THE SIXTH

INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1989 THE INTERNATIONAL MUSIC SOCIETY

THE SIXTH

INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1989 ISRAEL /------\ 'M

In recognition of the importance and the standards of the

Sixth Arthur Rubinstein International Piano Master Competition The Jack Fliderbaum Family, London “... THE NEW JEWISH NATION HAS FELT, FROM ITS are delighted to sponsor the main laureates' prizes EARLIEST BEGINNING, and wish the Competitors every success THAT HOMELAND in their artistic careers. AND CULTURE ARE TWO CONCEPTIONS WHICH CANNOT BE SEPARATED FROM EACH OTHER ...”

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<______> 2 4 HONORARY COMMITTEE

CHAIRMAN YITZHAK SHAMIR Prime Minister

VICE-CHAIRMEN Deputy Prime Minsiter and Minister of Finonce Deputy Prime Minister and Minister of Education and Cull Minister of Tourism

ASHER BEN NATAN SIMCHA DINITZ BARUCH GROSS SHLOMO LAHAT THE SIXTH ARTHUR RUBINSTEIN THEODORE KOLLEK MICHAEL SELA INTERNATIONAL ZALMAN SHOVAL PIANO MASTER COMPETITION YAACOV AGMON AMNON PAZI ZVI AVNI ARI RATH LEON RECANATI JACOB BISTRITZKY MENDI RODAN JOSEPH CIECHANOVER ESTHER RUBIN UNDER THE PATRONAGE OF YOSEF DORFMAN PNINA SALZMAN JOSEPH HACKMEY MOSHE SANBAR MR. REUVEN HECHT HANNA SEMER PRESIDENT DOV JUDKOWSKI AVNER SHALEV OF EPHRAIM KATZIR MARK SCHEPS THE STATE OF ISRAËL MOSHE MANI MICHAL SMOIRA-COHEN MOSHE MAYER ARIE VARDI MOSHE NEUDORFER AYALA ZAKS-ABRAMOV

c ARTHUR RUBINSTEIN

By Pierre Petit

Tous les artistes sont, par définition, des citoyens du C'est sans doute parce qu’il aimait foncièrement la vie monde. La musique abolissant les frontières, l'avion an­ qu'il parvenait à se glisser ainsi dans la peau des compo­ nulant les distances, ils vont délivrer leur message à siteurs qu'il interprétait. En les ressuscitant, il ajoutait Tokyo comme à Rome, à Londres comme à San Francisco, encore à sa propre force vitale, à la manière de ces touchant des publics qui oblient leurs différences fon­ primitifsqui croient augmenter leur puissance en dévorant damentales pour laisser Chopin, Brahms ou Debussy leurs ennemis... Et, ma foi, il est certain qu'un peu de trouver le chemin de leur coeur innombrable. Mais, parmi Chopin ou de Debussy passait ainsi dans les veines Arthur Rubinstein was unique not only as a musician, stein's vision and idealism — Israel has become over the years an important center of musical activity and excel­ ces pèlerins de la double-croche, il y a une hiérarchie d'Arthur Rubinstein lorsqu'il interprétait leurs oeuvres. but also as a human being. He, for one, would never sévère. Comme partout, il y a une sorte de piétaille qui ne Les images qu'il trouvait pour "communiquer" ses propres have agreed with the motto of the Dadaists, so fashion­ lence — in spite of being forced over and over again to defend itself against onslaughts not only on its way of parvient point toujours à imposer ses rêves — et puis i sensations en témoignaient. C'est ainsi qu'en 1936 (le able when he was a young man, that "art was the a les "happy few", les privilégiés qui, dans leur genre, souvenir en est resté très net en moi), il donnait à la salle perversion of life"; on the contrary, he saw art, and life — but on life itself. sont les rois incontestés de l'univers sonore. de l'Ecole Normale, invité par , un cours especially music, as a rebellion of the human spirit Parmi ces demi-dieux, Arthur Rubinstein a régné sans d'interprétation sur les Ballades de Chopin. Parvenu à la against the barbarism which threatened to engulf man­ The aim of the Rubinstein Piano Competitions is not just tocommemorate Rubinstein's name, but to link his name partage pendant plus d'un demi-siècle. C'est qu'il chéris­ 3e Ballade, il cherchait à faire comprendre à ses auditeurs kind more than once during his lifetime. This, indeed, sait la musique plus que le piano, et que pour lui son ce que représentait pour lui cette suite de sauts d’octave was one of the reasons why Rubinstein enthusiastically and work forever with the objective which was so impor­ tant to him: giving young, talented pianists from all clavier ne servait qu'à crier son amour de la vie... Car (do-do, do-do...) qui allègent soudain le discours à la agreed to lend his name and prestige to the "Arthur Arthur Rubinstein a passé son existence, sa longue ex- deuxième page. Et il eut cette intuition géniale: “Imaginez, Rubinstein Piano Competition" in Israel in 1974 — and countries the opportunity to prove their genius and to join the select community whose supreme and eternal istence, à essayer de vivre le plus intensément possible. dit-il, un cheval blanc qui galope, mais au ralenti!..." Il taking place now for the 6th time. Et, dans la mesure où la musique n'était pour lui qu’une fallait qu'un peu de l'âme de Chopin fut pasée en lui pour mission it is to bring music to the world. sorte d’intermédiaire nécessaire et commode, il était tout qu'il pût trouver une image aussi saisissante — et aussi For in the re-born Israel he saw the supreme victory of naturellement de ceux qui, ne se prenant jamais au the indomitable spirit of man and the Jewish People in Zalman Shoval, M.K. sérieux, en imposaient par leur déconcertante et souve­ Et puis, quelle révérence ne devons-nous pas avoir pour particular. Indeed, in no small measure thanks to Rubin- Chairman, Executive Committee raine légèreté— une légèreté qui faisait étonnamment le un pianiste qui, parvenu au faîte de la gloire, estime tout poids. Sans avoir l'air d'y toucher, le "roi Arthur" démon­ à coup que les règles du jeu avaient été faussées, qu’il trait à chaque instant son infaillibilité, par la manière n'était pas digne de ses propres triomphes, et qu'il se unique qu'il avait de nous prendre à témoins, en nous devait à lui-même de se remettre en question. Le résultat, faisant penser que, ma foi, il n'y avait aucune possibilité nous le connaissons. Après avoir choisi le silence pour de jouer Chopin ou Beethoven, ou Brahms, d'une autre travailler, celui qui avait été le dernier des monstres sacrés du début de notre siècle était devenu tout à coup

J le plus grand des pianistes "modernes". C'est assurément animée avec une ferveur indomptable par Jascha Bis- The Fifteenth Anniversary cela qui explique le rayonnement inouï dont il jouissait tritzky, ancien directeur de l'institut et du Concours auprès de ses jeunes collègues. Je ne suis pas près Chopin à Varsovie, créateur de l'"Arthur Rubinstein d'oublier l'émotion qui se dégagea du récital que Maurizio International Piano Master Compétition" à . Pollini donne à sa mémoire à l'Auditorium Mann de Tel Cette société est déjà active à Madrid, Genève, Tel Aviv, Aviv en 1983: c'était la rencontre au sommet de deux et en voie de création dans d’autres capitales; il se devait jeunes musiciens de génie que rien ne séparait, même d'y en avoir une à où Arthur Rubinstein passa les pas l'âge, même pas la mort. meilleurs moments de sa vie et rencontra tant d'amis et C’est que cet homme incontournable était pour lui-même et d'admirateurs qui le respectèrent et l'aimèrent. C’est pétri de rigueur, alors même qu’il semblait attiré par la là que sa merveilleuse maison de l'avenue Foch voyait There is good reason to celebrate the 15th anniversary of artistic significance to the event. Our deep gratitude is extended to futilité. Ayant volontairement rompu avec les effets de passer de si de si nombreux jeunes musiciens. C'est là our Contest's birth. manche de ses prédécesseurs, il se trouvait tout à coup que Nela Rubinstein, son incomparable épouse, elle- Established in 1974, the Arthur Rubinstein International Piano The world-renowned piano makers Steinway. Yamaha, Kawai sur la même longueur d'onde que ses confrères plus même élevée dans le sérail, créait un climat unique, qui Master Competition became an event of major significance for cultural and Fazzioli, acknowledging the standards of our Contest, have sent s'intégrait totalement à l'esprit de notre capitale. Il est life in Israel. This living memorial to one of the greatest artists of our their specially selected concert grand pianos and their excellent tech­ jeunes, pour lesquels un certain purisme était nécessaire. century, built in his honour during his lifetime, aroused from the nicians to serve the contestants. We highly appreciate this gesture. Mais, pour Arthur Rubinstein, l'ascèse n'était rien en émouvant de penser qu’il y a cette année-même un beginning intense interest in the musical world and over the years Our heartfelt gratitude is extended to our foreign friends, artists, elle-même: elle devait être irriguée, nourrie, vitaliséepar demi-siècle que cette fabuleuse demeure est le domicile won a broad circle of enthusiasts. The professional press acclaimed other known public figures and institutions for their association with une sève impérieuse, celle de la vie même. C'est cette parisien des Rubinstein... et nous pouvons rêver: pour­ the Contest's criteria and repertoire as "the most exhaustive and most our cause, the Competition and the Arthur Rubinstein International quoi n’y installerait-on point des archives, une musée, taxing of all piano competitions" (Dominic Gill, Financial Times, Music Society, in activities such as benefit concerts, fundraising and sève que les jurys du concours international Arthur Ru­ 17.6.80). He also wrote "...there is no doubt that a good competition financial help. binstein cherchent à déceler chez les concurrents in- une sorte de mémorial consacré à Arthur Rubinstein et can be exciting and in an atmosphere of such public commitment and We hereby express our profound thanks to the Ministryof Educa­ nombrables qui sont attirés par une aussi illustre compé­ dont sa femme serait l'inégalable gardienne? interest as was found in Tel Aviv, it can be more exciting still". tion and Culture, Department of Culture and Art, for their extensive tition. Arthur Rubinstein était un musicien et beaucoup Semant le bonheur sous ses pas sans avoir l'air d'y In response to the announcement of the Sixth Competition circu­ financial assistance which enabled us to prepare the Contest, and to mieuxqu'un pianiste. A une époque où le sport l'emporte prendre garde, s'amusant en nous comblant de joies lated worldwide two years ago. we received 600enquiries from pianists, the Municipality of Tel Aviv-Yafo for their help and cooperation in inoubliables, laissant sa vie en exemple, tel aura été teachers and music institutions and 140 applications from 27 countries, trop souvent sur la vraie réflexion, l'exemple de cet im­ completed according to the rules. The Screening Committee approved We acknowledge with thanks the contribution of the Music Advi­ mense musicien commande des choix bien précis, qui Arthur Rubinstein, l'incomparable... 58 candidates from 22 countries, the highest number ever to have sory Committee and its Chairman, Professor Arie Vardi, which was perpétuent son souvenir d'ingangible manière. participated in our Contests. This shows that despite the extremely charged with adopting rules and completing the repertory requirements Mais il y a d’autres moyens d’honorer cette mémoire: la high demands of the Competition, the greater the challenge and the for the Sixth Competition. Société Internationale de Musique qui porte son nom est International Music Society in cooperation with UNESCO-MIMAF more prestigious the award, the greater is the attraction and the Our gratitude, too, to all actively involved in the preparations and The broad scope of the repertoire this year allows the Competitors We appeal to all music lovers and the competition's faithful their own free choice of musical works for their programmes, ranging audience, to join and broaden the ranks of the Friends and Benefactors from pre-classical to contemporary piano literature, thus transforming of our Society, thus proving that Israel's important musical manifesta­ the Contest into a stimulating competitive festival in the great art of tion has the full backing of Israeli society. the keyboard. It is our hope that public organisations and m Nadia Boulanger once said that the encouragement and inspiration support and help our Society to fulfill Rubinstein’ ¡ritual legacy for that the chosen young masters receive from our Competition — a the benefit of the cultural heritage of the young !------forum for the confrontation of talents — are an essential pan of their A warm welcome is extended to our guest of honour Madame artistic development and future careers. But the competitors should Nela Rubinstein, the distinguished members of theJury.andour other guests and we wish them an enjoyable stay and fruitful work. In in 1977: Talent is a basic, precious treasure growing in art and glory, welcoming the competitors, we wish them the best of luck and true together with the very intensive work and experience acquired through it, but melting and vanishing only when exploited and lived on". The Sixth Competition has been blessed by a distinguished panel J. Bistritzky of Jury Members (which for the first time includes leading musicians from the Soviet Union and China), adding enormous international and

