THE FOURTH

INTERNATIONAL PIANO MASTER COMPETITION

MARCH-APRIL 1983 ISRAEL

THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY

' THE FOURTH

INTERNATIONAL PIANO MASTER COMPETITION

MARCH-APRIL 1983 ISRAEL

. THE NEW JEWISH NATIONHAS FELT, FROM ITS’ EARLIEST BEGINNING,

THAT HOMELAND AND CULTURE ARE TWO CONCEPTIONS

WHICH CANNOT BE SEPARATED FROM EACH OTHER. .

ARTHUR RUBINSTEIN

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

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

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

May the fourth Rubinstein Competition fulfil its hopes

Yitzhak Navon

Jerusalem, January 25, 1983

Mr. J. BistritzkyThe Arthur Rubinstein

International Piano Master Competition P.O. Box 29MWTel Aviv

Dear Mr. Bistritzky,

I wish to acknowledge with thanks receipt of your letter of January 12, 1983. Certainly, if I am able to do so, I will attend the special concert to mark the close of the Competition which bears the great artist's name.

I am gratified that you are continuing with artistic musical activities to perpetuate the memory of Arthur Rubinstein. He was one of the greatest musicians of our day and a devoted friend of Israel.

During the last years of his life we became dear personal friends. We exchanged letters and cables, and in this correspondence he constantly expressed his pride in being a Jew and his love for the State of Israel.

Arthur Rubinstein passed away after a long life of artis­tic achievement that few can equal. Millions of people across the world felt their spirits rise on hearing him play for he towered above others. Today he is an inspiration to countless musicians and he will continue to be so for generations to come.

Hay the day come when all will be as he was, friends of our people and land.

Yours sincerely,

Menachem Begin

HONORARY COMMITTEE

CHAIRMANMENACHEM BEGINVICE CHAIRMENASHER BEN NATAN ARYE L. DULZIN ZEVULUN HAMMER SHLOMO LAHATTHEODORE KOLLEK

THE INTERNATIONAL FOUNDERS' COMMITTEE

THE FOURTH ARTHUR RUBINSTEIN

INTERNATIONAL PIANO MASTER COMPETITION

ORA NAMIR MENACHEM SA VIDOR MICHAEL SELAAVRAHAM SHARIR

YAACOV AGMON

UNDER THE PATRONAGE OF MR. YITZHAK NAVON

PRESIDENT OF

THE STATE OF ISRAËL

HAIM BEN'SHAHAR GARY BERTINI ABBA EBAN WALTER EYTAN BARUCH GROSS ABRAHAM HARMAN REUVEN HECHT ERNEST I. JAPHET EPHRAIM KATZIR MOSHE MAYER BEN-ZION ORGAD

LEON RECANATI DAVID RIVLIN SHALOM ROSENFELD ESTHER RUBIN YITZHAK SADAI PNINA SALZMAN MOSHE SANBAR SHMUEL SCHNITZER AVNER SHALEV S. SHALOM MARK SHEPS MICHAL SMOIRA-COHN EDITH TEOMIMALFRED WITKON

H E. DAVID GOSS. Ambassador of AusiraliaH.E. OTTO PLEINERT. Ambassador of AustriaH E VERNON TURNER. Ambassador of CanadaH.E. JACQUES DUPONT. Ambassador of FranceH E DR. NIELS HANSEN. Ambassador of W. GermanyH.E. PATRICK H. MOBERLY. Ambassador of Great BritainH E GIROLAMO NISIO. Ambassador of ItalyH.E. HARNOURI KAYA. Ambassador of JapanH E CONSTANTIN VASILIU. Ambassador of RomaniaH.E. ERNEST BAUERMEISTER. Ambassador of SwitzerlandH E. SAMUEL W. LEWIS. Ambassador of the United States of.

GUIDO AGOSTI - Italy HAIM ALEXANDER — Israel Mr & Mrs. AMIOT - France HERBERT ARMSTRONG — U.S A. CLAUDIO ARRAU — Chile EMILIO AZCARRAGA MILMO - Mexico VLADIMIR ASHKENAZY - Iceland STEFAN ASHKENASE - Belgium GEORGES AURIC - France MENACHEM AVIOOM - Israel GINA BACHAUER - England DANIEL BARENBOIM - Israel A. BENEDETTI MICHELANGELI - Italy

