943) Concerto no. 2 in c minor for piano By 1840 Schumann had published all his The second movement, andantino piano-solo works (except the concerto of grazioso, is indeed an intermezzo. A and orchestra, op. 18 course), including the famous cycles short-, delicate rhythmic motif, taken from "Papillons", "Carnaval", "Kinderscenen", the second measure of the "arch-motif" Allegro moderato "Kreisleriana”, etc. These faithrully of the first movement, creates an atmo­ Adagio sostenuto reflected his split personality, the storm sphere reminiscent of Schumann's works Allegro scherzando and tenderness that imbued him simul­ for piano-solo. The orchestration is inti­ taneously, and the psychic disturbances mate and often joins the piano in that were the demonic melting-pot of his polyphonic texture. In the concluding special musical style. The ideas for a measures the wind instruments play the piano concerto were not, however, neg­ beginning of the "arch-motif", arousing lected, and from time to time they appear with the aid of piano-chords a feeling of in his letters and notebooks. In 1839 he expectation for the outburst of the festive wrote to Clara: "... (The concerto) will majoric theme of the allegro vivace. be a blend of symphony, concerto and grand-sonata. I am incapable of writing a This third movement is rich in melodic concerto for virtuosi ..." invention and colourful alternations of keys. The presentation of the theme with But six more years were to pass before one of its pianistic variants is immediately the concerto was published. The first followed by one of Schumann's famous movement was completed in 1841 as an compositional techniques — "rhythm independent work called "Concert- released from the chains of measured Fantasia in a minor". The two additional beat": on the base of an extant rhythmic movements were later written as "Andan- beat Schumann builds a new rhythmic tino" and "Rondo". Clara Wieck- motif by unconventional use of emphases Schumann played the concerto at its and rests. This compositional technique is premiere in Dresden in December 1845, only part of the bravura that Schumann and she was the soloist also in subse­ displays in a brilliant pianistic-orchestral quent performances in Leipzig, Vienna moto perpetuo, which is halted only by and Prague. The final version was set by the chords that conclude the concerto. Schumann shortly thereafter, before its publication in print. After Schumann's tragic death in 1856 Clara Schumann requested their friend, The three movements are built on a single famed violinist Joseph Joachim, to rewrite musical idea. This is fully expressed in the the third movement. This request stem­ "arch-motif" of the first movement, and med from Clara's sensitivity, especially partly in variants as the motifs of the sec­ after her husband's death, to criticism ond and third movements. This motivic voiced by many against Schumann's unity endows the concerto with con­ apparent lack of virtuosity, complaints tinuity throughout, and enables that were frequent even in his lifetime, Schumann to display the many facets of and that are without any justification. his compositional ability by giving it dif­ Joachim refused, and thus enabled suc­ ferent treatment in each movement. ceeding generations to enjoy this musical pearl as it had flowed from Schumann's The first movement, allegro affettuoso, is inspiration. Schumann's works abound not entirely free of its origin in the with technical pianistic challenges that are fantasia-form. Schumann treats with free­ hidden behind seemingly innocent dom the relations between piano and melodic passages. In some places he even orchestra, the reversals of the theme, the ignored and transcended the limitation of When listening to Rachmaninoff's Second maninoff's mastery, in a conservative rhapsodic transition-passages and the the span of two hands on the keyboard. Piano Concerto, one would hardly believe manner, of the problems of large form. solo-quotations by orchestral instru­ In a period of much virtuosic display for that, before writing this work and his ments. This freedom eliminates from the its own sake and of sham brilliance, equally successful Second Symphony, the Little wonder that this concerto, per­ movement the feeling of a "formal" con­ Schumann wisely used technical complex­ composer went through a mental crisis formed by the composer with incompar­ certo. The pianistic technique — from the ities as means for the expression of brought about by doubt of his gift for able virtuosity, became a "hit" in its day. dramatic opening to the polyphonic romantic music, shunning cheap show- composition. It still remains one in the hands of every cadenza and the concluding allegro molto offish "fireworks". piano virtuoso of today. — does not deter the musical flow by One is impressed here by the easy flow of different feelings — simple and gran­ bravura passages, but endows it with con­ tinuous internal brilliance. ZMIRA LUTZKY diose, heroic and tender — and by Rach- Dr. URI TOEPLITZ 3 Monday, 19 January 1987 3 1987 taira 19 ,i"nvn n3V3 n"> /3 nr

ZUBIN MEHTA nvnp par conductor ALICIA DE LARROCHA n'siiNb rn RADU LUPU laih TTNT pianists

MANUEL DE FALLA (1876-1946) (1946'1876) n^NÙTlT

"Nights in the Gardens of Spain", "two mh’h" Impressions for piano and orchestra minrnhi uwob rrnvn In the Gardens of Generalife ng’hNTJD ’»a Far-Off Dance pimnb vnvi -npn In the Gardens of the Sierra de Cordoba rarnipTTj m.«pn Alicia De Larrocha, pianist n*nnwa ,Fl'^ilNh FR FRtrbN

ROBERT SCHUMANN (1810-1856) (1856'1810) V1311

Concerto in a minor for piano TOrt 7>rn nh-3 1VT2111F and orchestra, op. 54 54 'aw jrnnmbi Allegro affettuoso ihNivaK Intermezzo: Andantino grazioso ifi’SHis iruiH-ny tàgipm Allegro vivace H'JJNiri pianist Radu Lupu, pnipfl HNT

Intermission npnan

SERGEI RACHMANINOFF (1873-1943) (1943-1873) qirjnni "jnp Concerto no. 2 in c minor for piano ■m>n ira 2 'no TOTsnp and orchestra, op. 18 is 'aw .rmnrnhi imvah Allegro moderato iVNTjin Adagio sostenuto ivrppip i'INTN Allegro scherzando tnmngn na>N Alicia De Larrocha, pianist rrnntpa n*r (1943-1873) aii’içm ’’Jip (□■npn *nn]n ipdh) uwa? ivTxnp :]ndiv irnos1? nnn ima 2 'vn ivi’jnip 18 'aix .nmnrnbi ivxijin ri^is ivn^piü i'ïs’iis ]3x xin .iiP^xni ii’vixnix ,npn pian l’iipp nxi ’iP’xn ’bxp’Dinn m»t> nx ’nn’i a’vin niyxnxa .iops »ixpnpnx .7’nyb m”yi ,p’ii mxbp n’nnroan ny bp nnpn na’nnn mpbn ,]7iyni ixp ]xmp nyp ,ppxnn pnaap "axrra’vin" bv> imii’X’ bs nx ixi 1840 mvb iy .iViü inJDab l’mi’X’ nx ni’srhn mmx ,ivi'2npb yinn) ibin inanob ]xmv abnpni »nwx xin ni pnaa mnmn n’iunnn nx bbis ni bia’ .(pins nnp’ia minan i’pan ny nm’yb nnnn" ,"banxp" ."nnaia" n’ntmann pian bp niJinnxn marna .mbip-an "n”jian’p nni’vx" /’nix’ibn’ip" ,"n’7b’ nbrnn nx na’Pim’bs D’ympn -xi nxiaa im nbx nn’i’ .7iyi 7iyi nmya ,mi2i’i ynm "axn-a’vin" qiibi iynb .nbxiann ini’V’xb nin n’S’x- ni’iix »mimnan np’nnipxn îmw u>ain"’i?abbi n’aiai’ya ia ivn’w iubisn bp mnn ’rnnxnn xpun nx’iab ’bxp’üinn mnDb nin’7 -pnm 112 .n'ifxnn nanii nams bp n naipna .7ni’nn xim ivi'snpn pyi nini xb ininab ni’iib’n nixanxa yswn nr ’P’bp pía .l’mn’vi ’ppisai l’ansna nya-mn nbyi mxb i”n .nniyax n’nbm-pa naibnnai mixbpb ]xmv ans 1839 mpa D’vix’ixrin mx ny xpnn nmm bp n”xba-p nm’ [îui'^iipn]..." nnx nnaa içw î’xn ,ibp n’mmnan ’nx .nvxiiP'iiNiii îvi'mip .nnian’P - ibvp ninmiann nmbnn mp’isvn "...n’iixiPi’nb îvi'snp ainob bnon nnyan ’basn mnipnn oinmin" nn”p n’nn’~ nnya orna by ¡"mnamn xyp ay ninmn nnp pp aiy nay nbix pimpa vin ’nmn a’vin ]xnip roía nbpin ppxm pian .nxb ivTxnpn npnsv .nipnanai ninyvna pini ’nba npa n’xn^y m’ira 184 Ta mnxnan ]n nspn pi x’n n nninmanip np in’ ."nii’n nb-a n’pxpixa-pisnp" -nimva ixivana'ivina ]xnip paanp ninpa inn inixn inbpin n’pisn n’nipxa pi nxyjn ,p’ian mninin mxbp ."Î7jin"-i "ii’vixiix" D’unin .ivrimpn bp mn”nnn nynpna îvTjmpn nx nnn ixnip-p'ii nnmi 1845 lansia nma' misan ,1856 mpa iiÿnip bp nxnvn min ’inx bp misan ’ynna an’ bsa m nnbipn bnm iisn ,tn’i’b ]xmp mxbp nma ’aipn nnnn .ixiai nnn ,i’xa«ba mi’X’n nx pann ains’P nppaa ,msxP qm» isp ]ni ixmp ’i’-by yapi ivi’ïjipn bp namn .ivi'xnpn bp ’P’bpn pian .piaib inxanb qmp ,pn inxb nam nnipnn nnm u nbnn »nba nppab ,nbya nin mxb nn”a pxnip mxbp bp ’bxp’Pin p’yi îvTSJipn ’pía npibpb loin pía îynpmp nià’inn nnip’ab xbn nv’a n’b xa ni ]i’yn .anx ninbn .m’^rn bp ,bis’as mviixivinin pixai ,]ipxm pian bp ’'axn-a’vin"a □«nximni iir’i l’pip’i bip minnn by bp D’a’vina n’y’ainn D’vix’ixna ’pbn bp i”na iiy ’inb nm’SP im wran n n’a’vin nnnx .’P’bpni npn pian msxP .npixn bs xbb tx lasi ,]xnip ni’spnm nin’bp îvi’snpb npnyn npa’x qsai ,ivi'2iipa nyib qinab ai’P ,]xmpb mpaxni mnnn n’bxp’Pin mpa by nynnb n’xan niiiib m ,n’pian ]n inx bsa niip bia’v n’-by mxnpn nnipnn nyaip ’as n mbxp’Din .n’iiv’nanipn inbis’ rimim nx pianb nip-ni ixmp bp rnnnr qi^nip bp D’xannnn D’mmva mnsv n’i:ini!sa pnn xb - iTixiugx iubx - ppxm pian mnipna .D’n’nn n”iib’n nnayn mnxn IXnip .n’pxvixan nnwn ixirinn puibnb ns 7y nsb ]xmp p’nm n’n”inn pa D’pnm nsiyna ni’paina bavn -nnnn iv inv’bp msm .nmxbiaiab mmb ,2 'on »DPiiann nrwpab wi'smpb pixnn mp bp ni’ü’an nibaana niapnnn-’x ’yvpa ,xpnn nisianna .niinmb minan .nannn man ni’yaa - ’rw noua - nu ,nannn ’3 pnxnb nppn’ - aimpm bp nap naipna .mbp’nn by ni’Piix n”7’ bp ibipn ’P-iP’xai nmipaxin naynn mnpn nman’pn nxi mwn nx ans dto piai nnpb ninixivin bv> niyamn iai pian ]n nbv» n ni'paim ,minmn-’bs n»-by pnp ’sa ,m ivi'inipp xba” xb ’pai napna pm nm - nxna nnbmnn ,ibp nia37ina ipnnvnb ]xnw b’aipn «q’iin npnspn .’bxmia ivTsnp bp npinn bs xb yuan mpp ]aixa - insy nip’nampn .nnnnampb pnpsa inn xb ’s ia>ba nmai ’73 qin ’mxnii-’bp’oin ’ysnxas nnavn iy nmnxmn nnman jn - nnnnipan npyn pixnb uiy yap pnyn - nby nby .nbir nwmixm myinm nninn ivbin iubxni nnia’bian nypxpb iv nui pi iD’vnxnpn nbix ninsnb "inpn" bs bp b’bpn qvpn in npnnn pixnn «xanax mm nx nixiy nnx - pian nx .rixivin pnipa bs n’a mm -Tiym D”xii’n ,majpn mvipa ,nipan n’n npnyn xbx ,mnxna ’iayna ’bxp’pinn Y’bap niN T'7 un ninmyp nnnan bp nxxnxn npiyn ,nn ’p^ib ni’nr .’i’nn ’nna pía ib (1856-1810) iNfflv irían (1946-1876) nbNa-m bxiin inipab imo nb-a ivTsrip ,"TW ’M3 Dlb’b" 54 'din mnombi miornbi inipab o’nyï