16 MEMBERS (FOUNDERS) AND PUBLIC COUNCIL OF THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY

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

MEMBERS GIZA AGMON" EDIT ROSENFELD YA'ACOV AGMON" ESTHER RUBIN BOAZ APPELBAUM* PNINA SALZMAN MENACHEM AVIDOM MOSHE SANBAR TZVI AVNI" SARA SELA ERIKA BEN NATAN MICHAEL SELA** YITZHAK GUR HANA SEMER MOOKI DAGAN AVNER SHALEV" MEIR DE SHALIT" RUTH SHAMIR NAVA DISSENTCHIK MARK SHEPS" ADOLF EBNER KENA SHOVAL ABBA FROMCHENKO" GAD SOMECH RONALD FURER" MICHAL SMOIRA-COHN DOV GOLDSTEIN’* EDITTEUMIM NAOMI HACOHEN MERON TZUR AMINA HARRIS ZIPORA VARDI AVIVA HARRIS ARIEVARDI* EMANUEL KRASOVSKY YIGAL WEISSMAN DOV JUDKOWSKI* SHLOMO YITZHAKI ZIVA LAHAT AYALA ZAKS-ABRAMOV** SHLOMO LAHAT" SAM ZEBA* POLA MOSES JULIUS ZELLERMAYER JUTTA MOR YITZHAK MOR MOSHE NEUDORFER" MOSHE PORAT" ARIE RATH * Executive Committee LEON RECANAT1" ** Board of Trustees JUDGES, AUDIENCE AND CRITICISM

By Professor Arie Vardi

The audience is the essence of a Competition.

Through years of experience with various competitions Theauditionsfor conductors, for example, which area common throughout the world, I have come to realize that a competition's replacement, do not operate on equal ru les for all, they cannot true quality can be estimated neither by the prizes it offers, cope with the number of candidates and are not open to a nor by its other components. Even a high level of performance could be left unn he audience's presence. Competitions are exciting occasions that by their very nature Theoretically the place with contestants and attract large audiences (among whom there are also those judges alone, < who disagree with the existence of competitions). If the com­ role according petitors were to come to Israel to perform as individuals, out of the competition. A the competition routine, it is doubtful whether they would competition w ologise in advance receive such an impressive attendance. During the competition analogy, is like a football ithout spectators. the audience has a chance to develop its sense of distinct listening while comparing several different approaches to music n exceptional and de and creating ties with some of tomorrow's performing artists. competitions in the world th« ______The Rubinstein Competition is also a fascinating lesson for the understanding, involved, cor ring for ways to young generation in Israel involved in the study and instruction express its concern. The audience, though, may find itself at a of musical performance. These are all important factors. disadvantage of sorts, as if its rights were no longer taken into consideration in this alignment of forces; contestants, judges 2. “Who are they anyway?" and audience (a triangle to which a fourth side, the media, can This was said by a failed contestant about the judges, in an be added). From the first stage on, the judges' decisions do not interview with Israel Television. Had she been admitted to the always live up to the audience's expectations. next stage, she probably would have praised the judges' In an effort to defend its natural right to deliver the verdict, the capabilities. audience directs its critical comments at the judges. This motion The judges contribute a great deal to the prestige is seconded by a number of disappointed contestants and of the competition. A contestant who does not recognize the reporters, and the judges are soon left in utter isolation. Despite authority of the panel of judges does not have to their being honoured guests and accepted figures of authority, that competition. Nobody is forcing anyone. everyone is against them. At the last four Rubinstein Competitions I sat 3. "Only an artist of Rubinstein's level is qualified judges and was in no position to react to the cr to judge. He will never err." At this Competition I belong to the audience and this is an We all make mistakes. I know of at least two cases in which opportunity for me to address some of the questions that were Rubinstein's clear preference proved absolutely inaccurate in put to judges at previous Contests. the long run. Had the Maestro been wrong? Or was musical I have chosen a dozen questions and comments, which, based life mistaken? Who has "copyright" corners on the truth? on their frequency, most perturb our audience here in Israel. 4. "Why do you tend to prefer the technician 1. "Competitions were made for horses." over the musician?" Correct. But today when so many young pianists do not get tc I have often been surprised to hear this question directed at the play in front of a live audience, what is the alternative?

20 ( The Worldwide Rubinstein Concert Series

Celebrating the 100th birthday of Arthur Rubinstein, the Carlo. In September. Christoph Eschenbach and Tzimon entire music world saluted the Maestroand paid tribute to his Barto paid tribute i Rubinstein by performing memory and artistry in a worldwide series of concerts, mostly together in a series ts with the Israel Chamber initiated by our Society. Orchestra. In January 1987, the Israel Philharmonic Orchestra held The same artists played in Tokyo with the NHK Orchestra a series of concerts under and five recitals the two Brahms concertos in a gala "Hommage a Rubinstein" performed by twelve from among today's most famous event in September. Sviatoslav Richter, the great Russian pianists. pianist beloved by Arthur Rubinstein, paid his personal tribute memorial day at the Royal Festival Hall in London was to his senior colleague in a special concert in June 1988 in ding an exhibition, a recital given by Francois Paris, organised by UNESCO (IMC MIMAF) and the Arthur oncert by the Guarnieri Quartet and a Krzysztof Penderecki's Polish Requiem for hoir (B.B.C.), under his baton. In April 1989, Martha In Spain (Madrid) Nikita Magaloff and Alicia de Larrocha Israel honouring our Patron both gave Gala Recitals, the latter attended by Queen Sophia. A souvenir album was published andan auspicious exhibition Jacques Chancel of French Television has twice dedicated "Rubinstein in Spain" was mounted and toured . In programmes lasting 2-3 hours each ("Le Grand Echiquier") to the same year, the Paloma O'Shea Piano Competition in the Maestro. Santander was dedicated to the memory of our Patron. An The Arthur Rubinstein International Music Society will Arthur Rubinstein Foundation in Spain is in the process of continue its worldwide Rubinstein Concert Series and Rubinstein Festivals, in musical centres where Arthur Under the patronage of Prince Rainier, a Gala Recital Rubinstein had his happiest associations. The participation of was given by Tzimon Barto at the Palais Princier in Monte

23 f>

Tel-Aviv 12th April, 1976.

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

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

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ARTHUR RUBINSTEIN'S ADDRESS AT THE PRIZE DISTRIBUTION CEREMONY — SEPTEMBER ¡974,

Your Excellency, the . HerExcellency, Mrs. , my old friend and most admired woman in the world, spoke to you in Hebrew, apparently about me. I guessed from her voice, from the expression ofher eyes, that she did speak too well about me. Ifelt that because she has in her heart a generosity which is unequalled; I cannot answer what she said, because I do not. unfortunately, understand Hebrew. I know only the Hebrew prayers as a little boy. and I never learnedyour new wonderful . I am very ashamed ofit. So pleasepardon —excuse me please — if 1 answer in English. This Government: the President; Mrs. Golda Meir; Mr. Koi. Minister of Tourism — they have all taken to heart to make this competition for pianists in my name, which was a little bit too muchfor

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

Thank you. c THE SECOND COMPETITION, APRIL 1977

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

Laureates First Price: Gerhard Oppitz, West Germany — The Arthur Rubinstein Award, a Gold Medal and $5,000

Second Prize: Diana Kacso, Brazil — a Gold Medal and

Third Prize: Etsuko Terada, Japan — A Gold Medal and $3,000

X______z 29 30 ------

THE FIFTH COMPETITION, APRIL 1986

International Jury npnm nmpm Michal Smoira Cohn (Chairman — Israel), np’vmb b"i»an pnwi»an iwnx irnix iv Marcello Abbado (Italy), Michael Bogus­ lavsky (Israel), Pierre Colombo (Switzer­ land), Halina Czerny-Stefanska (Poland), Dean Elder (U.S.A.), Gary Graffman jmoxb) flöirt *rw»b (U.S.A.), Gerhard Oppitz (W. Germany), Pnina Salzman (Israel), Takahiro Sonoda jpw’wn nnrmn oi’pn nxi nuann nx nnwox ramn wio’onv (Japan), Joaquin Soriano (Spain), Fanny Waterman (Great Britain), Arie Vardi (Israel). npinyn «min io>-a»ax-bn n’t’jib Laureates na»un na’onni rtnyon qwiw by First Prize: not awarded

Thomas Duis, West Germany - A Gold Medal and $5,000. THE DEEP GRATITUDE

of the Arthur Rubinstein International Music Society

is extended to

The Ministry of Education and Culture, Department of Culture and Art

whose generous support enabled the preparations and Angela Cheng, Canada — a Gold Medal realisation of the Sixth Competition and $3,000.