ASHER BEN NATAN - Israel DIANE BENVENUTI - France LENNOX BERKELEY - England LEONARD BERNSTEIN - U.S A JACK BORNOFF England NADIA BOULANGER - France MONIQUE DE LABROUCHOLLERIE - Fr MARQUESA OLGA DE CADAVAL - Porte DOLORES CARRILLO-FLORES Mexico GABY CASSADESUS France PABLO CASALS Spam CARLOS CHAVEZ - Mexico VAN CLIBURN - U S A.AARON COPLAND — U S A. CLIFFORD CURZON - England HENRI DUTILLEUX - France RUDOLF FIRKUSNY — U.S A. JAQUES FEVRIER — France ANNIE FISCHER - Hungary MAUREEN FORRESTER — Canada PIERRE FOURNIER - Switzerland ZINO FRANCESCATTI - Italy HENRI GAGNEBIN - Switzerland BERNARD GAVOTY - France ARTHUR GELBER - Canada ALBERTO GINASTERA - Argentine MARQUIS DE GONTAUT BIRON - Fran CAMARGO GUARNIERI — Brazil RODOLFO HALFFTER - Mexico Mr. & Mrs. LYONE HEPPNER — Canada LAJOS HERNADI — Hungary

MIECZYSLAW HORSZOWSKI — U.f SOL HUROK — U S ARENE HUYGHE - France EUGENE ISTOMIN — U.S.A.

JOSEPH KESSELIRVING KOLODIN - U.S.A. LORIN MAAZEL - U.S.A. NIKITA MAGALOFF - Switzerland FREDRIC R. MANN - U.S.A. SIR ROBERT MAYER - Englar ANDRE MARESCOTTI - Switi WILLIAM MAZER - US A. ZUBIN MEHTA - India YEHUDI MENUHIN - England DARIUS MILHAUD — France SIR CLAUS MOSER — Englanr VICTOR NAJAR - France MARLOS NOBRE - Brazil EUGENE ORMANDY - U.S.A GREGOR PIATIGORSKY — U f CARLO ALBERTO PIZZINI - Il KRZYSZTOF PENDERECKI - ROBERT PONSONBY - MARCEL POOT - Belgiu STANLEY R. RADAR - U. HAROLD ROSENTHAL - BARON ALAIN DE ROTHSCHILD - ALBERT SABIN - U S A. BRUNO SEIDLHOFER - RUDOLF SERKIN - U MILES SHEROVER - STANISLAW SKROWACZEWSKI - SIR GEORG SOLI ISAAC STERN - ROBERT SUMMER - HENRYK SZERYNG -ALEXANDER TANSMAN - MARION THORPE - Ena MARIE-ANNE DE VALN FANNY WATERMAN - Mr. & Mrs. GEORGE R. CARLO ZECCHI - Italy

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

^ostinborfpr

The Symbol of Music in Vienna

15

Tel-Aviv12th April, 1976.

The Arthur Rubinstein International Piano Master Competition State Medals

o\y*hj> inivoh nnnnn hv nvnshn« Jivbi»

Mr. J. Bistritzky,Director,The Arthur Rubinstein

International Piano Master Competition,P.O.B. 29404, Shalom Tower, Tel-Aviv.

Dear Mr. Bistritzky,

standard^I1™/^0683.01?”0 First ComPetition “d its undoubted artistic qprnnd m’ J r h ppy to learn that arrangements are well in hand for the Second Master Contest, to take place in April 1977.

am particularly grateful that the Competition activities continue to be •elf-supportmg .»a that th.y „„ „ „ th<

«Sa^i:;tsrs.th'”tOT ** *-• °f |H ™ "

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March 1983

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

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

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

OPINIONS OF LEADING MUSICIANSISAAC STERN:"I would be honoured and pleased to become an honorary member of the International Founder's Committee. .. It is indeed a pleasure to join with distinguished colleagues in honouring an old

"... I am certain that following its great success at the initial venture, it Ithe Rubinstein

their careers most auspiciously. . ."

CLAUDIO ARRAU:

MARLOS NOBRE:".. . Express my deep enthc ' the competition. '

YEHUDI MENUHIM:"You have my deep admiration and all my prayers for the success of the competition which have created and which should rank among the most important in the world."I shall be more than delighted to discuss with you a parallel event in the field of the violin.'

RUDOLF SERKIN:". . . I believe it will be a very important cultural event, not only for Israel but for the whole musical world. I have always felt the greatest admiration for the artistry of Mr. Rubinstein anc, affection for him as a great human being. . . "

LORIN MAAZEL:". . . I am most impressed by the criteria interpretations of music in various styles be a member of the International Founds

J

THE LAST MASTER-CLASS

Four years ago, on his last visit to Israel, the Maestro agreed to listen to the playing of a few promising piano-students, as he had always expressed an interest in the development of future generations of pianists.The meeting was supposed to be a brief one. but it went on and on. growing out of itself and turning into an unforgettable event, in which dream and reality appear intermingled each with the other. In retrospect it all seems like a legend of bygone days, and only the video-recording affirms that it did indeed