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3 'pn vixnp Concert no. 2 ]Nn '7 pnna v"v niamn >a’n ,a’3NPn Tel-Aviv, The Fredric R. Mann Auditorium 1987 mwa 19 ,T"npn riava m /a nr Sunday, 18 January 1987 WOLFGANG AMADEUS MOZART (1756-1791)

Concerto in F major for three pianos and orchestra, K. 242

Allegro Adagio Rondo: Tempo di minuetto

Mozart's only concerto for three pianos of game, with the "ball" passing from one (no. 7 of all his piano concertos) was to another with great rapidity: one may written in Salzburg in February 1776 for the start playing a theme, which would be Countess Antonia Lodron, sister of his finished by another, they may exchange employer at that time, the Archbishop the roles of playing melody and accom­ Colloredo of Salzburg, and for her two paniment, and they may interrupt each sisters. These three ladies were apparently other at times. Mozart's pupils at the time, and obviously one was less talented than the others: this The second movement is slow, emotional is evident in the (relative) easiness of the (but never sentimental), with an atmos­ part of the third piano, and from the fact phere of easygoing, relaxed majesty. The that Mozart appended to the score his texture of the three pianos is here en­ own arrangement for two pianos, which is riched with internal contrasts in the not different in all essentials from the orchestral accompaniment: oboes and original three-pianos version. horns play "against" strings and pianos. This movement, like the preceding one, The concerto is written in the "gallant" includes a lush cadenza, composed by style, typical of Mozart's works in that Mozart himself. period. It is a light concerto, with much humour (especially in the fast outer move­ The concluding Rondo has an uncoven- ments). Obviously Mozart enjoyed writing tional tempo marking. Tempo di minuetto. it, intending it for the pure enjoyment of The movement is, indeed, dance-like and players and listeners. charming in its mood.The theme is intro­ duced by pianos 1 and 2 before the The first movement is in the customary orchestra joins the proceedings. Herafter sonata-allegro form, and its mood is lively it is the three pianos that stand out, with and sweeping. The first theme is energetic the orchestra relegated to modest accom­ and rhythmic, and the second, contrast­ paniment, wtih occasional brief orchestral ing, theme is very lilting and song-like. passages. Between the three soloists evolves a sort ORLY TAL FREDERIC CHOPIN (1810-1849) LUDWIG VAN BEETHOVEN (1Z70-1827) Concerto no.1 in e minor for piano Concerto no.4 in G major for piano and orchestra, op. 11 and orchestra, op. 58 Allegro maestoso Allegro moderato Romanze: Larghetto Andante con moto Rondo: Vivace Rondo: Vivace

Each hearing of Beethoven's fourth piano with ease, and contemporary perfor­ concerto is, in fact, the renewal of one's mances cannot be so very different from acquaintance with Beethoven the pianist, those of 1805-6. The fourth concerto pre­ or rather the "pianist terrible" (in the sents Beethoven's smiling and relaxed (a sense of "enfant terrible") of Vienna at rarity) aspect. the end of the 18th century. Within the brilliant (if at times superficial) company The uniqueness of this concerto is obvi­ of pianists such as Wolffle, Steibelt, ous from its first notes, from the soloistic Kozeluch, Dussek et al., Beethoven statement of the piano, with the orchestra towered as a titan. As in many areas, silently waiting until the piano finishes its Beethoven was way ahead of his times as say softly and calmly. Only then enters a pianist, too. His playing held such the orchestra, presenting themes and mighty power, personality and emotional sub-themes, effortlessly flowing from impact, as had never been heard before. each other, as though it were the most In fact, he could be classified as the first natural process. Actually the entire con­ romantic pianist, the first who dared to certo is characterized by relaxed easy flow break all rules for the sake of strong in pianistic technique, idyllic harmony expressivity, the first who thought in (even in the dramatic passages) between orchestral terms and produced from the piano and orchestra, and the restrained piano an orchestral sound. In that sense optimistic character of its key (G major) there was no pianist like him until Liszt. and the adjoining minoric relatives. Here piano and orchestra belong to "the same In 1792 Beethoven's pianism broke over side", rather than the idea of "soloist ver­ Chopin's first piano concerto is, in fact, a orchestral introduction, is the longest and Vienna as a thunderstorm, and amazed sus orchestra", as in the classic concerto­ work for piano solo. The pianistic mono­ the most complex of the three move­ his audiences. Not because Beethoven form. This may be the reason why the logue does have an orchestral back­ ments. From the solemn 'minoric theme was a great virtuoso, but because his play­ concerto is introvert, intimate, and com­ ground, and the first movement has a Chopin develops lyrical offsprings, ing was so sweeping, driving relentlessly plete to its finest details. lenghty introduction, but, with these melodic and rhythmic variants, with great profundity. In contrast with exceptions, the rich solo texture often ornamented with delicate arabesques and such playing all other pianists of the time All these characteristics are also found in turns the "discreet" intervention of the virtuosic display. The unceasing sonic sounded like mere chatterboxes. Vienna, the second movement. Here the orchestra into a "superfluous" thing. downpour at times threatens the delicate accustomed to Mozartian polish, was con­ orchestra puts dramatic questions against melodic texture. fronted with a striking, roughly hewn quiet lyrical answers by the piano. This is Twenty year old Chopin knew little of the phenomenon. According to extant docu­ a dialogue with dynamic ascents and des­ concerto-form. His model was not This disappears entirely in the second ments, Beethoven's highly personal pian­ cents of both participants. This brief Mozart, but Hummel and another con­ movement,, the "pearl" of the concerto. ism, full of rubatos and accelerandos dialogue of piano and orchestra serves as temporary virtuoso, Kalkbrenner. This, In (almost) Mozartian simplicity and lyri­ and dynamic outbursts, — would prob­ a jumping board to the third movement. and Chopin's limited knowledgeability in cal delicacy, Chopin presents a broad ably not be accepted today. Our ears, orchestration, caused him to write a con­ pianistic nocturno with minimal orches­ accustomed to carefully accurate and bal­ The third movement interrupts the pianis­ certo for piano with orchestral accompan­ tral accompaniment. anced (at times ad absurdum) perfor­ simo with restrained joy. The cycle of iment, wherein the balance of the two mances, would consider Beethoven's themes and sub-themes, sonic waterfalls, elements is disturbed in favour of the The charmed atmosphere of that move­ playing an absolute anarchy. Similarly ornaments and breathtaking runs with solo instrument. In 1830 Chopin first per­ ment disperses, as Chopin introduces the Beethoven, could he hear some of today's many mini-cadenzas — leads piano and formed it for an excited and admiring jumpy theme of the rondo, that takes us best-known "Beethoven interpreters", orchestra together to the chords that Warsaw audience, and three years later it into the realm of pianistic bravura and vir­ would probably consider them dry, conclude the work. appeared in print. tuosic brilliance. unmusical and sorely lacking expression.