WE ACKNOWLEDGE WITH THANKS

the substantial assistance and cooperation of

The Municipality of Tel Aviv-Yafo

\______> 32 33 tnnnnn bniot OUR APPRECIATION IS EXTENDED TO: ’pSHW’3 3pl>’

The Ministry of Tourism nntw The Israel Broadcasting Authority, phNuv mi> The Israel Philharmonic Orchestra, The , ono n’vb The Tel Aviv Museum • The F. Mann Auditorium Tel Aviv 'Cnbun n’-nrp Israel Film Service Ministry of Foreign Affairs Information Department rvwn nmo :)nt>r> moi Peltours Travel and Tourism Ltd. OUR SINCERE THANKS FOR THE CONTRIBUTIONS BY LeTsrael Ltd • Bank Discount Le'lsrael Ltd Israel Phoenix Insurance Agency Ltd • Bank Barclays Discount Ltd Lloyds of London • Jack Fliderbaum Family t»no ,pixvt> mù : nntw .>ps>noo>i.’ : nom» Canada-Israel Cultural Foundation • Severin-Wallfish Family Abraham and Phyllis Katz • Moshe and Sara Mayer • C.F.C. George and Sally Whyte • Readymix • RCA BMG Ariola

WARM THANKS

to Members of the Circle of Benefactors: Founder and Director of the Competition Esther Biton, Ehud Eicon, Amnon Goldenberg, Yardena Harari, Jacob J. Bistritzky Dov Judkowski, Leon Karchmer, Uri and Rina Menashe, Moshe Porat, Yona Postel, Chaim Rochoger, Edit Rosenfeld, Assistants Yeshayahu Shaked, Carol Slater, Shlomo Sowalsky; Laura Stark to Members of the Circle of Friends, Livia Parnes Judith Handelzalts to the Ladies Reception Committee and volunteers who assisted in the realisation of the event and contributed to its proceedings:

Aviva Adler, Miriam Agassi, Bracha Baram, Ani Berman, Victoria Bishofs, Accountant: Poriah Mashiach Yona Bouchman, Ofra Burla-Adar, Ruth Davidson, Miriam Dayan, Dalia Even, Tehiya Gorfoung, Ruth Hetzroni, Judith Inbar, Nora Inbar, Rachel Israel, Ester Kami, Secretarial Assistance: Tai Lapidot Miriam Lauffer, Malka Lev, Sonia Liden, Drora Loustiger, Aggi Meizels, Shifra Mirlman, Debbi Morag, Aliza Moushkatblit, Nava Niv, Nurit Osnat, Dalia Philosof Ben-Artzi, Competition Festive Brochure: Drora Rapoport, Galia Regev, Nira Reichman, Yael Riskin, Rachel Saggi, Bracha Semo, Editor: J. Bistritzky. Assistants: Laura Stark, Livia Parnes Yael Shani, Zipora Shavan, Dana Sheinberg-Arzi, Amalia Shimshoni, Malka Shwartz, Aga Vact-Langotzki, Nurith Yaglum, Shulamit Zedder, Hamakor Press Ltd., Jerusalem and to all others who joined us after the publication of this Brochure. Print Coordinator and Advisors: Lion De-Leeuw and I. Stefanicki

35 r GENERAL RULES

may allow a change in the above order of performance, for a given Stage only. voting list. However, hi: 13. The Jury may not recall a competitor for a second hearing in any vote on that competitor' 1. These Rulesare in accordance with, complementary to and in In addition to the prizes, the laureate has already been assured of no way derogate from the Rules published in the Competition a European tournee with the State Philharmonic Orchestra — 14. Competitors who are not ready to perform when called prospectus accompanying the Application Form. Arthur Rubinstein (Poland), with the Gewandhaus Orchestra do so by the Jury in accordance with the present Rules, 2. The 6th Arthur Rubinstein International Piano Master Competition (Leipzig), the Jerusalem Symphony Orchestra and the Israel 23. The votes for each competitor shall be counted and the total votes takes place on 27 March -12 April 1989 in Tel Aviv: Stages I, II Chamber Orchestra, as well as engagements given by the 15. Members of the Jury and contestants should not try to establish cast for each competitor shall be expressed as a percentage of and III from 28 March—7 April at the Recanati Auditorium of the any contact whatsoever in matters relating to the Competition. the number of Jurors entitled to vote for that competitor (in Tel Aviv Museum, Stages IV and V from 9 — 11 April at the their "Gold Medal" concert series and a recital at the Musée de Every communication between contestants and Members of the compliance with Rules 20,21, and 22). Frederic R. Mann Auditorium in Tel Aviv. Louvre, Paris. Many other orchestras and festivals are offering Jury should be through intermediation of the Jury Secretary or 24. The counting of the votes will be the responsibility of the A Gala Prize Winners Concert and Prize Distribution Ceremony concerts, subject to final negotiation. the Director of the Competition. Competition administration and will be performed in the will be held on 12 April at the Binyanei Ha'Uma in Jerusalem. The prizes will be distributed at the Laureates' Gala Concert on 16. If exceptional matters of procedure arise, which are not settled by presence of the Jury Chairman. The result of each ballot count Stage IV (Semi Finals) will be performed with the Israel Chamber 12 April 1989. these Rules and Regulations, the Jury is sovereign to decide in will be announced by the Chairman of the Jury to the Jury. Orchestra. 7. The Competition Secretariat undertakes to help promote the such matters, in cooperation with the Director of the Competition Stage V (Finals) and the Gala Concert will be performed with the artistic careers of the prize winners by recommending them for and the Legal Advisor. STAGE I, II, III, AND IV (SEMI-FINAL): Israel Philharmonic Orchestra. engagements with leading orchestras, concert managements RULES FOR THE JURY In the event of a tie for the last places, a se< be held 3. The Competition is open to pianists of all nationalities between and recording companies. for those competitors involved in the tie the ages of 18 and 32. The Competition Secretariat reserves the right to all recordings 17. The Jury meetings will be conducted by the Chairman of the number of competitors, each Juror havii 4. The Competition Secretariat provides free board and lodging and films of any or all auditions and the concert performed by the Jury, but he may not vote at any Stage of the Competition, except equal to the number of places remaining to be filled (subject to from two days prior to the commencement of Stage I through the laureates ("live chronicle"). This right extends to the use of such for a situation covered by Rule 25. Rules 20,21, and 22). If the result is still indecisive, the competitor period of the official participation in the Competition. The recordings for radio, television, films and records. Contestants with the lowest number of votes will be eliminated and another Contestants will be provided with facilities for practising. may not claim feesfor performances or any reproductions thereof the Jury will elect from among its members two Vice-Chairmen, ballot held for the remaining tied competitors. This process will 5. Prizes: A total of six prizes will be awarded, at the discretion of the within the framework of the Competition. be continued until all the places are filled. If an exactly similar tie 9. All stages of the Competition are open to the public. Contestants \ 19. No Member of the Jury may communicate any of the Jury's results after two successive ballots, the Chairman of the Jury First Prize: The Arthur Rubinstein Award. A Gold Medal and will not be interrupted during performance, but the Jury will have proceedings or deliberations outside the Jury meeting. shall use a casting vote to decide between the tied competitors. $10,000 the right to determine whether the works be played in whole or in 20. Every Member of the Jury shall declare to the Jury Chairman any The Chairman of the Jury will announce the required number of Second Prize — A Gold Medal and $5,000 part, in order not to exceed the allotted time. Competitors con­ competitor who is, or has been, his/her pupil in the last three competitors. The Chairman of the Jury will announce the final Third Prize: — A Gold Medal and $3,000 cerned will be advised of such Jury decision before the beginning years. The voting on this competitor will be held in accordance results of the ballot to the Jury. After this announcement, there Fourth, Fifth and Sixth prizes — A Silver Medal and $1.000. of each State. with Rules 22 and 23. Repeats are to be taken at the discretion of the contestant within The prizes are sponsored by the Jack Fliderbaum Family, London. 21. At the end of each Stage, the Juiy (excluding the Chairman) will the time limits for the Stages. vote on the competitors to be admitted to the next Stage. Additional Prizes: 10. Contestants should choose editi The 20contestants with the highest points in Stage I will compete 26. FINAL STAGE: Award to the most outstanding Israeli Competitor: $5,000plusa in Stage II. The 12 contestants with the highest points in Stage II The First Prize Winner will be decided by a simple ballot, with scholarship for further studies — $3,000 every year for three With the exception will be admitted to Stage III. The 6 contestants with the highest each Jury member having one vote (subject to Rule 20). If no years — sponsored by the Canada-Israel Cultural Foundation. performed from me points in Stage III will be admitted to Stage IV(Semi-Final). The 3 competitor receives a majority of votes, another ballot will be held Ambassador Foundation Award ($ 10,000) in memory of Sol Hurok. Chamber Music am contestants with the highest points in Stage IV will be admitted to to decide between the two competitors with the most votes. A Arthur Rubinstein's impresario: A cash prize of $5,000 to the with Orchestra. Stage V (Final). teacher whose pupil has reached the final may not take part in laureate, along with an honorarium of another $2,500 for a 11. Repertoire — see page 38. The contestant is free to choose any 22. In the ballot at the end of Stage I, every Member of the Jury will this ballot. Should there be a tie, there will be a discussion, after concert at the Ambassador Auditorium in Pasadena, California work(s) to complete the programme within the framework of the have twenty votes, all of which must be used. No competitor may which a further ballot will take place. This procedure will continue and $2,500 for travel and accommodation expenses. be given more than one vote by any Juror. At the end of the until a conclusive decision has been reached. Award to the Second Best Israeli Competitor: $2,500—sponsored 12. Competitorswill play in the order determined by ballot before the Second, Third and the Semi-Final stages, a similar ballot will take When the winner of the First Prize has been decided, the Second by the Severin Wallfish Family. First Stage. This order is to be maintained during the entire prize winner shall be decided by simple ballot. Award for the best performance of Chamber Music: $2,000 — competition. In unforeseen circumstances—competitor's illness, to the number of competitorsto be passed tothe next Stage. Any 27. All decisions by the Jury are final and beyond appeal. sponsored by Mr and Mrs Abraham and Phyllis Katz (USA). etc. — the Director of the Competition and the Jury Chairman J J 37 36 /------REPERTOIRE