As Rubinstein entered the studio early in the morning the symptoms of his advanced age showed clearly. Is he perhaps too tired? Is this gathering perhaps beyond his strength? The Maestro apologizes for being somewhat tired, for his failing eyesight and his inability to recognize old acquaintances. He tells, regretfully, of his impaired hearing, and seeks to turn his good ear towards the pianists.Will he relax in an armchair, or sit. as is customary in master­classes, at another piano? Everyone indicates the armchair, but the 94 years old Rubinstein, now for some time retired from performing, hesitatingly strides over to the piano.A young pianist began to play a Prelude by Scriabin, the photographers began to move around — and the magic started The first lesson is a class in listening. Not obvious and demonstrative listening from the judge's high bench, but creative and eloquent listening of a true partner. And suddenly one is reminded of the way the Maestro used to listen to himself (not without a trace of enjoyment) on the concert platform.By now that Rubinstein reality, in which things assume new meanings, is established. The Scriabin piece was played better than expected, and another student plays Brahms. Again occurs that special listening of one who expresses essentials through silence.But the Maestro also spoke. He spoke and sang in his warm, deep voice and stressed the progression of various musical phrases. Again and again he exhorted the young musicians to

play simply and heartily, as though he were condensing all the philosophies and aesthetics into this credo. His most frequently repeated words were: simplicity, clarity, sincerity, heartiness, nobility, propriety, modesty and purity.Of what did Rubinstein not speak? Well, he made no reference to textual problems, to "Urtext". nor to structural analysis. Was he aware that today's youngsters are overburdened by these problems?Then Debussy's "Poissons dor" ("The Goldfish" from "Images, II") was played. Rubinstein, with a prankish gleam in his eyes, relates the "contents" of the piece. With fascinating story-telling and acting talents, with free reign given to his fantasy and imagination, he tellsa story of love betweena male and a female fish The vitality of the tale, the story-teller's evident enjoyment of each detail, and, above all else, his childish innocence combined with his rich experiences of a lifetime — are not all these the key to the interpretation of the

Another student plays Chopin's first Ballade, and all are aware that the class nears its end. Rubinstein listened, praised and criticized, but he did not illustrate by playing the piano himself. Though he sat at the piano — he was hesitant to touch the keys. Will he play? With the second theme of the Ballade he can no longer contain himself. He tries to play the theme but fails. Something in his system went wrong. Long moments of embarrassment ensue in the studio. He tries again and again, obstinate, tense, but helpless. Then, suddenly, the dam bursts and a sea of tones streams forth as ever, perhaps even more wonderful than ever, slower than usual, as though wishing to place each tone where it belongs, and to leave it enough space to breathe. All this in a sweep of streaming life. The piano responds in heavenly, other-worldly pianissimo.Before he started to play the Maestro had requested that the movement of the E-flat Major arabesques be played not as an opening declaration of a new idea, but as a final dream of events past...

ARIE VARDI

MEMBERS (FOUNDERS) AND PUBLIC COUNCIL OF

THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY

8ARUCH GROSS. Chairman JOSEPH HACKMEY, Treasurer JACOB BISTRITZKY, Director

MEMBERSMENACHEM AVIDOM GIZA AGMON YAAKOV AGMON" REGINA BEN-AMITAI ERIKA BEN-NATAN ASHER BEN-NATAN" YOHANAN BOEHM

NAVA DISENCHIK ADOLF EBNERABBA FROMCHENKO” DOV GOLDSTEIN" MIRIAM GROSSERNEST I. JAPHET"

SHLOMO LAHAT" YITZHAK MORPOLA MOZESMOSHE NEUDORFER* OGI PILOWSKYLEON RECANATI" YEHOSHUA ROTHENSTREICH" ESTHER RUBIN" PNINA SALZMANMICHAEL SELA"ZALMAN SHUVAL"MICHAL SMOIRA-COHN GAD SOMECH EDITH TEOMIM"

YIGAL WEISSMAN AYALA ZACKS-ABRAMOV"

ESTHER ZUHOVITZKY JONATHAN ZUHOVITZKY

" BOARD OF TRUSTEES

THE FOURTH ARTHUR RUBINSTEIN INTERNATIONAL PIANO MASTER COMPETITIONis the first to be held after the passing of the great Maestro, but a few months before the event itself.The Competition has won world recognition and is uni­versally considered one of the leading musical contests. It has attained this high standing thanks to the unique personality of its Patron, the great Jewish artist who has become a legend in his own lifetime and in whose spirit it was conceived. His trusted friend, Jacob Bistritzky. the initiator of the Competition and the man who set up its framework and high artistic demands, persuaded Rubin­stein to lend his name to the Contest. There was, how­

tions. which contributed much to the development of the cultural life of the country, the Arthur Rubinstein Inter­national Music Society was created in 1980.The Society, founded by prominent public figures, aims to observe and maintain the spiritual heritage of Arthur Rubinstein, an artist who did not contain himself or seek seclusion in his art alone, but sought to enrich the very texture of cultural life the world over. It was his profound belief that the art of music can bring joy to mankind always and everywhere.The great artist and humanitarian who embraced the world in his spirit, remained a proud and faithful son to his people, loved Israel and admired its leaders. It is therefore perfectly right and natural that the Rubinstein Society has been established in Israel to preserve and further his splendid artistic legacy for generations to

ever, one condition attached to his permission for the Competition to bear his name — Arthur Rubinstein insisted that an independent fund be established for the financing of the Contest and to this end he entrusted the initiator of the event with the use of his name, his fac­simile signature and portraits of himself drawn by his friend Picasso and the sole rights to use them for a special issue of exclusive gold medals. The income from the sale of these medals was to be dedicated to the Competition Fund and ensure that the event would be self supporting and never burden either public or state