The majestic first movement, with its Despite this it would seem that, even in expressive minoric theme and extended ZMIRA LUTZKY his time, the piano concerto no. 4 flowed ZMIRA LUTZKY 2 Sunday, 18 January 1987 2 1987 iNira 18 ,i"nvn nava r"’ /n nr

ZUBIN MEHTA fivhe pair conductor nsin EMANUEL AX PpN hNlinjl YEFIM BRONFMAN inania ARIEVARDI mi mN PNINA SALZMAN lnbsrnnia RADU LUPU 121b HN1 pianists nmniva

WOLFGANG AMADEUS MOZART (1756-1791) (1791'1756) VINXin VlNnMON J1NJ2SÍ1 Concerto in F major for three pianos tn-mroa rroibvS -n'wn na-a ivrsnip and orchestra, K. 242 242 'p .minrnpi Allegro 11J>N Adagio i'JNTN Rondo: Tempo di minuetto ivNnn n :iini Emanuel Ax, Yefim Bronfman, Arie Vardi, pianists trnnwa ,rm TPiN ,inarm ,vpis bNiinp

FREDERIC CHOPIN (1810-1849) (1849’1810) iaiv pnna

Concerto no. 1 in e minor for piano ■mjpaS nm ’ö-3 i 'vn lVTxnp and orchestra, op. 11 ii 'aw .rnrambi Allegro maestoso irivoNn iu>N Romanze: Larghetto ivjiNh :!WNnil Rondo: Vivace n'SNiri -inii Pnina Salzman, pianist n’nnipa ,113x51 ni'33

LUDWIG VAN BEETHOVEN (1770-1827) (1827-1770) pinva ]ni 3’imb

Concerto no. 4 in G major for piano anipaS mm 5w-3 4 ’cn lvi'xnp and orchestra, op. 58 58 'aw ,rninin5i Allegro moderato ivtrnn iu>N Andante con moto ivin lip npiNiiN Rondo: Vivace H'XNini :illil Radu Lupu, pianist liniva ,12-19 HNT (1827-1770) pÌHV3 INI PITI* (1849-1810) 13W pn-na nmvab ni’iNn birra 4 'vn ivnpnp nnianb mrn ’nn i 'vn iviPnp 58 'oin .nmnmbi 11 'aiN .nmnmbi ÌTÌWN!0 inabN iviSTpn inibs ivinisb -njnisnn ivin ìip npiNiiN n’^Nim :inn a’SNl’l :nni

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n«nn D’ini’N Festive Events 7133^ celebrating bv imbinb findh nny the Centenary of the birth of •pvuwan twin Arthur Rubinstein mvna Under the Patronage min D»n in ,ninna n*vi '33 of H.E. The President of Israel, Mr. Chaim Herzog 2 1 nvnn pin ZUBIN MEHTA nan conductor npis htwnj> MAURIZIO POLLINI inaiina D’aj mi fpin in^ai runa iai> HNi

2 'DÎD Concert no. 1 isn '1 p’Tna v"P maina ba’a ,3’3N^ Tel-Aviv, The Fredric R. Mann Auditorium 1987 iNira 18 ,T"myn navn t"’ /* D1 Saturday, 17 January 1987 d'tipî WOLFGANG AMADEUS MOZART (1756-1791) Youth Overture to “The Marriage of Figaro", K. 492

IX BSSTSOVSW-eAAl.

Rrthur Rubinstein

'S„S^Xn,T

The forms and contents of overtures to soon may be mentioned, or the modula­ operas have changed in the course of tion preceding the second theme, which time. The overture usually included parts leads into far away regions to end in the of the opera. In his second and third usual "dominante". “Leonore" Overtures, Beethoven even presented a kind of symphonic poem. All these ideas notwithstanding, the over­ Unique among all overtures is that short, sparkling, brilliant piece of music which is lie general wish of the composer to make Mozart's overture to his opera “Le Nozze this opera as concentrated as possible. It di Figaro". In the briefest space, and has the effect of a glass of champagne, without any thematical connection to the after its aim has been achieved by the opera which follows, the listener is intro­ sparkling drink. duced to follies which are about to hap­ pen in the course of one day. It might be interesting to mention, as a curiosity, that this overture originally had This overture abounds not only in the a slow middle-section, 6/8 in the minor, number of surprising occurrences but in a like that in the overture to "Seraglio". rich variety of themes, in addition to the This was torn out of the score by Mozart, two official ones, which are included as apparently before its first performance, usual. We would look in vain for a and then disappeared. For Mozart this development, but the coda, the conclud­ was a rare change, as he usually had his ing section, is somewhat longer. The first works completely worked out in his mind surprise comes with the very first theme before he started to write them down. and is its lack of symmetry. It contains seven measures instead of the customary This was surely for the best, as far as a eight, and if one tries to achieve sym­ prelude to an opera is concerned. metry by singing the first measure twice, Nevertheless, it is a pity that we cannot one perceives at once what makes a hear it complete, just once, in the concert genius. It would be difficult to name all hall. the many features present in this turbul­ 1906 ,3"m«3 îwtnn iron ent overture. The importance of the bas­ First US tour, 1906 A Spanish publicity leaflet, 1916 Dr. URI TOEPLITZ LUDWIG VAN BEETHOVEN (1770-1827) JOHANNES BRAHMS (1833-1897) Concerto no. 3 in c minor Concerto No. 2 in B-flat major for piano and orchestra, op. 37 for piano and orchestra, op. 83 Allegro non troppo Allegro appassionato Allegro con brio Andante Largo Allegretto grazioso Rondo: Allegro This concerto was composed by Brahms tered the full piano sound, which matches between his second and third sympho­ the large orchestra used. The highlight of nies, the Requiem had already been writ­ the movement is probably the recapitula­ ten, as had the violin concerto. He had tion, when the theme is heard again in the found his place musically, attained his horns, seemingly from far away. position in life, and his works showed the hand of a sovereign master. The scherzo shows full’symphonic con- uasts, unlike the conciliated contrasts in The second piano concerto has four move­ the first movement. The piano opens the Beethoven wrote his first piano concerto Mozart carried the piano concerto to its ments, like a symphony. There is a scherzo of considerable importance, standing out movement in a stormy d minor key which in 1794-5, his second in 1797-8 and the highest perfection. In his 3rd concerto had been foreshadowed in the first move­ Beethoven transcends the limits set by among the other movements and contri­ third in 1800. Only few years separate the ment. A second theme, hesitant and quiet, buting to the symphonic extent of the 2nd from the 3rd, but the musical differ­ Mozart. It seems that he wished to write leads to a true opposite of the first theme: work. But its contents are more akin to the ence between them is enormous. In the symphonic music for the piano, rather a kind of triumphant trio in D major. These language of chamber music (except for the 3rd concerto the exposition, the orchestral than a typical concerto. There is no trace three moods form the second movement. scherzo), a very personal language, at part that presents the main theme, is vastly of the gallant virtuosity that is not directly times even approaching that of the "Lied" extended. It had been a synopsis of things derived from the musical material and its An entirely new character is introduced in This is evident in the slow movement to come. Now it became almost an inde­ developmental potential. the warm affection of the third movement, when a cello solo passage quotes from which does not make use of the strong pendent piece. one of Brahms's own songs, which becom­ The tonality of the second movement, E trumpets and kettledrums. It is written in es the main theme. Indeed, the feelings The main theme itself heralds a new, more major, is also a break with tradition, an the main key of the work, which is a rather expressed in the work are of a rather more dramatic, approach. It is not in itself a attempt to broaden the tonal relationship. intimate nature than those of a symphony, rare occurrence. Typically for a romantic The theme of this movement is profoundly work, the serenity is soon interrupted by model of melodic invention. Beethoven and the latter's formal structure is spiritual and expressive, without being a the piano, which excitedly dramatizes the takes the basic chord of the work's tonal­ loosened by the piano part, which often "beautiful melody". Beethoven was aware opening of the song quoted in the begin­ ity, c minor, and separates its compo­ sounds like an improvisation. The concer­ of the distinction between himself and ning. This musical necessity paves the way nents: c — e-flat — g. He then fills the to conveys an impression of listening to conservative composers, and sought to for the marvellous serenity of following space between g until he returns to c, and what Brahms must have had on his mind as emphasise this by referring to himself not dialogue between the piano and the clar­ concludes with an (unimaginative) repeat he played its first performances. Yet there as a "composer" but as a "tone-poet" inets. The movement continues in of g _ C/ g _ c. That is all. An almost is, Brahms the craftsman, here with a rare ("Tondichter"). This is a most meaningful smoothness and sheer beauty, raising the ridiculously simple invention. But it con­ ease of flow, and a budding phantasy. tains a revolutionay innovation: it carries distinction. Indeed, only a poet could question of what a last movement could add to top this effect. within it great dramatic-musical energy have written this theme. All this is apparent from the very begin­ that is the moving force behind the entire ning of the first movement. The first The concluding movement shows the true movement. Beethoven used the same The concluding Rondo returns to some of theme introduced by unaccompanied greatness of Brahms: it is not a crowning approach in his "Eroica" and the opening the characteristics of the first movement: norn, leads to a basically happy mood, climax to the preceding, but an entirely of the Fifth Symphony. Indeed, there is a the sound is broader, both in the orches­ with occasional dark and stormy sounds. different movement, which Sir Donald connection between these works, espe­ tra and the piano (especially in its use of As piano arpeggios comment on the Tovey called "a great and childlike finale". cially the concerto and the "Eroica": the the lower register). theme of the highly original opening, the It is a playful rondo in the spirit of Haydn. concerto, of 1800, concludes the compo­ piano embarks on a stormier solo passage There is a richness of invented themes ser's first period and introduces the The c minor piano concerto (no. 3) is which then leads to the proper tutti. Thé which are related to each other. Thé second. (This division into creative related to its two predecessors, as the orchestra sails into remote regions of d continuously happy mood is sprinkled "Eroica" is to the preceding symphonies. minor, being recalled to order by some periods — arbitrary and unconscious with some elements of Hungarian dances, Since all of these works are familiar to the strong piano chords. Thus the tone is set though it is — aids in following the playful yet genuinely Brahms. Again it listener, it is easy to compare them to each tor the first movement in a way which is composer's development.) His second conjures up the vision of Brahms himself, period, starting with the "Eroica", displays other and observe the differences, thus novel, even after Beethoven had seemigly acquiring stylistic perspectives that afford exhausted the novelties in opening a con­ expressing with his strong and heavy the full mighty drive of the Beethoven- hands the most transparent tenderness. style, as we know it from his 3rd to his 8th more profound listening. certo. Pastoral and stormy episodes fol- Dr. SHAI BURSTYN •ow, showing how well Brahms had mas­ symphonies. Dr. URI TOEPLITZ 1987 ibnra i7,rowi navn t"v Saturday, 17 January 1987