STAGE I: The Israeli work — Three compositions will be sent to each Duration of performance 30-40 minutes. contestants months priorto the competition. Every contestant A programme of the contestant's choice which should include: must choose one of the three works: ’ Mazurka" by Jan Rad- • A complete Sonata (any) by Haydn or Mozart, or a fantasy zynski; "Impromptu No. 2" by Ron Weidberg; "Fascinating (any) by Mozart Rhythm" by Moshe Zorman. • An Etude (virtuoso) by Chopin • An Etude (virtuoso) by Liszt The contestant is free to choose any work(s) to complete the programme within the framework of the time limit. programme. The contestant may choose a Piano Quintet by Schumann or STAGE II: Brahms or Dvorak. Duration of performance: 30-40 minutes STAGE IV — SEMI FINAL: STAGE III: The contestant may choose dne of the following concertos: Duration of performance: 40-50 minutes Mozart K482 in E flat Major Each contestant can freely arrange recital programmes for Mozart K488 in A Major Stages II and III. Mozart K491 in C Minor The following selections must be included either in Stage II or Stage III. Beethoven One of the 5 Concertos • A Baroque work • A Sonata by Beethoven • An important work written in the 20th Century STAGE V — FINAL: • A given Israeli work (6-8 minutes in length). The Contestant The contestant may add works of his own choice to the recital Chopin programme up to the time limits given for Stage II and III. Schumann Liszt Brahms Rachmaninoff Tchaikovsky Prokofiev Nos 2 or 3 G Major PROGRAMME OF THE COMPETITION

(------/ X X THE TEL AVIV MUSEUM TUESDAY 28, WEDNESDAY 29. THURSDAY 30 MARCH STAGE 1 RECITALS 9.00-13.00; 16.00-21.00 RECANATI AUDITORIUM PERFORMED BY THE CONTESTANTS FRIDAY 31 MARCH: 9.00-13.00; 14.00-16.30 \____ J k / \ y k y

X r X Ç X / x THE TEL AVIV MUSEUM SUNDAY 2. MONDAY 3 APRIL STAGE II RECITALS 9.00-13.00; 16.00-21.00 RECANATI AUDITORIUM PERFORMED BY THE CONTESTANTS TUESDAY 4 APRIL J 9.00-13.00 k / \ y k y

f A Ç A “X / THE TEL AVIV MUSEUM RECITALS WEDNESDAY 5, THURSDAY 6 APRIL STAGE III r AND A QUARTET COMPOSED OF 9.30-13.00; 16.00-21.00 RECANATI AUDITORIUM CHAMBER MUSIC PRINCIPAL PLAYERS OF THE FRIDAY 7 APRIL: PERFORMED BY THE CONTESTANTS ISRAEL CHAMBER ORCHESTRA 9.00-13.00; 14.00-16.30 k / J k y ( A / ---- X ------X THE F. MANN AUDITORIUM | CONCERTOS FOR PIANO AND STAGE IV ORCHESTRA WITH THE ISRAEL CHAMBER ORCHESTRA SUNDAY 9, MONDAY 10 APRIL TEL AVIV SEMI-FINAL CONDUCTOR: JESUS LOPEZ-COBOS 20.30 PERFORMED BY SEMI-FINALISTS (Spain) k y k_ / ____y ( / / X THE F. MANN AUDITORIUM CONCERTOS FOR PIANO AND STAGE V WITH THE TUESDAY 11 APRIL TEL AVIV FINAL ORCHESTRA ISRAEL PHILHARMONIC ORCHESTRA 20.30 PERFORMED BY THE FINALISTS CONDUCTOR: JESUS LOPEZ-COBOS k k / k / k_

X / / X / X PERFORMED BY THE LAUREATES BINYANEI HA'UMA DISTRIBUTION OF PRIZES and GALA WITH THE WEDNESDAY 12 APRIL JERUSALEM LAUREATES CONCERT ISRAEL PHILHARMONIC ORCHESTRA 20.00 CONDUCTOR: JESUS LOPEZ-COBOS k y k / V ------y k _____7 Music Advisor

The Open University and The Israel Chamber Orchestra will hold a symposium on Sunday, 9 April, 1989, at 19.00, at the Mann Auditorium.

Musical and Human Conflicts on the Road to Excellence

Moderator: Dr. Hanoch Ron, Tel-Aviv University

Speakers: Prof. Yehoash Hirshberg, The Hebrew University Prof. Sam Tyano, Tel-Aviv University Dr. Nahum Amir, Tel-Aviv University Natan Mishori, Music Critic

During the session the audience will participate in a game simulating the process of adjudication at music competitions.

For further details please call: 03-422636, 422501

For ticket holders of the concert on 9 April only.

03-422511 110^0 61392 1ip>D 39328 .7.71 K"7I UDI ,16 7mN>pT>7

43 JURY MEMBERS o>DDwn inn FOR THE 6TH ARTHUR RUBINSTEIN nmnnn INTERNATIONAL PIANO MASTER COMPETITION pwan ‘I’imN

Honorary Legal Advisor: Baruch Gross, Adv. i”w ,orn *jnn: ’vqwd Chairman, Music Advisory Committee: Prof. Arieh Vardi mi tvin -ano: jpnvnxn niyin t Jury Secretary: Adriana Federer CLAUDE FRANK

Spain and finally to the USA v the settled and studied with Artur Sch debut with the New York Phi >Jioanb>on Leonard Bernstein in 1959 recitals and with the great < nibmn nimotnn world touring the USA South America, nPavviNai nan’NS Europe and Australia. He also plays chamber i oy y’oioi jinoNp oy pi nNPi’i rpiynm »maNii n»y>aa nivbpn ions .aPp inPP nnmovon Ppnv lWNnn »ipnxiNn provon n»n an .pinos jino arovob nwnvn anno

,VP ’mo y'ora Nin do ,poN bawvoa ,nbv where he is on the faculty, at the Aspen D.G.G., Telefunken-Decca, H.M.V., RCA Music Festival, where he appears every summer, and at many colleges and universi­ She has been on thejuryof manylnter- ties throughout the USA. national Piano Competitions, including . Leeds, Leipzig, Moscow, and others. Mrs. Stefanska conducts master classes in Weimar, Darmstadt, Ham- y