The foremost task that the Society has taken upon itself is the continuation of the tradition of the Piano Master Competition in Israel, aimed at bringing the Israeli public in general and the youth in particular closer to the art of the pianoforte and perpetuating a cultural and artistic event of which the State of Israel can justly be proud. The Arthur Rubinstein International Society of Music extends sincere greetings and wishes every success to the honoured guests who by their presence contribute so much to the artistic standard of the Competition, and to the organizers of the event. We are also most happy to welcome again the public, supporters and friends of our Contest, whose ranks grow from year to year.

Following the resounding success of the past 3 Competi-B. Gross, Advocate

Chariman The Arthur Rubinstein International Music Society

J26 27

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r

ARTHUR RUBINSTEIN'S LEGACYBY: MICHAEL OHAD

Rubinstein was a great devotee of chamber music all his life. He played sonatas, trios and quartets with colleagues such as Milstein and Heifetz. Feuermann and Piatigorsky. Szeryng and Stern for sheer pleasure from the beginning of the century. The music he liked most, however, he didn't play, as it was not written for his instrument. "I wouldn't like to be one of those persistent old men who refuse to die," he said when he reached 85. "I'd rather die in an accident, but if I die in bed. my family promised me to put the Adagio from Schubert’s String Quintet on the gramophone. I know no music which is more beautiful."At 95, near his death, hegavea last interviewtoan old friend of his. TV personality. David Frost. Those who saw the programme could see a man between two worlds. The white head was reduced to skin and bones, the eyes were dull but the thought was clear and the laughter was vigorous as it had always been. The most crucial day in his life? It was that far away day, in the beginning of the century when he ran out of money and the future looked hopeless. He hanged himself using the belt of his bathrobe and fell to the floor when the belt broke. He wept, then cheered up, sat down at the piano, played, went out into the street, had a bite to eat and then saw the world with new eyes. It was then that the lust for life, which accompanied him throughout his entire life, was born."I am the happiest of men," he said, "and I would prefer not to

When he passed away, he left behind a vast quantity of his recordings. He frequented the recording studios and so. today we know how he played Chopin before and after the war, as a 40-year-old and an 80-year-old. We can choose between three different versions of Beethoven's five piano concertos which he recorded with Krips, Leindsdorf and Daniel Barenboim as conductors. He returned to Mozart at 60 "on his knees" (he says), after having neglected him for too long a time (though he

played the K. 488 Piano Concerto before World War I) and the reviews spoke of "silver pearls on black velvet." He recorded trios with Heifetz and Feuermann in the 40's. Piano and Violin Sonatas with Szering in the 60's and in the 70‘s he found a piece which he had never played before — Dvorak's Piano Quartet Op. 87. so he recorded it with members of the Guarneri Quartet. One of the critics said: "The recording of the year? Rubbish, this is the recording of the centuryl” Stravinsky is missing from Rubinstein's legacy, although the two had met and conversed a lot. "Why don’t you play my Piano Rag Music?" Igor used to ask Arthur. "Because I am a pianist of the old school," Rubinstein answered, "and you treat the piano as a percussion instrument. You know pretty well that the public doesn't understand* you. Do you remember the first performance of "The Rite of Spring”? When I play your music on the piano, they understand.” While Stravinsky is laughing, Arthur walks to the piano and plays to him Petrushka a la Rubinstein. "Now tell me, does it sound like percussion or like music?” Stravinsky found, to his surprise, that the piano could speak in a thousand and one languages when Rubinstein used his fingers on it. "You must teach me how to produce such sounds from the bass ', he said, after which he promised to write for him a sonata based on Petrushka.Stravinsky was sharp tongued: 'You pianists make millions from the music which the starved Schubert, crazy Schumann, and consumptive Chopin wrote for you," he used to say when Rubinstein invited him to a meal (both were connoisseurs of food and wine), but he still kept his promise and dedicated the three parts which he transcribed from Petrushka for the piano to: "My friend Arthur Rubinstein, the great artist.” Rubinstein had a few technical reservations about the transcription, but the intoxicated Stravinsky hugged him saying: "Play Petrushka your way, the work belongs to you. treat it as you wish." Rubinstein acted accordingly and excited audiences with