ZUBIN MEHTA nuns pan conductor niin MAURIZIO POLLINI ’rbia i’xniND pianist Tirin>a

WOLFGANG AMADEUS MOZART (1756-1791) (1791'1756) VINXin JlNJDbil

Overture to nn’nan "The Marriage of Figaro", K. 492 492 '¡7 /'TlNJ’a 'NlVJ"b

LUDWIG VAN BEETHOVEN (1770-1827) (1827'1770) piHV3 )N1 5’THÙ

Concerto no. 3 in c minor for piano inivab -rara rrs 3 'tra luTsnp and orchestra, op. 37 37 'aw .mratnbi Allegro con brio ina lip iu>N imsb Largo Rondo: Allegro i-n>N :ÌUÌ7

Intermission npvan

JOHANNES BRAHMS (1833-1897) (1897'1833) VnnN-13 VJNHt»

Concerto no. 2 in B-flat major for piano nnivob nnun bran ra-3 2 'tra ivramp and orchestra, op. 83 83 ’aw .mrarnbi Allegro non troppo iainv lit iu^ts Allegro appassionato iWWPPNSB ÌU>N Andante npjNijR Allegretto grazioso iri’XNu iirji^N (1827-1770) pÌnV3 |N1 J’inP (1897-1833) tinnirla viNnv inapab nmn ira 3 'nn ivn'snp iprd bina ’va 2 'vn ivn'mip 37 'aiR .nninrnbi 83 'aiR pmninbi nnmab ina pp inibN isinv lii rn^N iiiRb ÌPNJPW9N ÌU$N i-nbR :ipiin ‘ nvwnN ivu’bR

mnan fin bbiv q’binb u’npb ina vanRia l'raN ,nwrn R>nv ima ,pvRin pnab ,nbiab nam pi .ania n’nv nn’X’n ’aib b3 hn nniRab nrn naa pinvaw ’nnR bna ivn’Siip" nana Rinv ,nanna naipna .toi’W nn’na ’a* mrnn nimvaR nNnv iivRnn ."pini nxp ìsnpv 0» nnipab nny niRa nimmii ni’bRiivvRD nninsR ni-va RbR ’RP’Pin mn Rbmiv’vnRsn tir DOTNia a’v’n nna TP nrrnbni pm’Pb ,nnJvan bv ibibpn Ribn bu vbnvnb mm .ninb’a nrnR’n uva up-nan nvnnn nmn nn nRnp Rin Pi’na vanRia vampa Rinv nbnin nmamn nR nsinn mRbpn ivi'snpn nR R’an virato na’n nnmab ibv pvRin ìvi'xnpn nR nv fir mb ni miv’n nt ’inR .urd pmana ìR’vb ,nanna ,pin pian ird na ■»v’bvn ivn'xnpa .ibiba’V R’v1* ? nnmab ,1797/8‘a nvn nR ,1794/5 unva pinva .papi vanRia riRn nnmab mvinnipn ib’RD «ninpa Rvun vnvi aiv ivrd .diruto unnv nnipnb nayn pinna ivi* .i8oo-a - ’v’bvn ivn'xnpn nR ib’Ri nnnan pav vn’a Rin un’i’a vn’n ’a ,pasa nama nnn Rb imvn npmv nmi ’V’bvm nvn ivi'snpn pav mnnb .apuana .n-mab np’Pin ma’n RbR ,nnipab ivTsnp biann viba’ ,naba nivmn D’iv nn’ian .n’ia’xna nnb piRnn bab Dnma ’pmn Ni'pna u’man’vn umrin un rudi mnp.va lai uiv pr .inma mannvna nmanm nnvn nmaamn pa anai ìvTxnpn nR ird pinva a’nnn ’v’bvn ìvi'siipa p-iaaw D’nnvan umana Rbv ,umann ni’RV mniRivimbi mviRbRi np’pinb nR tr ara naa pnnRia .mv’bvm ’nnnrnn vvpn - (nmniapR) mmnn m ubiva pian nR nma nnman .pvRin ’bp’Pinn nmnnn w RSi’-byia tir rnd iaai ima1? ivn'inipn nRi UR’iipnn ima .pvRin pian ’rvh hr mm nnian ìwNin pnaa l’bv mmi naav ,nvvi nwn .ibv ninmn-nivmm n»na mnn ù vani ri’bp’Pinn ìan ,Riab inmn bv n’^pn pvn n nn’n ir ipv ìri’DR ima bR l’bin -vpvi nvvn ,'w rvv >Rnsy inR-an unab ’□ nmvn nbR nnnnn .’Rnsv wna ’aiR m^’PappRn pa nvab .n-jNn m-a mnxi i’iv pva tpvRin RViib - ni'iRn ’n - ’V’Rn pian bv ni’bRiivn .ìbvn nva-pn ’jya .’PRbpn uniivpnn nano nmn R’n di tin misi’ nbR minia nn-'abn nm bivn dr a’nnnb pnmn pinva ,nvin nvn ntpn insva ’VRin Rvnn ,’ivn pian ina ,n»pna nyaiR 2 'pn inipab ivn'xnpb pinab - ird un .ni’bRPvn ni’ipn”nnn np’Pina vmn Rin vdiri ,nni’ munii ,nia’vn bva impp ia w .nnian’Pb "’imi" - pian rvd .nimm mipnb navn inxpbva rih pr .pinva bw nmampn pnaa uipp rivai1? pvibnb vin ’aiR nap’nb unni D’pnan irv pan vbannn bia’ mR Dna Diva ir .nvampinin iRn nR npb pinva .miib’nn nR^nnn iRa pxi ,uyin mn’nn vaivn ,’V’bvn anp nana DbiR .nvs’n >v man’pn mn ìainua ."na’ ni’iin"a p’awn nvnb ,ivn'2iipn bv ni’bRiivn bv mp’n mipRn nnannm ni’ibipn nnxpnn ìa mannvn bina-’n - il ma’ainb miR pi’ai ,nmn n yin) nnnRpn np’Pinn bR ani1 ivTSilpn pab np’Pinb inv’i pa ’inpyn nivb min mpn nn pi’Pn bv nannn ubiva ama Ria nanpnni ,iRn nWR mvbi (imppn in :drt vmnb nm qRi ,nni’ ninnnv nivn pa bbnn dr Rb’m in’ pn nnRb .biv - main ,n’viRam ni’Pb m’aiRa .noc ini p-iaa nan ni aaa ."nb"n pwbb ib>aR umyb nniVD" RbR ,"pnbn" msyb Rip Rb Rin vavnn nR d”pi ,irb aiv mnn nv biv w rsnn .inivan ma nnna in mibvn ,ii - biv :p’ni nnvn nnxvbva - mina inRn ,ibip nvpa .ih'arn vvsn uv pv’Rn nan ninaR ’hit .Tondichter - "D’b’bm ny vpna nviva nR^nn .ban ni .in - biv wixv ,i’vn nn’na tin wu ’vrurii Rvnn n’vvin nw’X - pnnRia bv imvn mn bia’ nvn pnab Rvnn nR .nmnvn inn fin bbiv ni ’bp’vin mia .nbnnna vmn pnv ni nnia vavna ir .qinn mb >bna Dn u ninna myainn nivnn .’VRin .u’b’bsa nmvn pn nanb hninnn n’vnn bv nRbainn nnbvb h’tdr lai’pa npR Rin maann nia’nni nman’pa ivRn inv to’WR ’aiR rpvin man .mnmbpb nnman pa qa-inR m’a’RV mnan aiv nivbia n”pnn mina pr pini bman m pan n’bp’vin-mvnm bva ,ini’ qan nvm (nisn’pn) nnnn nN minai ,pav Ninnai Rnimia mnib biu bibmn vnvi ird di :nman pian nR dr nnian Runa nnnann .pnaa np’vinn .nnb’Ra mai u’nva ynvin ,iniuan l’pan qminb pnnR pia bia’ tip nn pbNvn vbia nn”a) nnmaa pi minrna p - ini’ ’a nRin /’np’RiiR" ,mv>bvn nmanmn sin ì^’Ra nvnn piRna nmn ivi'xnpn 1 .l’inR .(ibv iinin nvp’nn bv bmnn ’ivinbR nmna pinva vnnvn ìa di Nvuv ma vnnRia bv ìab ’vni nR ymv nn’naa di -pi ,nvn iniRn "HRivn nvn"i □biR .mm’n bv miaan nini uva uniR 5>v n’n’nsn ìnbiub nnn Rin pnnRn pian nvb pn”nn nmn ira ’V’bvn ivn'xnpn pa p’DR nvp V’ ,pR .mv’nnn nmanmn ìnRn-ai pnnRia ni ,Tnn ina ,]R3 ìa1! ,p unpv nnb nnma-nbn Rin pR .vanRia "np’RiiR"n mnm lav pn’n wird i’mip ivn'mipn pa nn”ai pbR nin’S’ vibv .mia p’nti mm naviv nnnra miv ibRin tv ivr .pvibnb nnv pna RbR bav pi’D .nmvRin niman’pn ’nv nnmb nain ivi'xnpn :"np’RiiR"ni nnmab inm Rini ,19-n nRnn bv niivRin nmva ,nbv invi ini ."’ninb’i bm nbRi’a"a nmn D’vnxnpn-’Rab av’n niiain ìbbn nii’X’n .pvRin pian n’VRin naa nbinn ni ba vnnai,pinva bv "nnwRin maipn" qma □>nvh bv yav ird V’ .pi”n bv inna ■nnybi pma niwnb bp pp’pinn-’aaim nnvn .’ir1? R1?1? ripa ^inn -l^N-in ir npibn) ."n”ivn inaipn"b nniR v’ian nnnnbn .nib ni umvpn pRUDR-’Dina nnin’D na’Upapna vianb qai .D’biann bi> n’b’^a n'nm1? lainn ,niP’a nim mnibn mniDRbn nnvn nnnb - maipnb bv nmv’ nnaa pini .lain ba nbp nRVin npiny nmnvn nbya niTRn nnvaynn .nnaiRn .inmanv nnR .unirmi umip ’nnR aipyb nnny - pinvab nmin-’nbai D”vnnRna in D’ni-ian ,D”nRinn mbinn .ini’ nma Rin ,nnipnn nwnan rvd bv ann p”ivn inaipna .pnbna ìmnnann ’abu bv ininn fin np’vian nbpn alvi .u’pnain >vivn bR i^inn ,ini> mm ^i73 ,"np’Rinis"a nnnain .nibvan naipn nipinn ima Rvan Rinva ,insp vanRia D>nmnn ‘ir nrban mininn ?mnRn nainvan' pnvn mann baa paia .naipvn nmipn ama fin rimani nnaa iip1? nRipi IR HP’D ni ‘jv u’pinin mman’vnn av’n d’I’dd hrv nnxmn-an pun papa p .nnanan bv unii unmpR PWlp ’P 1"1 (.8-3 Y’bav ’iw i"i (1791-1756) V1NXTO WTO JltPObil nnb'» Childhood 492 .p /'nNi’a ’Nipn"h nnmao