(------/ - JOSEPH DORFMAN KARL-HEINZ KÄMMERLING np’tnnb mvono Nin nPaoNp p«n baNp Joseph Dorfman was born in Odessa and nnroo mow 5nn ow .nviiNa Po inonn ivi’ Karl-Heinz Kämmerling is Professor at the began studying piano at the age of five. He ji’m np>vmn >mnP jin iwon Nin .5 >’ia Hochschule für Musik und Theater in Han­ .aa»iw imi pania pviN bsN l’iO'Pa rob nifi .'DiNbjnn i'V’iion 5y3 'pvnNPivv novn nover. He studied in Leipzig with Anton nationally renowned StolyarskyMusic School iinivinvnpa l’lioP jin d«p 1965’1 Rohden and Hugo Steurer. and graduated from the Odessa Conserva­ tory in 1965. His achievements speak for themselves, with 7N3 mann ,bvna ,vaP .»b'umi ,iN’i»av)io ™>'i ,ii’t>3imN ,!»pvn npp ,(Pii ibi) At present he is Professor of Composition and Nin ,3’3XPn JHWWJ1N3 npwiob nranpNn Theory and Director of the Israel Academy of prestigious international Competitions: Mon­ .Poini miN nil .aoaiaivia ,inin3N3 niNt»tn3>jiN3 miN moon» cm vow Music at Tel-Aviv University. He has also been tevideo, Vercelli, Leeds, Brussels, Bach Com­ ni’niNbj’3 ion nin’3 d»p oPaoNp 'ano a visiting professor at , vmopnoa np’oinb nranpNn ,>«i n’soPip petition (Glenn Gould), Clara Haskill, Eurovi­ nnnn .nvaia pw manna vow vowi Yale University, the Academy of sion, Gina Bachauer, Boesendorfer, Geza P>P V>1V1 >0’13 ,VlP ,P3pV103 »pV31p»"l Music and the R. Schumann-Musikhoch­ >piPv>i3 ’on’Nn mi’Nn bv> bninn ayia nan Nin .>v>o schule in Dusseldorf. □rayoioomn mvonoyioin ,nriN wPy ino Professor Kämmerling also conducts interna­ .panbav provon »mo bv Since settling in Israel, Professor Dorfman 0>333H3 ^nlrom ,D>VnSJlp YJJW93 J1D3 tional masterclasses and was a Juror at the has performed widely as concert pianist, as OWmillp ,Dp3’VD93 nsiobl ,D»nONp Chopin Competition in Warsaw, the Tchai­ part of chamber ensembles and as a conductor ion nina □"pt> Nin .nonna im mponi kovsky Competition in Moscow, and at Con- in many Europeanfestivals, concerts and radio .JinoNp nprarai nnwra ,mn>na tests in Leeds, Brusselsand Salt Lake City. He in composition, theory and chamber music. onnm niPn yaonn moans bv ranni» is Member of the Board of the European Piano .mintni movob wnnp on»>»3i ,Piv Pab Teachers Association in London. for solo instruments, among them a concerto np’oin pi ,ö>nioo>vi D'nDNp o>3aan for piano and orchestra, chamber ensembles ,n>n-nnnvpbN np>vio .mvvipN’nvpbN and symphony orchestra, as well as electro­ Vacoustic music,______live-electronics music, ballets, J 46 J EMANUEL KRASOVSKY HIROKO NAKAMURA One of Israel's most active performing pianists, Hiroko Nakamura began playing the piano at Emanuel Krasovsky teaches piano and piano the age of three, and at fifteen became the literature at 's Rubin youngest musician ever to win the Japan Academy of Music. His articles and book re­ views have appeared in important music Music Competition. Three years later she be­ journals including "The Piano Quarterly", came Rosina Lhevinne's student at the Juil­ "Music and Musicians" and "Music inTime". liard School of Music, and at the age of twenty He studied at the Tel Aviv Music Academy was the youngest prizewinner at the Chopin with Mindru Katz and Oedoen Partos, and at Competition in Warsaw. the Juilliard School in New York, where he Madame Nakamura is a prolificconcert pianist earned the degree of Doctor of Musical Arts. both in her country and abroad and has pro­ His teachers at Juilliard were Llona Kabos, duced many successful recordings. In 1982 rtnftb nnnra 1987-31 nspvun >pvaip>”2 Guido Agosti and Ania Dorfmann. and 1986 she served as a Juror at the Tchai­ Emanuel Krasovsky has appeared with the ton .pat»!« num m nwt’ni -rara mwt Israel Philharmonic Orchestra under the baton kovsky Competition in Moscow and in 1987 of Leonard Bernstein, Sidney Harth and oth­ at the Paloma O'Shea in Spain, and the Vianna ers, as well as with the Baltimore Symphony, da Motta in Lisbon. She is to be on the Jury of the Chopin Competition in Warsaw in 1990. in Jerusalem and in the main American cities. His activities as a prolific chamber music per­ Dr Krasovsky has also given lecture-recitals former include a sonata recital with the violi- at the Juilliard School in New Yorkand served on the Jury of the New York Piano Teachers' International Competition. His students have chauer Memorial Award. won international contests in Europe and the <______USA. J — MARLOS NOBRE man wban The composer Marios Nobre was born in Re­ cife, Brazil. He studied the piano and composi­ tion at the University of Recife, and completed his advanced studies in composition Torcuato di Telia Institute of Buenos Argentina with Ginastera. Messiaen. Mali- piero and Dallapiccola. Marios Nobre has received numerous major local awards for composition and has fre­ quently participated in international meetings Among his major works there are many writ­ ten for piano and orchestra, or for piano and various groups of instruments. Besides his work as a composer, he is very appeared with several orchestras in South America and abroad.

J 48 49 /"VYACHESLAV OVCHINNIKOVV bna .9 b>» ynbnb brom iiiwtnw 3bp»3’i Vyacheslav Ovchinnikov began composing rnpptoa np’piob iFwa-roiipb bapJin 15 music at the age of nine. At the age of fifteen .moioD’P ìno’ai ran nil’s’ pnbn ton he was admitted to the Moscow Conservatory of Music. Throughout his career as a composer po pbn .o’DDNp O’aaanb nn’TO o'baip he has written a large number of works such as symphonies, chorals and pieces for o’bnp bait ponto lb wp’nt ,’ppiappitni chamber ensembles. Some of these were performed by outstanding artists, including ,nsioa o> Dtrnoo aip’j”saw dopxo Gauk and Rozhdestvensky among others, and made his reputation among wide audiences nptpto o>,win's» tabo ,bbia t>v axipaaani ,nprtn .poitnaa ,t»t .pvroa ,TN3 bw Maestro Ovchinnikov is also renowned as a -’»st r)»’)om ,PW1W .Pl’ba’P ,pN>tl3T conductor. Besides his own works he has np’oyon jwbp’oiob nvw on wiira .»ppaip included in his repertoire music by Bach. Bee­ thoven, Wagner, Brahms. Glinka, Dvorak. Sibelius. Strauss, Rachmaninov and Tchai­ kovsky. His performances are the testimony of his thorough musicianship as it is ac­ knowledged by prominent artistic figures.

1»nW rpNVt ntt q«p tiK’niP I’pxvt ’noon prupon The Spanish pianist Joaquin Soriano finished bo mobro n’Pibi bv> pnwaaonpa I’Tio’b his studies at the Valencia Conservatory under bv iiDTO3ipjip3 inb ini’ nntND .'p»o ,b L. Magenti. Later he studied in the Paris Con­ servatory with Perlemuter and also in Vienna .bina -nabli bsN ni’ni notobia ban pdns with Alfred Brendel. Laureated in six interna­ nt’nnn won nat ona , □’Pts map’» tional competitions and winner of three first .obwa o’awnn D’onsnpn ntobw toab inrun which opened for him the doors of the most i»raip wpann tannsnp pnipaa tnib’iia ma ma niawn nvoiNbra ni’nnna vano powb Besides his activity as a concert pianist, Joa­ ,pi’b ,n’p>in noiba ,’pp3ip«>3 o"i> nnnnn quin Soriano has been requested to be a judge Tii3«bp p .bwtnono ,(1986) p’owran iwdn in major international competitions such as Tchaikovsky, Paloma O’Shea. Leeds, Arthur Rubinstein (1986), Montreal, Van Cliburn and nana n jid 1987-a .tod m inv iw tp” xm Tokyo. lana 1988-ai .n’Pibia mniONb n’DTpxn He is a founder of the Trio de Madrid. In 1987 .imoa nine ip wiioNb n’oipNa he was appointed a member of the Academy of Fine Arts of Valencia, and in 1988 a member of the Academy of Fine Arts of San Fernando in Madrid.

50 THE ISRAEL PHILHARMONIC ORCHESTRA jwiîimi rrnmnn Founded by Bronislaw Huberman • Music Director: Zubin Mehta nv»nn pan ; ’bp>tno bron • imam abonna n>a rnvi)