Petrushka S laRubinstein for decades. "Still, I took heed not to record my version, because I knew my friend Stravinsky's heart. He might wake up on the wrong side of the bed one morning, listen to my recording and declare: Rubinstein has betrayed my creation..."In addition to Rubinstein’s Bach and Stravinsky we also miss Rubinstein the improviser. In his youth he fascinated his friends by playing them Strauss' Salome (which at the time was a sensation), or the second act from Tristan — and when Rubinstein played, you could hear not only the orchestra but the voices as well.He was the antithesis of the modern pianist whose main concern is technical perfection. Rubinstein was first and foremost a musician, and in addition to that he was gifted with a phenomenal memory. Coming to the Piano Master Competition bearing his name in Israel, he sat with the young contestants until dawn, analysing their versions and giving examples of their perception and his criticism, not by playing the piano (he had stopped playing by then), but by using his old hoarse voice.I once asked him how he could play for the umpteenth time the "Emperor" Concerto or the Military Polonaise. Rubinstein laughed heartily (he liked laughing and enjoyed making his companions laugh) and quoted Picasso. He used to frequent Picasso's studio in Paris between the two World Wars. Rubinstein would sit and talk while Picasso would listen and paint — a bottle of sherry, a table or a guitar. One day Rubinstein had the guts to ask: "Aren't you tired of painting the same bottle over and over?" Picasso cast a sullen glance: "What are you chattering about. I am a new man every day, each hour shows me the bottle in a different light, so I always paint a new bottle."And Rubinstein adds — "I'm different every night. Every night I play for a different audience and I play a new "Emperor" and a new Polonaise. "I once waited for him with my tape recorder at the Israel Philharmonic Guest House, which was built thanks to his substantial donation. I waited and heard the great man curse in Polish while shaving. Then he entered dressed immaculately in a grey suit, pink shirt and a very youthful tie. He apologized aristocratically, lighted a Havana cigar and with a smile on his face started the interview with his typical Rubinstein enthusiasm. This was the man — all that he did. he did wholeheartedly He could love or hate but never be indifferent. He first visited Israel in 1927, twenty years before the State was declared. Tel-Aviv was then the green suburb of Jaffa. Rubinstein didn't play in the Mann Auditorium, for nobody had even conceived of such a building at that time. He played inthe First Exhibition Hall, which was a big wooden building on the

Tel-Aviv-Jaffa Road. Impresario Baruch Gillon sold the expensive tickets for more than 5 shillings each — a fortune in those days. When he returned in 1952, Israel was already a State and Rubinstein — a living legend. In Lodz, he heard from his father the Jewish greeting: "Next year in Jerusalem.” now he realized that greeting, he established a department of musicology in his name, planted a forest in his name and gave his name to the Piano Master Competition. In his old age he felt at home here. His Israeli years were his 60's, 70's and 80 s A smiling old man. not too tall, walks on the stage, presto, as if coming from a long walk and not wishing to make his audience wait one extra minute (when actually, all he did was walk down a few steps from the dressing room); he plays three concertos in one evening but finishes with a string of encores saying: "Don't tell my agent. Sol Hurok, but I enjoy each recital so much I would do it for free.”The aged man — that isthe imprint he left in our memories, but there are other Rubinsteins: The wunderkind in Lodz, the rebellious student in Berlin, the youth tasting the high life of Paris, or: the close friend of King Alfonso of Spain, or. the 55 year old refugee from Paris who escapes the Nazi army and starts a new career in the United States. And back to the fiery young man playing Scriabin and Brahms in the same recital, Scriabin gets furious: "If you like me, how can you possibly play

What is war? What is revolution when you speak of an 85- year-long career? When Rubinstein was born in 1886, Lodz had the atmosphere of a Jewish town. His older sister studied the piano without any talent or inclination, only because it was the proper thing to do in Jewish homes. Two-year-old Arthur stood by and turned the pages so that the grown-ups would think he could read music. To get rid of him. his father bought him a violin. A violin, an instrument with some soul, a typical Jewish instrument! But little Arthur angrily smashed the violin. He already preferred the infinite possibilities of the piano. He longed for this instrument. "I'll teach it to sing!" he

Rubinstein refused to teach, but he liked young people and encouraged them, although he had reservations about their preoccupation with technical perfection ("They are phenomenal; they are much better than I"), and about their reluctance to imprint individuality on the piece they are playing. "When I am wrong, I m completely wrong. I'd rather make a gross mistake than play with unfeeling hesitation. When I listen to the polished impersonal playing of young pianists, I become worried. They are afraid to feel, to express themselves, afraid of making mistakes. Who pays any attention to mistakes when you say what you have to say with passion? Playing the piano requires taking chances. The world dislikes