ma’s pa bnv Strolling in the park

Npnh nnnpo n’SNhninn on in .pPNan P3P31 ]mi^3 dop) nnawh nin’nan tp p’pim D’ninnh nniN na’hinn ppn nn’naa n’hhs) hh3“|333 .pro nsnna ."nvji?rniT"a ,h»ro ,nn«npn n’hp nh pno qN piopai .maiNn qinn tnppp ppn n’p’hpoi onpo "osiiiN’h" nin’naa firman na w ,ohNn nwpin hhp nnnh ho pan irnn’T’n’ .nman’P mnsia mhNpnh ’1P’3 rum) N’o .rfwn nrrnN ,axp ’hp’Pin ppp iniN nio nin’nan TpaNO h33 S3 T13’3h O33nD hP n’hh30 oaaiNh PTissin hp nrpnan :3’orm pxiann nip vis npapnh non nnpapn .it maiNs ha Nhhi pm lirpa ."ist-tra ’ ’)" ihp .ihp fin npp ppino nniap 3nNh ,nnanp N3in ,nnsp maiNn np ’PNn’n tpp nnmpo nnipno Q’Pii’NO tips piNno n’o mipna ’□ .Ti’ups znamh ’hiN ’nts .maiN3 TNinnn ,dp iniN qpna pnNnnh □hipai 6/8 hppna ,’P’N phn tn it nnmah nsaiNh nrmaa mNxm hn minsp ptwdh □’Tpno pap hn nNpan opn it on’no in phni or ppp ."pmnn p oa’pnn" NhN ,nna nain oaaiNOP n’P’nann nah hnt)3 ,insp psnxuo n’a miP’PTNan □”jph qpp ,d’npd hp an TPipa nr’pxn ht PTN^in ’-nub .nhpi qa-anNi ,03)330 pm □hiN ,Ti3pn pa pan) NiiPh .D”npan mivx» l'O hha-qsTa isp pinra 3’3) mpn nsp nsiTN pa N’o ,n”pnn pppn ,niipn imhpoh h’ono tpns mins nnnpi nuain npdo np T33 0N3 ojipnto opnaon .3H1’ ’NTl O’O PTNXTO OPPP HT ’1)’P .31130 hP pap 13 p’ .ihp nmpn’pn-’N k’m ,ppNin nrman hp opin’P nnnan oniph w non qni ,mh’)30 nnnpo nipna ,ni3’n □’hl3’ ID’NP h30 QhlN ,OTDlNh 0mp03 Tix’h ns ,n”npa onpnth nN a’ph onin’hpa ,hfin npa pn ihi .opniph .ni’iiNio hp mw hp T>n Tinpi pnvn’v .□■>VT^npn-nhiN3 .it nn’nss mnnn mhupo ha nN paah opp 1’biaa lbw miaan-npain ]nta ,13 p hp inia’Pn nN invna pph ’hiN >int nnovnn p’na ’Nio-n»v Y’hap >tin 3"3 At 13: debut in Berlin Leisure-time with the family :F12F1H-TÏÛ>Ü îniron minino A Love Story: omninh’an The Piano n’bNnv’n içiam shp’iiaa ’T3 raina mou nvnç 1'3« l'bpnnn bnin nwnîi Sam nnv

tn’J’JH WW< 1133*7 inihinh finish niv>

1» WP211TITT1N nions nam w»n in ,nnnnn nhpj '33 1 nvnn pair

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i 'vn vœnp ira 'i p’iTia v"v niainn *?3’n ,3’3N-*?n 1987 inu’3 17 ,rnvn nava rv ,w"xi» T'nn*nm t» mbR-i^n nmrinbnin nnnrnn Hands and Signatures nvîin p-nr pbppin bmn 1986~87 ! ravn / 5TH mipn rnirnnTi ^inn

ppNS'mvaip b’bn nbin pwi ma r>nun»a pnn . "nniv niN •’1’n’aa bNm aiND n»n ••D”nnN ’py PP •’bmu»’ nnN •wi ]» •niu»a apy’ DT3N bNbS3 ••]nvan nnn npjN’a nw •pan t>nd pa’ paa ’NiabN ain’ny •atNb na'a lima v'aap labak bNa’n pnmn top vn ]R-’bp pmunaia nmaN aN’iaa nnan ÎabÎD NHy niaj pjia ibipn pnanp ’biutN obvaab nmaN apaa n’t’N pan qpy pa’ paa pau’b ns ]m«a v'aap ]aan nmç vmv nabiy pi'atan mm opmaabt piun mstsn o’ppabaip pyav bap man •ppip nip Dp bna aiPi’ npnn 313N ’ppaiprap bar D’Pl' n’9 •nw }b’N •p’punm pna uba bNaa P’baam nmaN Dtia vnain ••bay n”n ’ih am tobn amas P’VunsiN ]mn ib's p-ipaa bNaa aaaana bna lianhv •pn bNO’n bit? ns •pna m •paaaa bnn mia pa mb«V P3N1’VP ••pnib n’abtu» bpna bNan ••piTVPfl yuan’ 0’baJN pip ••’ppbtaa’ nbN lbap nia’t ’ppanuptN ’as aaaana bnp paabN dtp ’ppatapia hjn PNa-pannv ■pis ’nyj ipnn-DiNTOw miN ibana inmmn aaaapba biNa nu» aiaa P’l”7 H3’D n’nbp lnrja pnbN •apb nu'ïn y'na'TTT •]nxbr mp’bN Î131V ••yna apy’ ona ma nuptu> mb •tpwin bNinu» 13N ’by aaia bNaa ••DU pnx’ 'pmbaN pyau> ant bmu” nnn apy’ n’jajin P’vu/rris -]bn’bN •mmu» nv-n ’VbpbN n’abtu» ••1)3 pbN ibipn nnabp PN3 aaaatbia nv’b's nw*pj ’bo vaaa apy’ •piNn avn aaaana ]na •nia pbN pN ’by •at’bp nu P’vutam nnb ynippin na ••’psu> nn’ pib ]nbp man bps 3’dn nn naa’b mn mnu» ]n’N pNammbp nbn banaa top bNi> ant bmu»’ pba ujabn pana Dina pnanp vat’bN ¡iwp» PPN3 aa’bp-ntaa n’bv ]OJ >by aaaana bbta’n nna-bntn •]DV3T DT1D naebi ’tip ••]min 3nt wn p>n 7v naip-w>3 ° inn aubn pwn p> • baa IWNi pib niv>n •• lnaiNp app> T’aw’a pna •aa’b nmn’