>nic Orchestra, founded in 1936 by cadres of musicians by presenting Young Musicians' Debut ,nn’pnai .D’i’ys D’bxaw’ o’xp’tna bw nmaan myainb ’1’3 1936 rows nitro n’bNiw’n ronnmb’an jrnnwin berman. is today considered to be "one Concerts and by co-sponsoring, with the Rubin Academy of tin .a’ax'bra l’an wy np’vinb n’aipxn dm in’ jimnwin Jinx"b ova nawro x’m ,)>?aain abonna rosn Music in Tel Aviv, the Junior Philharmonic Orchestra. In order bw l’nymn nnwan îyab .m’ysn ronmnb’an jrnnwin bw nnn baxin ’roatnn t>3T"bi "Dbwa am’a nibiynn to help educating future generations of music lovers, the IPO D’wnmp bw jiinvn mi’o jrnnwin nwnn np’via ’aain . obws mi’3 mpioyn mmnwin tidn □> »nn .”bxaw’ orchest 210concertsannually in itsfully- caters specially to younger audiences in special Youth ’nixbn fnxnb npbn jin iwtiji jrnnwin .aynb mb’» nrntn D’wnmp 210-33 row ’iio ny’oin x’n subscri concerts and occasional opera Concerts. Other functions of national importance are the many mroya oi ny’ain N>m b"ns ’b’’nb D’aa Drorompa jrnnwin .Jinaixa oya nm o’im’n □roranpa .o’ronb performances. The IPO appears regularly I o’ii’v Jiany jrnnwin .o’Jiwxm rotnn-’iipa nnnba .bxaw’a D’bmn 3iw”n niona mjrapa ny’aia urban centres and in special concerts ir war ot frontier outposts, and the goodwill and fund-raising iyi posa pnn-jioiD yind ’am bsa o’invn taroisiipai country., from the Golan Heights in the tours abroad, undertaken whenever such a need arises. The maipb nnmn tawbi aiw-pua bw minas b’nna o’invn ram moptj minwin maib .aam wtt”w bsa .nri’nn jnwnn nx îx’an o«mxb)»3 D’ii’v .orna m’aix (Sharm-E-Sheik) in the south. Frequent i .obiyn ’pbn anb maisn D’Jiyb have taken it to most parts of the world. many world premieres of works by Israeli composers, and the D’nnbn bw mn nrwp bw mi33-’yi3’3 - "nni33” first concerts ever to be played in Beer-Sheba (1948), JI3W1N33 "fonm tXD" JTO1WX1 TlWOim .D’bXIW’ niwiy bw îvraaw nnn nbw miaan nyain txn Bethlehem (1968), Ophira (1973), and the "Good Fence"atthe "raiDn-mn” ,(1973) m’aix ,(1968) onb-roa ,(1948) ba wyns oy minwin ny’ain .nswr’nban ’j’jpolv Lebanese border (1977), among others. The IPO is supported ’i’a n’pbn jianro jnrawn .nanai ,(1977) pnb bia» nnwy nxt oy in’ .obiyn bw o’bmn tanbivro o’rcnnn in part by the America-Israel Cultural Foundation and by Jrnnwin roi» Jinnx ’i’ai ,bNaw> np’anx iramn )ip .o”nipn piw’a-’bya bw oiii’yi omroab niai mintnn organizations of Friends of the IPO in various countries. .nuiw rnnto onnxn ’aiwn oy Dnnnn o’aa o’bxiw» onbitn o’mon In 1968 Maestro Zubin Mehta was appointed as Music ’bp’pinn miyi’b nwnn pan iavw^n ronroi 1968 rowa jrnnwin oy oromyaina nnwxab ab nniwnb 1st obiya Advisor, and in 1977 his title was changed to Music Director. jrnnwin ’ian roman amn .robxaw’n ronmnb’an His dynamic leadership has contributed much to the IPO's imron ,’bp’üin bronb nxn nnw 1977/78 roiy rowxaai inx"3 nmnwin bw -nnnnn nnimpb niai nnm nooinn bw oinra oi mai nwiy jrnnwin .bxiw’a nabi nbu ip’ya o’aa o’biy îwbpj ronnwai ,n’byn nv’bp anywhere in our world today". ."□va obiyn bas mva o’aiwnn □’’bproinn mivinn miann aü’n bw om n’ü’bpna tas nyain jrnnwin w Dii’pa di pbn nbwn minwin .amixm nm’-iaa labels. ibis wipian wranp taya ’ia nwnna ,0’xp’wia bw l’Jiyn 52 53 THE ISRAEL CHAMBER ORCHESTRA itfwwn ronnxpn nroatnn The Israel Chamber Orchestra was founded in 1965 (as the Heinz Holliger, Paul Tortelier, Maureen Forrester, Itzhak Perl­ >xoan n”3 ixn .ronn >»iw .lenproi proa ,ia>na prov >aapJN”3) 1965-a nnpn ro>xroy’n ronaxpn nroatnn Chamber Ensemble) by Gari Bertini, who served as its Artistic man, Pinchas Zuckerman, Krzysztof Penderecki, Christoph .’partís «pov’TO, noproa proa ,royame ,ni’>in p’’n Pp’pian n>roa3 va»w roma nxi n» >y ("naxpn Director and conductor for ten years, o be followed by Luciano Eschenbach and many others. .□’nnx o’am ■jniwn qippnp ,’xvna natron ,vna wmb vnnxi ,O’W io ronaa pronai Berio, , Uri Segal and . The orchestra's repertoire ranges from early Baroque to con- nyi nanpian pmxan naipna ynnwa nroatnn nxipnan . ’B>n atoro 51P ’nix rotnp nprona nova m na’w pin ,mat na np’Pia> vina la’pa nnnao ronaxpn nroatnn 23*n rowi The beginning of the ICO's 23rd season is marked by the ,P’B .nroatnn ”’>p’Pia xin’”> XJ’o na>w >w wmn recent appointment of Shlomo Mintz as Music Advisor to the .o’>xn»’ o’ysaai oronda nrr»yi >p nt abpa «ixw roaix^i’an ornan mas oy roam orchestra. Mintz, a renowned member of the international Apart from the subscription series in Tel Aviv, Jerusalem and ny’aia ,na’ro o’bwiro .rax'lna o”iian rompa na> elite of violin players, aspires to contribute his talents to in­ nynmn npayn> vnw’aa Dinn> i5w robp’Pian nn«npn Haifa, the ICO appears throughout Israel and takes part in the >w mpana naso p>n nlom xnxn nnn >33 nroatnn nxti — 'fnxnrtnyaronaNpnp’Piaro’vyl’P roíavani creasing the consciousness and proficiency of the excellent New productions. .nwinn n’i’X'W’n nnaixn Chamber Music performances in Israel by working together n’bxmym ronaNpn nroatnn dp nanwa nntay myaaxa with the Israel Chamber Orchestra in the capacity of conductor. On tours abroad the ICO played throughout western Europe, in natrox munx >33 nroatnn ny’ain >»ina roro’pa múp’Pian ronvian >a oti’si i>ipa ,roñas niay’ nay Numerous well-known artists have performed with the or­ , the USA, Canada, Japan, Hong Kong and Portugal, Mina ,)a>a ,nmpa a«mxa .taioroaa .nnunna .roanyan .ronya chestra since its foundation: , Vladimir Ashkenazy, and also participated in many prestigious festivals, including >3’ppaa om o’’mpv o’ba’DPaa nannwn pi ,inp □w ’yiro o’iax nroatnn oy ly’ain ,navp nw rouan , Neville Mariner, Jean-Pierre Rampai, those of Salzburg, Bergen and others. .niyi lina .iroasbt ,inop p’t”x ,’»3px n’a’Tx5i ,'X’aiainopin a>p’PD3 54 ■X

JESUS LOPEZ COBOS W31J? raib wtn mNO’OTO’Jiia mi omp toii ’-noon ramn n’oioiimi owprr iron io’pi mrm -minivi .mm ivi no’tmniro Piwi inn no’otoniio l’-nn’i inti to o'NP’Dim omn istt mi pirn ivmoi mono ,moin iotoonp ,mmo ipno ino twro non nonno .inn pi ’pronao wttn nwion nnintnn io ip omp toii noottnn Jimmni’on .l’ito io nnvnni’on innm mintnn ,itmn ivi nninonimn ,ro’i io .nonotsnpni ronioinn ,’oi’W’o ivi m’jimrtnon is> ran ton o"nno srael Philharmonic, Royal d the Concertgebouw. In the , he has conducted the Cincinatti □nw □’v’ipn v’ipn oioip toii nooxn Symphony, Chicago Symphony, New York mow nviown ivi ’ip’oinn ironn nih oim Philharmonic, Pittsburgh Symphony and the ivi ’vimn ramni ’ip’oinn ninmi pino Orchestras. .’oi’pi’p jnintn Maestro Lopez Cobos has made several re­ ’ip’oinn ironn nw Kin 1990 tonvoon cordings and is currently Music Director of ini ivi rmntrpn nronmn ivi 'win nraini the Deutsche Oper in Berlin and Music Direc­ tor and Principal Conductor of the Cincinatti Orchestra. From September 1990 he will become Music Director and Principal Con­ ductor of the Lausanne Chamber Orchestra.

J /■ ■ EMANUEL GRUBER - CELLO V ù's - w» bxwnj» tnrntnn pvmn ,-nnj >N»ny crobnn mton lrw mn nùKwnn n>inNpn Emanuel Gruber studied at the Rubin Academies of Music in Jerusalem and Tel Aviv, and subsequently with Gregor Piati- □yon mP’Da ipnxtw wun’i >ppto’vn’3 gorsky and Janos Starker on an America npnDN nmnn pp Israel Cultural Foundation grant He was nùtnvnn n’iimn>an mwnnn 5a>p iwa awarded the 1970 Pablo Casals prize by the Israel Philharmonic Orchestra and won the visa nat W5_a .WtNp toxa cm jin 1975 Concert Artists Guild Audition's Prize in .p-w via o'tnyjipn pon ton n’sniNn New York, ,n’7ü>N, nana ,pimn mina ppa y>atn nani As a soloist Mr Gruber has toured the Far East, France, Italy, Holland. England and He has gi invi niatCtt ,’HNaa oPawaa qn'rwn ■wPpn dj trt>pn tani p ma iN>vpao Japan and the United States and has partici­ pated in the Festivals of Bath, Salzburg and San Sebastian. Emanuel Gruber can also be heard on Compact Disc. J — r X JAN RADZYNSKI MOSHEZORMAN nwn Jan Radzynski was born in Warsaw in 1950. iwb butt mmisnip lob ,pbip3 1952-3 ib» He settled in Israel in 1969 where he studied MosheZorman was born in 1952. He imo* oi’p irwb .oox ’»1 ’po3ibi’o composition under Leon Schidlowsky at the composition with Leon Shidlovsky Rubin Academy of Music at the Tel Aviv Uni­ Avni. After graduating from theTel Av no’Pi3>)W3 mb 3’3X’bn3 np>oiob moipto versity. He furthered his studies in composi­ Academy he studied at New York Universi o’i)>DP3 <]nnon pi ,bio >nvi by« pii’-i’i tion with Krzyzstof Penderecki and Jacob under George Pearl and participated in com m>p3i (’posimi l’io ov) 0110113 oo’nbob Dr uckman at Yale University in the U.S. Since 1983 he has been teaching composition and poser's seminars in Vermont (with Mario Da music theory at the Music Department of Yale vidovsky) and in Canada (with John Cage). Hi miDtn .n’bxiow ji’iioinb’on jniotnn works and arrangements haw no”iiai’on ,inwi nwi bo mobpnn In 1986 he was granted the Morse Fellow­ formed by the Israel Philharmon ship of the Yale Universityto work in Israel on alem Symphony, the Isra David, an orchestral composition based on Sheva and the Baltimore nnnob np’oiD om p ids .3”niN ,no’ob3 the musical traditions of the various ethnic ."Ma-m”! "ba»" binon mpnbbi pioxm the Inbal and Bat Sheva da n’libip’oiob linn bo nxiinn bio by 010 moi Among his works are: Trio for flute, oboe and now teaches at the Musi clarinet (1971), Quartetto per archi (1978); o"y np’oiob nonom s’SN'bn no’onmws Homage to Itzik Manger; music for dance based on a poem by I. Manger (1978); Kad- Teachers College. dish for string orchestra, 4 flutes, piano and percussion (1979); Canto (1981 ) Improvisazi - one for violoncello (1982); Mizmorim for 8 violoncelli and solo violin (1983) and Sonata for violin (1984). We acknowledge with thanks the interest in our competition and the support of famous piano makers

V nain pi Steinway & Sons Kawai Musical Instruments Yamaha Corporation Fazioli owiTnpini'O nunnó ntnm 3-3'mow for sending their specially selected concert grands to serve buioo >o by "nub o’ono" ,pwi»j3 mtw’n hO’013’1W3 "10)0 DIN p’tl’0”3 maw ,op3 as the official pianos of the Contest. •bn wiow-oiNONp npnb injr mon msw We have pleasure in greeting their representatives and are o’i’o nsinb np>oio sro p-ma .jiupn grateful for their work. n*ii loibi ’Dim ,)1>3N in two nirwioi

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Youngshin AN, Korea Mark ANDERSON, U.S.A. Joachim ARNOLD, West Germany Age: 22 School: Ecole Normale de Musique/A. Cortot, Paris School: Hochschule fur Musik. Hannover Address: 48 Blvd, de Pesaro, Nanterre, France Address: Podbielskistrasse 56, 3000 Hannover 1, West Germany