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cowards. If you wish to play it safe, you'd better choose another profession, give the piano and the audience all you've got. If you don't lose three kilos or a few drops of blood, you haven't given a real performance!"What things he saw during his long lifel He remembered the Cossack pogroms of the Jews in Lodz, he remembered coming to Petersburg, the Tsar's capital, to take part in the Anton Rubinstein Competition: the hungry pianist was desperate to win the two-thousand-rouble first prize. He learnt from the paper that the Tsar and his prime minister Stolypin rejected the academy director s request to allow the participating Jewish contestants to stay more than the permitted 24 hours in the capital. However, Rubinstein decided to take part in the competition even though rumour had it that someone named Alfred Hoehn already had the prize in his pocket, because of a letter of recommendation from the Grand Duke of Hesse to his sister Alexandra, the Tsar's wife.Rubinstein electrified the audience and the jury playing the Anton Rubinstein virtuosic Piano Concerto (which he played for the first time in his life). The audience cheered frantically but the jury gave the award to Alfred Hoehn. The conductor Serge Koussevitzky, however, invited the disappointed pianist to do a concert tour of Russia offering him two thousand roubles in advance, as compensation for the prize which the Tsarina deprived him of.A rebel he was and a rebel he remained to the end. From Picasso to Stravinsky. Mussolini to Ben-Gurion (who reprimanded poor Fredric Mann in his presence, for building the auditorium in Tel-Aviv and not in Jerusalem), he met them all. When he arrived in New-York he was presented by his friend Feodor Chaliapin to a little fat Jew. "Beware of him, Artusha." thundered the great bass, "he understands nothing about music." This musical "ignoramus", however, contributed more than anyone else to the American career of Arthur Rubinstein. It was the impresario Sol Hurok. Hurok wished to "sell" Rubinstein as "The Prince of Pianists." When the pianist protested against this vulgarity Huroksmiled: "Let's make a deal, I won't interfere with your repertoire, you don't interfere with the publicity I plan for you." 'Well," retorted Rubinstein, "in my next recital I will express my gratitude to Mr. Hurok. the pianists' God." Hurok gave up his "prince

After World War II he concentrated more and more on the classics and romantics — from Mozart and Beethoven to Chopin and Schumann. He refused to touch Boulez or Stockhausen: "They brutalize my instrument." he said. "They ignore the real nature of the piano, maybe they are right, but I am old and they are young, why do they have to hit the keys with their fists? Why do they kick the piano and break its

A

strings? Why don’t they invent new instruments to suit their

Unlike his colleagues, he refused to isolate himself in an ivory tower. His friend King Alfonso of Spain gave him a Spanish passport, Benito Mussolini awarded him with a medal of proficiency. When ’ll Duce’ decided in 1938 to adopt Hitler's Nurenberg racist laws. Rubinstein returned the medal accompanied by a cable which he signed: "Arthur Rubinstein — a Jewish pianist" This reached the Paris headlines before Mussolini received the cable.Rubinstein was great not only as a pianist.After World War II he was invited to play at the first assembly of the U.N. which took place in the San-Francisco Opera House. Before sitting down at the piano he said: "In a place where the leaders of the world converged to establish a better world, you forgot to raise the flag of a country for which you went to war — my homeland." The delegates listened open mouthed. Then he sat down and played his native Poland's anthem.Every time he came to Israel and played for free, he said: "Don't thank me, I'm paying off an old debt to my father." When the Palestine Mandatory Govt, sent a refugee ship back to Hamburg, he was about tocancel all his London performances. Finally he gave in to Hurok and appeared on condition that all posters state that revenues will be dedicated to the aid of the Jewish victims in Hamburg. "Why won't you accept the fact that Palestine belongs to the Arabs?" wondered his English friends, "I read somewhere that it was promised to the Jews”, he smiled, "and it was the Jews who built the City of David and put a wall around it. or maybe I didn't read my sourcebooks H?s musical legacy is kept in 200 recordings, most of which have already been deleted from the catalogues. However, part of them will no doubt be re-issued now that he died. His humanitarian legacy isn't of any less importance, however. All his life he had his say loudly and proudly. It seems he had a more intensive life than you or me. After an unsuccessful attempt at suicide and as if returning from a faraway dark country, he learnt to accept life as it is. Instead of saying "how happy I could be if I were young or rich", he found out that he could be rich without setting any conditions on life, and the happiness in his heart found its way to his playing.When his sight dimmed at 90. he said: "You don’t have to feel sorry for me. up to my 80th birthday I had the sharpest pair of eyes in the world I lived my life fully, I am the happiest man I have ever met. I had my share of tragedies but they never succeeded in making life hateful. I am blessed with a happy nature and no one can take away from you something which you bear deep inside you." Blessed be his memory.

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RULESbank leumi le-israel 'niNh pn

Prizes sponsored by Bank Leumi le'lsrael B.M. Israel's first and largest banking group with over 450 branches, offices and subsidiaries worldwide.

<■ AThe 4th Arthur Rubinstein Interna­tional Piano Master Competition will be held in Tel Aviv — 20th March-7th April 1983: Stages I and II at the Recanati Auditorium. Tel Aviv Museum — from 20th-31st March and Stage III at the Frederic R. Mann Auditorium — 5th, 6th. 7th

A festive Prizewinners' Concert and Distribution of Prizes Ceremony will take place on 11th April, 1983.Stage III (Semi-Final and Final) and the Festive Concert will be performed with the Jerusalem Symphony Orchestra. ISA.