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•ma n’TN :na»vyn awy .bv ’biw qrnyb mny .-vnn pyta :nNaa awyi nany :n*J3inn .mN-qpu> zntnibi naain »nmn-’nibn .D’ND’paaniN D’byant naaynn :au»nmn nibnmp •DiN-nms nipaa :nty-nm npan mimy .qnw n>nna mana .nnan Dian .-ddain noam .naa nn’Ni mas n’baan :mtnrnn bay bap aisp lampo ,3ÌNV ÌÌT am>b ima nifi .1904-3 a’ORPna a>u awv p-p pn nnRbi v*?i app’ >sr 11 ima nmpoa ami amapRan ’ppaivRnp bRimp n"a hSR anb manR nnp ara .a’aRpna pan p"p ap’Pinh Tip npvn mi”vana tmmP niPma non nifi ’Rasa minp mia pRnp’-ap’nnR manna brn nainma pmpo a’a ("p’van ’Rp’pin"n) nPnnp 'ano nimpa pn mbó .nniRa .annaiap naiiRna ap’pmb aiaia nana man D’pnanpai irtv’ma annaiai pana p’aia nifi pia ,aiRp n«n bp in nifi awv in’ .nmnRp .npRnp’a n’imnah’on nainma bP ’PRna n’iinnnh’oa nainma np nnwin muoia ’au .npRnp’a

rmioa t’N’H ani? Ria .1965-3 hRnp’a -Pia .navali hR»n lampa ,FPmf3 mi anN 'ono haR nimpai pan mpi ‘«n numnaniRa pan wv ap’pin1? amapRa ana ^p nnampoa ’aipnn anR ,amna mRn ap’pinb aiaia nova maa nini a»3Rpn aar npR3 aiiPRnb anni nipn’O P àip ,n’pia pip bp mPma aan Ria 1977-n .naiiRna mpa papa mniRbi’aa manna ppRna pnaa ni ani 1984'85 n’ipai bRnp’-ap’nnR manna np’R p"p pnaa minia 1975-a pnnRi ,1972 ’pppa onaa ani Ria 1985-a .piinn’Pp pipna anapn5> 1947 mpa pavana abn Ria .np’a -paa ami anin ,apmpi aaaai manop-maia’ pian pi anno D’inmpob mniRbna manna P’Oia Ria .pi»na mniRtmaa manna npa a^p’^pm nPa ninnR ,p’a vir’i íiür nm ,lPna ma bv nnianma nainma np pina napa-maa apaña hnRp 5>aR ms’ii ,’pvaipnia 5>n np pipa p’aia Ria ."piRn" ap’Pinb ,mnnpna pmp nainrn mnRiiRa ma nainin aain’R nana ,a"anRap maipna mamma nvpip" nninim pnn hp man'-.nainin nana nPv’pna ni p’aia1? aan’n Ria .p’ai nPp’pna pn p ma PiRa bp "Dip’P-in pana .maabi mmp’a1? aan aoin’Ri a"anR P’i paRa .np ma nnnna inaivi divi minala n’mRamaai np mnnRp ap’pm pp aan’a nainma ,npRnp’a nnnRpa nainma np ,1’pnp .pnp ,namp ,pn’S ?mm .pìirirp ma 5>p npiP vnunpa .mxia’pa nnnRpa qnnpn Ria .ampRii ’ninRii ,ppoaia m”P’ani vnxnpai nPRnp»a nmnnab’on nainma -ppnn mani .iaiahan Sa’ppoa mainp nmph naipp nPpin’ nman’pa nainma bp anim nmpaian aivii ’Rana nini Ria .u’pnaa lai vp .aan’Ra mriR 9p ’ain’Ra nia’pa aii’R m bp .npRnp’a mimnah’aa nainma np mnaipa lamas ,’nbia i’snwn

□y bNairna mwNnb mbifl innawa y’Oin au»No mis ,1968'3 mbNaimn nmaanb’an naiamn ."D’nnïvfl iiv nmun man pa nbiy pnips" ,mia bv n’lDNn-’aaa anN paniy Nbb Nin ava .lyNan ni’3’2 niaaiya ban ’anna vniyoim maim ,1942'3 mbu’Nai? liNb’oa abn Nin ma TN 3331 ,33>3 9 13 1111'33 ’30133 niWNnb bSN Dbnpn Nia .’nan mnnnN n’UNPipb iy"P ll’31V33Dlip31 ipm ibnNp ,’VNlib ibnNp Nia .1959'3 l’3ia’b nN D”D DP ,ÌlNb’a3 ’331 lanino ,-lSJ-Ù HNT d ’bilia nniVN manna anai , ’33 D’Dnoa noi mima anyaa miPNnn innbsnb dot ia-ib hni PiP ni3nn3 1WN3H 03031 (1959) im’pa □’tno mya pi ppNnn naca naipa ,20 p 'V’D33 main IND .(I960) nP3Nlia n’DlNbj’3H .1966'3 3-'niN3 13-I3”bp INI manna D’am’a ban ’ama a’mnam mniarnn av’a avi mb nini aiabb bnn ,1945 ñipa minias abn nih ynn Nia .3nN3 D’npaam bnpa nib’nna nail mima .12 bua miPNnb maini ,6 bas nniuon nn’pynn .np’ayan nm’bNiNn inupna mais yann nainn bsN niabnpnb mb»aa nai 17 p nor 1967'3 .napma bp p’nivannnpa riNmii 3NlV3a3a HNTl ,lbp ’1V’3H'3V13 nDSiy nN aninob maiNbmn manna ppNnn naos ,pip npnoa a’p’aynn anNb apm Nia .marnila nin’mb avi priNan in yantan anai ,o’bv’p33 abiyn nuriN aiaa pn ino .na’ba D’ip’DNbpb inma’ nN a’nnn nih .’PiNainm ’DNbpn nNivnana ina nina Nb vbip Nin nbiN •mniarnn av’a ny pinai maaNp np’niaa np’Pian bp nnaa-’NPm n’Xibna ariN ai Nimpnaipi piiriNa ,’ppi’iiNnvp ins D’lnaian ni yispa aiabb aaiyi nimia m i”iyna Nin Nin n’bia i’X’niNa .D’anNi pía apa ,im ’’i’N-ib hno mn’m bp nmaa ’ywa ima ,marna niampn vmyoina ’Nana alar Nin .ni’nin’a aaba ai Nin .anNo nbiaa p’asa Nini .nmampon nimm boa pN-aai nibispyp’N pN .mbNmmn nmannb’on naiainn ny .niN’oa ninna niN'i’a maapNa np’ya .inN-nimaa minipo HT H^O’hlS

naap «n’^riNb ni npp’bist any-nan nmnapan nmmnb’an mmmn ny naya ny’aan nmawa ,]722hT îlPîâ ny’aan N’n .riapap njibjrpa nnbaa »n’bmp’n av’n mam ]nxbr nana n’bNiP’n rimnapan bnb nynnaa ,pnn na nriama ’anaaa naiPNnb nnmnnb’an mmmn bp unnNnn bnpb bp n’aaan’pn mmmn ny nnbipa ny’aan 12 .psba 'aa .nny niann nmiyama n’bNiP’n n’aab qbm n'smNb m 'aan bp nnp ."t’ttnd pnnb niN’an b"ina nmiyain ’ni’p nPN naN’an nbp n’vnaiaipn ’ypn .nbayn ’ama bp inianaa mmm ’ii’ba naiPNnb nam ,mpa’ ,np’naN nam ,nmamn np’nnN ,map ,a"mNb nnnb N’n .pbip mmm ny ”nhta bia invpNip naraN bab ]aanaa .naNb’ra’aa ,n’bnvpaN ,]NaN’ pnapan b^N Ecole Normale de Musique’3 uaa nananmap naynaan ny ny’aan N’n .naai*N ]ao nnNb n’ap yaiNi ipnip -nabis biain vnxjip ma D”naNbi’a n’van’Na pab nmnn np’pmb miNbn p’nivanpaipb nbapna nnaa n'amNb m 'aa .nannaNnn-nanaNn-ni’ nnan ingN’bNV n-pNn b^N nnnb np ,p’iNaa N’n .nb nsanna raapa u’an nnav’yaa n’pnaa ’am baa ny’ain tnd .p"n>a bp ppmn nnaa ■npmn ’nav’ya ?ppayr.§ p"y n’bnna nnar ,pama nmannn ’ban bp nu’anp nnn ,nbiyn "np’banNp nbgr’N" mpma n’niTN naa”vxnb ]nxbr 'aa ny’aan bNiP’a .’a’bi'ia pâ’np ,”nN2 ,raapa "np’panb miNbn pna"a pi ,napa manmn ny .u’bp’pna yiap pma ripai nibnNp ]Nin qbnn by nb piyinp mmmn ny «n’bNnp’n rpaannnb’an bampaai nam mmm ny ,n’bPan’ n’aaan’pn nniN aan niann nmivbpn .mapn naannn pnaa ,qppan ,"ppp n ’na ]Nna"a n”nya nnapan n”y’ai"a nannpn N’n .’bNiP’n n’nnNpn np’pmn «na nb>yai /'n’bNiP’n .1978-a "napn ]DN"a na nna "np’nnN bp’Pirn" nyn-anai ,ppnN pnaai "mNnrn .bmp’a rinjM FP“1N n’jinanh’an minrnn ny y’am aaa nai nnx hxau’a ahn xm .mnnai pimpaa mhxau’n aiy ,16 p innna hv’paa miuxah na y’flini pan u"y np’pinh n’napxa nhnunu mu .pixap-n’^in nnh’N hsx a’ax-hna anixn ann .n’huma nnayn nv’paa’Jixai ,aiuiNinixa h^x niani mnhn ,ampaa nhnun ihipa miuxah y’ain 1960-a .piNnNpivui rhia n>nmoo ,TT> n)>N