STAGE I

Sonata in D Major. K 576 Prelude and Fugue in D Sharp Minor. WTC I Sonata in C Major, HOB XVI/50 Chopin Elude in B Minor, op. 25. no. 10 Sonata in E minor Chopin Transcendental Etude no. 12 in B Minor. (Chasse Neige) I ranscendental Etude no. 8, in C Minor (Wilde Jagd) Toccata in C Minor Les fées sont d'exquises danseuses: Ondine; Feux d'artifice from Préludés, Book II Nocturne in C Sharp Minor, op. posth. Scherzo no. 2 in B flat Minor, op, 31 STAGE II STAGE II Bruyères; General Lavine — eccentric; Beethoven Scarlatti Sonata in D Minor (Toccata) La Terrasse des audiences du clair de lune from Préludés, Book II Shostakovich Prelude and Fugue, op. 87. no. 15 STAGE III Schumann STAGE III Scarbo from Gaspard de la Nuit Debussy Reflets dans l'eau from Images. Book I Beethoven Sonata in A flat Major, op, 110 Scarlatti Three Sonatas STAGE III Une Barque sur l'Ocean; Alborada Toccata, op. 7 del Gracioso from Miroirs Beethoven Sonata in A fiat Major, op. 110 Zorman Fascinating Rhythm Radzynski Mazurka Fascinating Rhythm »rès une lecture de Oanté Chopin Sonata in B Minor, op. 58 Brahms Piano Quintet in A Major, op. 81 Mazurka STAGE IV STAGE IV Piano Quintet in E fiat Major, op. 44 Piano Quintet in A Major, op. 81 STAGE IV Beethoven STAGE IV Mozart Beethoven STAGE V Beethoven Concerto no. 1 in C Major, op. 15 STAGE V Concerto no. 4 in G Major, op. 58 STAGE V Prokofiev Concerto no. 3 in C Major, op. STAGE V Brahms Conceno no. 2 in B fiat Major, op 83 Chopin Concerto no. 2* J J 63 A

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Jonathan BASS, U.S.A. Markus BECKER, West Germany Age: 29 Age: 25 School: Indiana University School: Hochschule für Musik. Hannover Address: 447 East 57th Street. New York. NY 10022, U.S.A. Address: Rambergstrasse 13. 3000 Hannover 1. West Germany

STAGE I Sonata in B flat Major, K570 Haydn Sonata in E Minor, HOB XVI/34 Etude in A Minor, op. 25 no. Chopin Etude in C Major, op. 10, no. 1 Transcendental Etude no. 5 in B flat Major (Feu> Transcendental Etude no. 12, in B flat Minor (Chasse-Neige) Brahms Paganini Variations in A Minor, op. 35, Book 1

Barcarolle in F sharp Major, Partita in B flat Major Variations and Fugue on a Theme by Handel. Rihm Klavierstück no. 5 Scriabin Sonata no. 4. op. 30

Prelude and Fugue in C Major, WTC II Zorman Fascinating Rhythm STAGE III Fascinating Rhythm Beethoven Sonata in C Major, op. 2, no. 3 Schumann Carnaval, op. 9 Schumann Piano Quintet in E flat Major, op. 44 STAGE IV Concerto no. 5 in E flat Major, Beethoven Concerto no. 1 in C Major, op. 15 STAGE V Tchaikovsky Brahms Concerto no. 1 in 0 Minor, op. 15 k __>

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Ian FOUNTAIN, Great Britain ueniamin fkith, Great Britain Revital HACHAMOFF, Israel Age: 19 Age: 24 School: Royal Northern College of Music School: Leeds University School: Rubin Academy of Music Tel Aviv Address: 15 Elmcroft, Goring-on-Thames, Reading, Berkshire Address: High House, Main Street, N. Anston. Nr. Sheffield, Hochschule für Musik, Hannover RG8 9EU England S. Yorks, England , Address: 171 Dizengoff Street, Tel Aviv, Israel REPERTOIRE REPERTOIRE < REPERTOIRE STAGE I STAGE 1 Sonata in B flat Major, K 570 Sonata in C Major, HOB XVI/50 Mozart Sonata in A Minor, K 300 Chopin Z"” Etude in E Minor, op. 25. no. 5 Chopin Petrarch Sonnet 104 Scriabin Sonata no. 4, op. 30 Chopin Barcarolle in F sharp Major, op. 60 Intermezzo in B flat Minor, op. 117, no. 2 STAGE II STAGE II STAGE II Soler Sonata in D Minor. Allegro cantabile Bach Prelude and Fugt F sharp Minor, WTC I Beethoven Sonata in E flat Major, op. 27, no. 1 Fascinating Rhythm Ravel Toccata Schumann Schumann Martinu pour piano: Etude, Foxtrot STAGE III STAGE III STAGE III Prelude and Fugue in F sharp Minor, WTC II Radzynski Mazurka Radzynski Mazurka Beethoven Sonata in B flat Major, op. 106 Scriabin 24 Preludes, op. 11 Out of Doors Suite Schumann Piano Quintet in E flat Major, op. Shchedrin Basso Ostinato STAGE IV Piano Quintet in A Major, op. 81 Dvorak Piano Quintet in A Major, op. 81 STAGE IV Mozart Concerto in A Major, K 488 STAGE IV STAGE V Concerto no. 1 in C Major, op. 15 Beethoven Concerto no. 2 in B flat Major, op. 19 Tchaikovsky STAGE V Chopin Chopin Concerto no. 2 in F Minor, op. 21 k______rnnrrPN ,trbn whnhx b 30 :b*> .ttnùw o-nn :D>-nn>b m»i .np’vii* nun vnn .np’piob m»n :O’tio>7

Hideyo HARADA, Japan Eckart HEILIGERS, West Germany School: The Juilliard School. New York Age:30|| 1 Age: 25 Address: 319 West 75 Street, Apt. B 5a, New York. NY 10023 U.S.A. School: Hochschule für Musik, Hannover Address: Einsiedlergasse 19/5, A-1050, Vienna. Austria Address: Lessingstr. 10,3000 Hannover. West Germany \______/ REPERTOIRE REPERTOIRE REPERTOIRE STAGE I STAGE I STAGE I Sonata in C Major, K 330 Mozart Sonata n B flat Major, K 333 Sonata in E flat Major. HOB XVI/52 Chopin hopin Etude G sharp Minor, op. 25. no. 6 Etude in G sharp Minor, op. 25, Jszt Etude (Ab irato) Transcendental Etude no. 5 in B flat Major (Feux Follets) Sonata in B Minor, op. 58 Szymanowski Scheherazade from Masken, op. 34 STAGE II STAGE II Two Choral Preludes Scarlatti 3 Sonatas: G Major, K. 146 Schumann B Minor, K. 27 Zorman Fascinating Rhythm D Major. K. 29 Hungarian Rhapsody no. 12 Rachmaninoff Variations on a theme of Corelli, op. 42 Beethoven Sonata in C Major, op. STAGE III Zorman Fascinating Rhythm STAGE III Beethoven STAGE III Partita in E Minor Fascinating Rhythm Beethoven Sonata in A flat Major, op. 110 Variations, op. 20 Petrouchka Debussy Images, Book II Schumann Sonata in G Minor, op. 22 Godowsky-Strauss Kunstlerleben Rhapsodie Espagnole Schumann Piano Quintet in E flat Major, op. 44 Schumann Piano Quintet in E flat Major, op. 44 STAGE IV STAGE IV STAGE IV Beethoven Beethoven Concerto no. 4 in G Major, op. 58 Beethoven Concerto no. 3 in C Minor, op. 37 STAGE V Ravel Concerto in G Major ^Rachmaninoff Concerto i J __ J J 71 <

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Babette HIERHOLZER, West Germany Krzysztof JABLONSKI, Poland Ingrid JACOBY, U.S.A. Age: 32 IEAge: 24 School: The Juilliard School, New York School: Katowice Music Academy School: St. Louis Conservatory of Music Address: Thielallee 26,1000 Berlin 33, Germany Address: 53-006 Wroclaw, ul. Czeresniowa 2, Poland Address: 19 Carlingford Road. Hampsteai INW31RY, England ^REPERTOIRE REPERTOIRE < REPERTOIRE

Sonata in B flat Major, K 333 Sonata in C Minor, HOB XVI/20 Sonata in B flat Major. K 333 Sonata in B flat Major, K 570 Chopin Etude in C major, op. 10, no. Chopin Etude in G fiat Major, op. 10, no. 5 Paganini Etude no. 3 in G Sharp Minor Etude in B Minor, op. 25, no. 10 (La Campanella) Paganini Etude No. 2 in E flat Major Ballade no. 4 in F Minor, op. 52 Chopin Etude in B Minor, op. 25, no. 10 Debussy Jardins sous la Pluie from Estampes STAGE II Chopin Scarlatti Three Sonatas STAGE II Prelude and Fugue in F sharp Major. WTC I Partita in C Minor Beethoven Sonata in E fiat Major, op. 81 a Partita in B flat Major Voiles, Les Collines d'Anacapri, Sonata in C Minor, op. 13 Zorman Fascinating Rhythm Des pas sur la neige. Ce qu'a vu le vent d'Ouest Variations on a Theme by Clara Wieck from Preludes. Book I in F Minor, op. 14 Rachmaninoff Etude Tableau in D Major, op. 39, no. 9 Prokofiev LTsIe joyeuse Etude in D sharp Minor, op. 8, no. 12 STAGE III STAGE Rachmaninoff Prelude in G Sharp Minor, op. 32, no. 12 STAGE III Beethoven Sonata in A flat Major, op. 110 Mozart Chopin Sonata in B Minor, op. 58 Moussorgsky Fascinating Rhythm Prokofiev Visions fugitives op. 22 (selection) Debussy L'isle joyeuse Vingt regards sur l'enfant Jésus (1944): Zorman Fascinating Rhythm 2. Regard de l'étoile; 13. Noël STAGE IV 11. Première communion de la Vierge Radzynski Jeux d'Eau 16. Regard des Prophètes. Mages et Bergers Schumann Piano Quintet in E fiat Major,. Chopin in A fiat Major, op. 53 Piano Quintet in F Minor, op. 34 Piano Quintet in E fiat Major, op. 44 STAGE IV STAGE IV STAGE IV Beethoven Concerto in A Major, K 488 Beethoven Concerto no. 3 in C Minor, op. 37 STAGE V STAGE V Concerto no. 1 in E flat Major Tchaikovsky Concerto no. 1, op. 23 Concerto no. J V r