The Competition is open to pianists of all nationalities between 18 and 32 years of age.

Candidates are requested to send their application forms to the Compe­tition Secretariat (address below) accompanied by the following: a) birth certificate: b) curriculum vitae:

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r A c) 3 photographs (9x12 cm, suitable for reproduction); d) Certificate of Studies, including results obtained and listing names of teachers; e) let­ters from candidate's current or most recent institution of music studies, or teacher, recommending participation in The Fourth Arthur Rubinstein International Piano Master Compe­tition; f) additional recommendation from musicians of recognized inter­national stature; g) details and pub­lished references of musical activity

releases, reviews, etc.; h) list of works to be presented at the Competition., chosen by the candidate from the musical repertoire suggested below (see VII); i) a receipt indicating that a non-refundable entry fee of $50 U.S. has been remitted to the Competition Account. No. 14788-5. Israel General Bank, Ltd., 28 Achad Ha'Am St., Tel

Application forms and all other doc­uments must be mailed no later than Nov. 1, 1982. j

< AAll applications will be screened by the Admissions Committee. Advice of participation will be mailed to appli­cants no later than Dec. 15. 1982.

The auditions are open to the public. The contestants will not be inter­rupted during their performances, but the Jury will determine whether the works chosen should be played in whole or part in order not to exceed the time alloted.

Contestants should choose editions that adhere to the original text. Works must be played from memory with the exception of Chamber Music (Stage II).Contestants will be granted one rehearsal with members of the Chamber Ensemble and finalists will be granted one rehearsal with the orchestra.

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< AThe Jury will assess contestants' per­formances by allotting up to 12 points each stage. The 12 contestants with the highest rating in Stage I will be allowed to compete in Stage II. The 6 contestants with the highest ratings in Stage II will be admitted to Stage lll-A (Semi-Final). The 3 contestants with the highest number of points in Stages I, II and lll-A will be admitted to Stage lll-B (Final).

IXAll decisions rendered by the Jury are final and beyond appeal.

PRIZES: A total of 6 prizes will be awarded, at the discretion of the Jury, to the following group:

1ST GROUP: First Three Laureates — The Arthur Rubinstein Prize — Gold Medal and S10,000, $5.000, $3.000. respectively.

2ND GROUP: Three Prizes — Silver Medal and $1.000 each one.\._______________ J

ARecording (records and video­cassettes). engagements, concerts with various orchestras of interna­tional renown, and contracts with sig­nificant European and American concert managements are also offered.

The Prizes will be distributed at a Fes­tive Laureates Concert.

XIIThe Competition Secretariat reserves the right to all reproductions (via recording or filming) of any or all audi­tions. and the Laureate Concerts ("live chronicle"). This right extends to the use of such recordings for radio, television, films and records. Contestants will not claim fees for performances, or any reproductions

framework of the Competition.

XIIIThe Competition Secretariat will pro­vide contestants with free board and

A mencement of Stage I and through­out the period of official participation in the Competition. The Competition Secretariat can arrange for contest­ants a 50% discount on any direct round-trip, by EI-AI Airlines. Contest­ants who wish to receive this dis­count should notify the Seretariat and mail their application forms and docu­ments NO LATERTHANOCTOBER 1st, 1982.

XIV Additional information concerning the Competition will be published in forthcoming issues of our bulletin. Further details may be obtained from: The Secretariat. The Fourth Arthur Rubinstein International Piano Master Competition, Shalom Tower. 5th Floor. P.O.B. 29404, Tel Aviv 61293. Israel. Tel. 03- 651604.

NOTE: The English text is definitive.J3534

cSTAGE IFOUR GROUPS (A-D) ARE INCLUDED IN THIS STAGE. THE CONTESTANT IS REQUIRED TO PLAY NINE WORKS IN A RECITAL PROGRAMME OF APPROX­IMATELY 55 MINUTES DURATION.

COMPETITIONREPERTOIRE

STAGE IIFIVE GROUPS(A-E) THE CONTESTANT WILL BE REQUIRED TO PLAY FOUR WORKS IN A RECITAL PROGRAMME OF APPROX­IMATELY 60 MINUTES DURATION (A-D) AND TO PREPARE ONE CHAMBER WORK (E).

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STAGE IIITWO GROUPS (SEMI FINAL, FINAL) ARE INCLUDED IN THIS STAGE. THE CONTEST­ANT WILL BE REQUIRED TO PLAY ONE WORK FOR EACH GROUP.

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GROUP A ONE WORK

BACH: One Prelude & Fugue from the Well Tempered Clavier Book 1 & II.