nam rxn .nunn pair mana nninanb’an ny ’hp’Pinn namn nxi a’ax-hna mhn tu mh’x n’hu’paa ,piNa nniornn ha ny y’ainh p’axaa ’nixhn jmiuaapnpa ,hNiun nha’p qaiy xin mua mu nm ,n”anxp mvasnpai hna nmn’h nx nn”m puxa paaa nnar nu) ,nnarm nan’X aayn ’anaa h"ma nni’p ni myain nnp nnx .pai’-ma aax’bi’iai (is xin .n’hxappiNi pax’ ,npnaN-niaa ,a"nax miuxah ny’ain .mniaan npnnxai naasa ma ninaina m nnin-mnn-pmjpaa qnnun nx naay 1971 muai 1963 mua a"naxa ma nna naiu mpaan pa .nna nnnihui oy ny’ain rxn .n’hnxa nhu naiaan nyain •ippjis mai (i960) D’hunn piu nnnn nm ,a"nax pamxa niyann mainrnn main uaïua dj upian xin nm .(1961) uvapna minrnn amn pa ,pinan narnni npnax luaah aum xin .nmu ni’mxhi’a nnnnna ,panh hu nmnanh’an ,puih hu nmampn □hix .n’VP’ji’paan’Nn np’Pinn hu nhiyn ,nhxn nmnrn ,mnahnnn nmnanh’an ayi vaNxm bu ampah niua'snpn ha airnn hhiai pnxan jn :anm ana ihu axivaaan n’vipun n’nixhn /’p '’a ’’a pmnanh’a pan xm .ni’nixbi’a nnan aiay v’hpn xin .ih îuapin qN phnau .ni’hxau’ nn’X’h nin’uhia nmnrn ny a'paxai p’huxa nnaxa înx-ninna anhn Nin .nhmn ni mn aayai a’ax-hna pan u"y mnapNa aipanaa ny’ain xm .nnnxi nxp’U pvrpi’p ,pvpia nmnanh’an minrnn ny maa mnva main aapn-nna mwnuanaa pan nih ,ihu pnaurrniua ,1987 ,ir miyai ,uhiya nmu nnan nnah nu’hpn aai 'ai .n’hxau’n rnani pp’nnn manh ayun -prnh ni nanm unrn unpn xm .nnnaiau aauxna np’Pinh hu uni’uxn ha nx amn pa ,niyan n’U’hpn .n’hxau’n nnnxpn minrnn hui nmnanh’an hu ayuh muasnpa nnin-nxina y’ainh qaiu nroon ,bilia iiabN i>23 7i’oiR>i’nn m”7Rpn tir >nò ‘77373 *no>R nnioo »inùìinz .Fi’>V’R ,Ì3R2>Ì33 ’lins D7Q3 101312 ì 949 713232 D’>R723’7I D’Rp’DlOO 7F1R RITI 1003173 0’0?. ,723'0 piHR >2R 1D>1 03’13 1931 03233 7>13 NIFI ,□>1133 Hp’Dinn ’1370 >33 7137 OO>27I3 13123 opino .inò’iw tiriori nnribnniNa >ins l’OlPOlOO ’>R723’71 >7ip> ’R7113 7131 R17I1 7« .17 13 1771’03 ,1948 03233 00’0 1>23 7171230 ,1R3 O’>R72”0 n’31D7Fl>’071 7171017771 DP D12771 .□>1130 01710103 01312300 D13 13’010 537372 1958*3 7>13 RITI .>''1173 7171017171 ’71’031 "1*737 RITI ,0017’R5 O1DV1230 I’01’13”000> qP132 7O3D03 71303 TIO» >71711 ,O"0’72 ,U3p23V3 TRO Hp’OOR 11023 D”O323 D’V723ip O113D0 □712 7113 ,D23 ’PD39D1R 23"P 11’7W37D3ip2 ,7ip’7OR D177 TIR 7313 Q’7T7R71 1’71’173 .1963 O"7I’73 ’37173 13’0171 1973*3 >R723’> 1O’’>P 0’>7VD1R ,7101771 Op’70R 1102 ,317p7l 7171071 23"13 71D>’O3 7131 >R723’3 .D’>V’D731 1>1D3 >23 D’>R11’VDO3 l>’Oin >7373 T7fl>N .7JR>>T'1’31 >R723’—Flp’TOR 777317171 pp DPUO 71723 .O237R1 ,717N3N71 ,031OR ' ,27137>R ,TTI33’7R 1’317 23"P 0’0*TpR3 ’771 0’7R >2R 711O>7123FI> ,'7IR3 ,p21> ,¡ni32>RT ,ip’7*lU710 ,1R7O 013700 pp DP12O 7131 1976*3 .3’3R*>O3 D’127231p2 O113’3p3 <137712371 p 1031 OR7I3V>'21 Ì7Ì3>7RO >R11’VDO O71D02 010>0230 O1>’O> ,>7373 70 .711 ’730 23”1> 11731>3 D>”V7I >23 1>1D3 P’010> 7137’71 TRO .3"07R3 D’127p. 113031 *’DR>pO >23 ITI 01*1’2’ q’pO 1>23 7R1V737D2> 01710100 312’O DPI ,>R723’3 777*77017777 >3 DP 1123R771pOlDOO 71’71 ,77’37710 Op’DIO 1711 D’3RP ni37> ,pimn mioFii ooio’N ,3"mR3 D’n2inni D’O’13> .7713f£3> 13171123 7117’2’ >3 OR 12’>p7123 DÌ> >231 p71’ 1’3 >23 0’31D70>’00 ,inn> ,7i3’i3 ioR nino pio riti minilo 73R>11’>p ,ÓRp’23 ,71’£3>7R>’0 171710171,D>'13R qoii ."np’vio nrriR niuin-moioi nmoio" d’ioro ood 3773 qR riti .>R723’31 3"mR ,133’0 ,1’>73 >23 n’3107n>’07l ,3"07R3 O17OR1 7pni O170D ,ni3OR3 71137 l”313OO >7372 70 ,1>23 713’02 71701’071 0’>Rp’D100 07”7Rp> np’Dion*nn’3 >33 D’>v’D73 di pi> 71370 riti .pm> >23 onnRO ninnino >3i ,ii*rn> ,q’7’2 DI D’27 D’2’7VO 1> 12337 77’>R72”71 ri’31O771>’fl7l 7171017771 DP 711O71p71 1’771130171 .O13W>71 711’>1FI ,p71’ 1’33 "127R21O 7p’P3" ,71’3’11R7 103 D”D7pi’O D’>R11’VPO2 q717123O RITI .D>1132 •D>1P2 D’7T7R niOipO33 ,1R3 .0131230 D’V’>pO*O173O 71313 12’>pO RITI ."DO173" 1H31>1 >1R2 prova .n’iaj’lRa ‘JK’H

’33in ’123 io«’2’o pipi inx D’i3iix3 hxm 02103 ,1101023 ihio Dhip3 X2’ inoi .op’Dioo 1942'3 01’0111X3 ihll X10 .0’101'13 00’103 IN ,ioiD2h l’o’o inin ,i’3N h2x 101023 oi’ii inhi iho poxno oi2iipo .012’1 oxiph ii’so dio prora ,D|7N "wnnv D”010 113P3 .13'73 7 ]3 1711’03 01’0111X3 0’0 031 xi ’hxio’oi ,hxio’h 100200 dp ohp ’3ioon onxs oh’ooh pin opx hxisnp D’ionh opi’i iho oi”ixpo .’nhip dioi’23 110X10 0123 031 1X0 IIIT’33 31p3 D’31O3D20 -mino dp iho oni33o-7ivaio ’inx D”oixhi’3 11O1X O"P O’OlXhl’30 D’11OlD20 011003 P’210 N10 .1953'3 O’hXIO’O O’llDIOh’20 HI 0123 DI 031 1979'3 .1975'3 hXIO’3 p’OOl’311 '3 pil’Tll pillh3 ,1955'3 0’1X23 OllOXlh D’31O3O20 IPX X10 01’3 .3"01X3 10’2 ’H1”X OÌOX11DO 32 h3 nx P’OOO 1960'3 .1956 311 DP ihlPD P’210 X101 ,101’3 D’OpiDOO lino ,1’13 30’0 ,hX1O’3 151003 ho 1OlD2h ,1’plO 1P1 pil’-l’in DhlP3 0131000 01.110100 -1’331 p-nihs ,op’inx-nini3 di p ’inx ohp ,0011131 OP’IOX 11223 ,001101 0211’X 31PD3 ho 012’ih tiitpss di qoooo ìmihp .pii’ 131 ihO D’hO’OlO DI .piOIO 011031 0’0X3 xioi ,ni32hxi3 dix’oix2ìd3 'p’Dpixo nii’x X10 .D’310 l’V’hpO pi ,h3O ’301 hDS OOh2O3 nini xio .hxio’3 1960'5 02303 onóxih P’210 D’O’Ph ,O’1DNp OP’O1D3 Di P’210h 0310 '1331 1968'3 pni’’l’33 ,1967'3 pillhs OllOXlh X10 .D’p pX'HX’ 11301 XO Ì’ Ì’ lh’20 DP OlDlip 'P’0100 OhOlOD 1030 X10 1971 TXO .1969'3 ph ,12DX :3"01X ho D’hXll’0020 h33 DI P’21O 3’0101 <1’010 1973'31 ,DhlP3 71131000 01110100 >3 hP 02’3 X10 .0’1X2 ho 0110100 hO ’h ,(nxp’o) oo’iixi ,hix3 1-ii’hio ,i-iihiixo 01003 DI 1X0 h’P2 X10 .Ì1Ì31’1X hXll’OP23 0121X hP OllOXlh ÌO233 lOlh’PD D1OO OX ÌVhÌ2D3 131 piV'1’13 "01X210 ip’P3" ,DÌOÌh3 ho 103 ,D’10X D’1’13 D’IllOO D3 P2’3 131003 ho 0103100 h3 13'70 .O’IOXpO OP’OIOO (l’hl2) 313h3 1949'3 ihll DpX hXllDP -0’hO’X3 D3i o’hxio’o o’omoh’20 oninioo dp oo’hp 02’31 pno ,01x210 ho iO3O2h oioi'2iipo vih p-’inxi ,onph 100200 oi3p innh’31 ’O1OO h33 O’hpoh D3 0310 X10 -131003 ho OlO1'231p0 h3 131 ,DhiP3 D’IOX OlOipOI ,phi23 np op’oin nohh hoo xio .pii’ l’OlP210 01 hh331 ,10X3 00’303 IX 02303 ,1103023 ,h30 ’3013 l’OiP210 "733 .lOlh’PO 00’013’11X31 IIX’h-1'1 O"O’33 DhOOOl h’oim op’Dino ohiph on’i x’3o xio - o’hxio’o n’iinioh’flo oiintoo dp ni2DD-oi3in X10 .p’VOl’311 011003 ÌO”3J DIO IIP D’31 D”OlXh)’3 D’D123 031 X10 .pll’0’13 OpOlhip .hxio’h 1133 .o’hxio’o o’omoh’oo onoioo dp p’àio idd mwm rnpsnn (3"NF1 TTP3) ...(1951) nunmn dp

The first 1PO Concerts (1951)...