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Ivo KALCHEV, Bulgaria Nobuko KONDO, Japan Age: 27 School: State Conservatory of Bulgaria School: University of Fine Arts. Tokyo Address: Stoil Voivoda St no. 17, Solia 1505, Bulgaria Address: Nishimashi 4-22-32, Kokubunji-shi, 185, Tokyo Japan ^REPERTOIRE REPERTOIRE STAGE I Sonata in A flat Major Mozart Transcendental Etude No. 6 in G Minor (Vision) Chopin Chopin Etude in A flat Major, op. 10. no. 10 Debussy La Terrasse des audiences du clair de lune

STAGE II STAGE II Sequenza for Piano Radzynski Mazurka Schumann STAGE III Prelude and Fugue in C sharp Minor. WTC I Toccata in C Minor Fantasy in C Major, op. 17 Beethoven Sonata in C Minor, op. 111 Fascinating Rhythm Schönberg Suite op. 25 Piano Quintet in F Minor, op. 34 STAGE IV Beethoven STAGE V Brahms Concerto no. 1 in D Minor, op. 15 Prokofiev J 74 mbvPN rrop ,ob nix>b win n'omrmyn ,xì» >»obii 1 22 :>’> pu» 1’J .TWObn O"D’3 :D’TlD’b np’oiDt» iviTOTTOíip : o’-nn’i> ,np’piD> num v"n’3;o»tia>!>

Liana LAM, Canada Benedetto LUPO, Italy Wolfgang MANZ, West Germany Age: 22 Age: 25 Age: 28 School: Niccolo Piccini Conservatory of Music School: Hochschule für Musik, Hannover Address: 101 W. 79th St.. New York, NY 10024, USA Address: via Caravaggio 70021, Acquaviva delle Fonti. Italy Address: Pasteurallee 55. D-3000 Hannover 51. West Germany

REPERTOIRE < REPERTOIRE STAGE I Mozart Sonata in D Major, K 576 Mozart Sonata in E flat Major, K 282 Sonata in B Minor Ballade no. 4 in F Minor, op. 52 Chopin Etude in C Major op. 10. no. 1 Chopin Etude in A flat Major, op. 10. no 10 Chopin Etude in E Major, op. 10. no. Uszt Transcendental Etude No. 5, in B flat Major, Transcendental Etude no. 8 in C Minor (Feux Follets) Transcendental Etude no. 8 in C Minor (Wilde Jagd) (Wilde Jagd) Uszt Mephisto Waltz Rachmaninoff Two moments Musicaux: op. 16. nos. 3-4 STAGE II STAGE II Beethoven Sonata in E flat Major, op. 31. no. 3 Prelude and Fugue in B flat Minor, WTC II English Suite i in D Minor Prokofiev Sonata no. 7. op. 83 Beethoven Sonata in E Major, op. 109 Venezia e Napoli from Années de Pelèrinage STAGE III Sonata in G Minor, op. 22 STAGE III Bach Toccata in C Minor STAGE III Beethoven Sonata in C Major, op. 2. no. Schumann Sonata in G Minor, op. 22 Zorman Fascinating Rhythm Weidberg Impromptu no. CW. Andante Spianato and Grande Polonaise Prokofiev Father Lorenzo. Masks, Montagues and Capulets. in E flat Major, op. 22 Mercutio, Romeo bids Juliet farewell. from Romeo and Juliet, op. 75 Zorman Fascinating Rhythm Mephisto Waltz Rachmaninoff Sonata no. 2, op. 36 (2nd version) Brahms Piano Quintet in F Minor, op. 34 Dvorak Piano Quintet in A Major, op. 81 Schumann Piano Quintet in E flat Major, op. STAGE IV STAGE IV STAGE IV Beethoven Concerto no. 1 in C Major, op. 15 in G Major, op. 58 Beethoven Concerto no. 1 in C Major, op. 15 STAGE V STAGE V Rachmaninoff Concerto no. 3 in D Minor, op. 30 2 in C Minor, op. 18 Rachmaninoff Concerto no. 3 in D Minor, op. 30

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Joanna MICHNA, Poland □■lead MISHORV, Israel Age: 28 School: Rubin Academy of Music,.Tel Aviv Address: Buchbacherstr 10, 8000 Munich 80, West Germany

REPERTOIRE STAGE I STAGE I Mozart Sonata in D Major, K 576 Sonata in G Minor Usa'" Etude in F Major, op. 10, no. 8 Elude in C sharp Minor op. 10, no. Concert Etude (Gnomenreigen) Transcendental Etude no. 12. in B flat Minor Ballade in B Minor (Chasse-Neige) i F Minor (La Leggierezza) Liszt Après une lecture du Danté Wagner-Liszt Isoldens Liebestod from Tristan and Isolde Ravel Scarbo from Gaspard de la Nuit STAGE II Chopin Scherzo no. 3 in C Sharp Mirtor, op. 39 Scarlatti STAGE III Beethoven Prelude and Fugue in G Major. WTC II Oiseaux tristes; Beethoven Sonata in A fiat Major, op. 110 Alborada del gracioso from Miroirs Radzynski Mazurka STAGE III Chopin Four Preludes: no. 21 in B fiat Major; no. 22 in G Minor; no. 23 in F Major; no. 24 in D Minor Radzynski Mazurka from 24 Preludes, op. 28 Brahms Chopin Scherzo no. 1. in B Minor, op. 20 Piano Quintet in E flat Major, op. 44 Out of Doors Suite STAGE IV Beethoven Concerto no. 3 in C Minor, op. 37 STAGE IV STAGE V Rachmaninoff Concerto no. 2 in C Minor, op. 18 Concerto tn G Major J 78

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Benjamin PASTERNACK, U.S.A. Markus PAWLIK, West Germany Ulrike PAYER, West Germany Age:E 22 Age: 32 Age: 22 School: Curtis Institute. Philadelphia School: Hochschule für Musik, Hannover School: Hochschule für Musik. Address: 397 Harvard St. Brookline, MA 02146 USA Address: Prinzenallee 83. 0-1000 West Berlin 65. Germany Address: Platzhoffstr. 13. D-5600. Wuppertal 1. West Germany ^"repertoire REPERTOIRE -< STAGE I Sonata in B flat Major. K 333 Mozart Fantasy in C Minor, K 475 Chopin Chopin Etude in A Minor, op. 10. no. 2 Chopin Etude in C sharp Minor, Ballade no. 2 in B Minor Transcendental Etude No. 5 in B flat Major Concert Etude (Gnomenreigen) (Feux Follets) Concert Etude (Gnomenreigen) Debussy L'lsle joyeuse Paganini Etude No, 6 in A Minor Rhapsody in E flat Major, op. 119

Fantasy and Fugue in A Minor Prelude and Fugue in E Major, WTC I Prelude and Fugue in C sharp Minor, WTC II Sonata in C Major, op. 2, no. 3 Beethoven Beethoven Sonata in A Major op. 2. no. Ballade no. 2 in B Minor Weidberg Impromptu no. : Brahms Sonata in G Minor Chopin Ballade no. 4 in F Minor, op. 52 STAGE III Toccata in E Minor STAGE III 3 in c Major, Sonata in C Major. HOB XVI/48 Zorman Fascinating Rhythm Fantasy in C Major, op. 17 Two Preludes (1948) Prokofiev Sonata no, 2 in D Miner. Piano Quintet in E flat Major, op. 44 Funérailles Au bord d'une Source Piano Quintet Valse de l’opera Faust Piano Quintet in F Minor, op. STAGE IV STAGE IV Beethoven Beethoven Concerto no. 1 in C Maior. Beethoven Concerto no. 5 in E flat Major, op. 73 STAGE V STAGE V Concerto no. in D Minor, op. 15 STAGE V Concerto no. 1 in E flat Major Tchaikovsky Concerto no. 1 in E flat Major J J 83 ,»1£> »»b »nm nbrnn n»ov»nn

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Wai Ling PONG, Great Britain David SATYABRATA, Indonesia

School: University of Maryland School: Hochschule für Musik, Hannover Address: 5202 Marlboro Pike, Spaulding Heights, MO 20743, U.S.A. Address: Friedrich-Karl Str. 1. D-2000 Hamburg, West Germany

REPERTOIRE REPERTOIRE

Mozart Sonata in D Major, K 576 Sonata in E flat Major, HOB XVI/49 Chopin Etude in C sharp Minor Etude in G sharp Minor, op. 25, i C Minor Transcendental Etude no. 8, in C Minor (Wilde Jagd) (Wilde Jagd) El Albaicin Polonaise-Fantasie in A flat Major, op.

Chopin Prelude and Fugue in B flat Minor, WTC I Sonata in B Minor, HOB XVI/32 Schubert STAGE III Prelude and Fugue in A flat Major, WTCI Beethoven Sonata in A Major, op. 101 Fascinating Rhythm Brahms Suite no. 3 in D Minor Fantasie in C Major, op. 15 (Wanderer) Zorman Fascinating Rhythm Schumann Piano Quintet in E flat Major, op. 44 STAGE IV Concerto in A Major, K 488

Concerto in G Major Brahms

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Asaf ZOHAR, Israel Age: 25 School: Rubin Academy of Music, Tel Aviv, Indiana University Address: I Hama'alot Street. Givatayim 53259, Israel

REPERTOIRE < STAGE I Mozart Sonata in C Major. K 330

Transcendental Etude No. 2 in A Major Debussy Des pas sur la neige from Preludes. Book I Hungarian Rhapsody no. 12

Two sonatas: B Minor. K27; D Major, K492 Brahms Albeniz Triana, from Iberia, Book II

STAGE III Beethoven Sonata in D Minor, op, 31 no. 2 Schubert Fantasy in C Major, op. 15 (Wanderer) Zorman Fascinating Rhythm Schumann STAGE IV Beethoven

STAGE V ? Chopin V y 90

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