11210 ,nVFlP PSFIT

obTiioa dtin Tippai jipo pno tivtio pan P D”bp’Pio nrrpio nipbw bv '’bp’oinn míninn :oi»n Dbipo nnva D”mpi»n minrnn (1969-n) n’bNUPP n’iioiTib’aTi tino nnoni (1978-») pin í’i bw nnimn^an N171 7IN7 73bOl ,(1985’0) ,71211’03 TlbNp’DlD obip3 nni'3 n’vpnon n'miNn-D'nmon ion nin3 ibn Nin .dtind nnoiNDi o’V72iipn nnionnV’on mioinn ni mon mw nivs 1WN3 TllllPNlb 71’bP 712’1 N1711 ,1936 ,71’bNIV’n ]N3 712'11 3W 7ND .1961 T11V3 ,25 DTl’lVlb lNbO 1N1J1 ,’bp’DlDTl 712Pl’b 71110 1968'31 ,rilP’3p3 ■’11’0*71 ,’bp’tnon bTiion bv nrb 1978-3 qbniTny 71210 pvnp ’bno ,i’3N .i”n bob qpin in’j nr 1311’71 TI’IPNI TIN 113b 1711 ,1D2P 711373 P711 np'Diob n’mpN3 13-nnN o’bvnv ,’bp’oion 7137 1958’3 .’pD3Í1NllD D1N71 71317713 711'113 bisiipbs n’n2inb n’óiNbi’3 nnnri3 dioo (1976) minnNi ... n’rnsboTi Ti’iioi7ib’03 n2io-inpb 711101 bvi vb'iiN vib bu» ,7ii’i bv> n’iioiTib’OTi op nniPNib tiiind p’oin mv H3P3 .bioni’bo ... and the last (1976) niiniii bv 'bp’oio b7iiD3 ’7”on i’ii’ob tin’sti idnb27i .ibnu> d’two bw oo’bnoo bN’iviio bTlinb ]3-’17INl (1960-62) niV’0'TI2)0b 71110 pb’llN DÍb 7111077131 (1960-67) bN’IVlíO 311 np P’OlTlb 71310 N17I INOI ,]17)lb51 bN1W'3 nnWNlb 712’1 1961-3 .(1962-78) 'bp’Vin 1’1 bv "]V’bl311Vp"3 ("717’NN") 71101N bp TDlVNlb 712’1 1965'3 .nblP3 71131^7171 71111077171 í’ivp .n’vi2iip7i pn bp tono nina Nb nbipa D’aiwnn maiNTr’im uipno nih 7noi ,pii’ Ti’iioiTib’an 7111077171 ’aba iniapnob ispo ipinnTii i3bn o’ivn b3 -ppoa bNit” dp 1172b 71OPb ’73 7I21N P’1711 l’TIÍ’13”71TI71 b3 TIN 7117 )N3 TlOTlbO 1N 13VO 7IP b33 .H’bNIV’71 V1211P bp ,nnb-71’33 11VN171 V121ip71 bp 712’1 N17I .b"H2b 0’7711’0 D’V121ip bp 7121bl "7131071 17171" 7”b ,0’01271'171 bP piVN’TI’aONTl bV 07710'7131171711 "0’0’71'7100 11712’1" 7133'Dob'iivpn ’iNiTib bNiO’3 713? niti .nao psb "n”oiNb" o’pii’N 71P31 4113b bi3ia D’bOll’3 71’13Pn 71V’P13’11N711 ,(1983) P7Ob )02”l 11301 (1974) 3’3N'b71 7IV’D13’11N DPVO 7I11”O271 711711N1 7133 ’1N7I 73bfl 7INT .1’3N DV bPl IDO bp H’líblp’üiob 7ipbTID3 qiN TINIp l’P12’3 .(’737171 "PlVÍbTl 170’0" 711N 7711’03 1b ip’ TlbN 1’3) 371171 DblPO D7I3 71370 0’31 DP 71131 nivbpn D7131 ,0’V’bpri bo D’llbNVNp3 D’31 D’71DP DI D’NbOO O”ON1’77I .n’bNTO’Ti n’iiniTib’aTi mimnn 1887 iNii’a 28'3 lini p>vi>»an imiN ji’ain'a iann ìnnb'a imi .pinaivi ’ni'aa ,1’N iNn rupia nn .n”ama mvinnpa nwi Nin ma’in riN rm* -pis ,nnnna ,nnnn iaaa n’nnivan ’‘min inrd ninna ,1’myain .‘aan ’am iaaa inaia iSn invaia "iva nninrnn av’n w linea in miav’oia mi n’vyn piu mnaiani niinnn loia ,nia muniva np’iavb ialini 'apn .□mnau'a ,mv”Ni np’njin ninaiaa i”vsn .n'awn ,11’iu mi m ‘aan piavi ninrm'aa pina - ìinivaa pi N'a .niinnn miù niwaai ,pin - mvinan ìmman nhN nn niNa m min1? .i’ii nnin ùin in1! - mpnyi uva Ì7N1V” ny n’pnnn l’iup nN psii muii .mi’Niu’n n’iimn'a’an minmn mi nn”ai niaai pn’i pi nì> ini maiann l’iip’aa yi’n ini innn ‘a’XNn m nPn ,mi’ir’Ni>aa n'ala v’nmvan-’i’psn mai l'ala N’n i’Niu’ ’a Nin mpn nS .inNmm’aa ■nnii d”vui’an Sia miapaa) inaivi tnpnn .invi vn nNvnin n’niNSi’an mnnivan nn insS nnir,n’l7NTV”n n’iimn'a’an minmn Sa’na n’iinvn~rm nn HNipa-invi nN -’ina invi Sa m» nwiai ,mu nmnn ,in'aiyb ii?n 1982 innsia 2ra .minali’ ■’Spn laian ,iiami’N minar ìnnN imini □’pninn n’aNiiiN’aiviNn mai ami i’v minmn Svi nSai’ mia ,ir niua .ansia mi”iin nn .mvivnS mia mvi’nn nNSna :i”vvn’an Svi miSinS nran mia ns ni nin’nv Su nrSnvn in in lana mipn qn’v mn-’ini’N mila ’□ mnpn un .ni’iaian Sv> natS na?S l’m n maina mvnann .iivvNnn nvrig pan :’hpwin hninrpj • immnwin^an n^r^inn n>n 1936mimnn / mm rntna (03) 295092 pohv ,61112 □'□N'hH ,11292 '*r'D • ]ND '1 p'THfl V"P DiainFI hD’D

______1986-7 / T"niyn / 5 rn nnyn nminn b3i’n nnp

tnppn n>pn>N 7133b irnbinb riNnn muí pvimn iims umn n«n in ,ni’7nn n’di '33 mena

mi’p own? 7 nvpp pan risia

inn ’i p’ino t>"y niainn bmn ,3’3«5n 1987 inu’ I rwn nnv

□ipa 8.30 nptya

•>’”11 5 'N 1n /orti a m ,to’1 'n 'n to .rnrtm '«to .-ran-p i to .totok ■> to ,111k ■’ to ainupn nimnn /BTOTTO '□ TO ,'TOITO ■■ TO ,’> KT* X VOTOH .-pao* ’S TO ppp»* -p1D .ppp, ., -a ln nn a,nKn ,,, .** 'K TO .VTO1PT -K * VSIPn ,TpS T TO ,*P1TOPO TO (mromn nbnm ion*) ,«□)!>» innN 7"7 ,D^3 717 ,7«>VN Till» ,(7"1’) pN N3N 0'71 :D’7D”n :n»7D»»n mion - n’bNnvnn nnimnb’on mimnn pp ______(7"33O) 133t> 71307 7"7 / .’DNipi bNOl ,7pO «IDI» ,D3NO’^Nn '»-’ ,112,J ’ ’’ DD17N ,D’7N71 D’Nib ,1D’1 '3 'n

•7PDTO D73/N ,7273 71H7N ,117N H '7 ,]T”N VlblNV ;(73T1) ]mpN 'P 11U71D ;(bni’nb N’U>1 Tl’llD) l’DUlDlbO '3 1NT1D (212)581’4374 pabp,10019 .pivi’) ,n31PO 57'm 250 ,810 nn pinn ’ab um iw’wn Nibna pan nnioo mnnnn .minrnn firnb amiNi nimm np’un a-niNO mimnn nm mux

J?™2 r2.P,7?n nmN3 Tiranni nonni N»n pi ,nmnm in»nn tuvo iPd nnnubi moinb rrayinn mo nonni dPnid’h n’iimnb’OTi minrnn mimnn >t»t» bv n’vnon mn mo nnvnoo ,brw»7nip moonn pp mo mipo ,brœ’-np»onN nnmn pp mo nonnn omiSZX •ip’ppnoi ii'imio ,n»biDDiN3 n’nmnb’on minrnn mr moi

n"v>20.-T>nan 1987 nwn / fawn nnv

□■»pan EPinTN 7133b irnbmh nsnn riny pv^pznn urnN mt>n3 ninon n^i '33

H77’t> □nrwip 7 nppn pan num '

,3’3N-bn ixn 'i pmna w"p rnmnn ban

minrnn n^imnb’on n’bxnw’n iniain abv’iha ’7’a i936/i"ain-a num nvnn pair :’bp»pin bnin n’i’inn barn nnv