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GROUP BFOUR WORKS

MOZART: Sonata in F Major K. 189e (280) SCHUBERT: Impromptu in G-flat Major, op. 90 no. 3 DEBUSSY: Des pas sur la neige (Preludes. Book I) PROKOFIEV: Suggestion diabolique. op. 4, no. 4

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CHOPIN: Two Etudes from op. 10 8i op. 25 LISZT: One Etude

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GROUP D ONE WORKCONTESTANT'SCHOICE

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The contestant may choose any important composition (approximately 15 minutes duration) to complete the programme of Stage I.

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GROUP A ONE WORKCONTESTANT'S CHOICE

BEETHOVEN: One of the following Sonatas: op.2 no.3, op.7, op.10 no.3, op.22, op.26. op.31 no.2, op.53, op.57, op.81a, op.101, op.109, op.110, op.111.

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GROUP B ONE WORKCONTESTANTS CHOICE

CHOPIN: One of the following works:Ballade, Barcarolle, Polonaise — Fantasie. Sonata op.35 or op.58

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GROUP C ONE WORK

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One Israeli Composition which has been sent to the contestant three months prior to,the opening of the competition. MAAYANI: Impromptu no. 2

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PROGRAMME OF THE COMPETITION

( A 7 A ( A / ATHE TEL AVIV MUSEUM RECANATI AUDITORIUM STAGE

RECITALS

PERFORMED BY THE CONTESTANTS

SUNDAY 20. MONDAY 21. TUESDAY 22, WEDNESDAY 23,THURSDAY 24 MARCH 09.00-13.00; 16.00-20.30FRIDAY 25 MARCH 09.00-14.00SUNDAY 27 MARCH 09.00-13.00; 16.00-20.30

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Ai I RECITALS and CHAMBER MUSIC

/ ATHE TEL AVIV MUSEUM RECANATI AUDITORIUM STAGE II

LPERFORMED BY THE CONTESTANTS

WITH MENAHEM BREUER-VIOLIN; ZVI HARELL-CELLOWEDNESDAY 30 MARCH 09.00-13.00; 16.00-20.30THURSDAY 31 MARCH 09.00-13.00; 16.00-20.30

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A ( ACONCERTOS for PIANO and ORCHESTRA

A / ATHE F. MANN AUDITORIUM

TEL AVIVSTAGE III ASEMI-FINAL

PERFORMED BY THE SEMI-FINALISTSWITH THE JERUSALEM SYMPHONY ORCHESTRA IBA.

TUESDAY 5 APRIL 20.00 WEDNESDAY 6 APRIL 20.00

k 7 k J k_CONDUCTOR: MEIWI RODAN J k 7

7 A Ç ACONCERTOS for PIANO and ORCHESTRA

A / ATHE F. MANN AUDITORIUM

TEL AVIVSTAGE III B

FINAL PERFORMED BY THE FINALISTSWITH THE JERUSALEM SYMPHONY ORCHESTRA IBA.

THURSDAY 7 APRIL 20.00

7 k y k___ CONDUCTOR: MEN DI RODAN___ / 7I

< A Ç A r GALA LAUREATS CONCERT A. z ABINYANEI HA'OOMA

JERUSALEM I____________________________ J

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and DISTRIBUTION of PRIZES

PERFORMED BY THE LAUREATSWITH THE JERUSALEM SYMPHONY ORCHESTRA IBA,

CONDUCTOR: MENDI RODAN ____ 7

MONDAY 11 APRIL. 20.00

k___________ ____ /

DIRECTOR OF THE COMPETITION:Jacob BistritzkyHONORARY LEGAL ADVISER:Adv. Baruch GrossASSISTANT:Gil Firstenfeld, Adv.SECRETARY TO THE JURY.Dr. Emanuel KrasovskyCONTESTANTS’ COORDINATOR: Gabi FrancoASSISTANT TO THE DIRECTOR:Ilana ParnesFINANCIAL ADMINISTRATOR:Isaac Levinbuk, C.P.A.SECRETARIAT:Miriam Morgan, Varda GalShalom Tower. 5th Floor, P.O.B. 29404,Tel Aviv 61293, Tel. 651604EDITORS OF THE BROCHURE-ALMANACH:J. Bistritzky, Ilana ParnesPUBLISHER:The Arthur Rubinstein International Music Society ADVISER AND PRINTING CO-ORDINATOR:I. StefanickiIN CHARGE OF COMPETITION PIANO TUNING: Johanan RicardoPHOTOGRAPHS BY:J. Bistritzky; G. Rozanski; Ross Photo; Israel SunPRINTED BY:Hamakor Press Ltd., Jerusalem

/" PIERRE COLOMBOThe Swiss conductor Pierre Colombo, after having studied flute, piano, violin, composition and conducting, was awarded the highest degree for conducting at the Academy of Music in Basle. Simultaneously he studied at the University of Lausanne, where he received a degree in mathematicsand

With the assistance of Ernest Ansermet. Pierre Colombo founded the Geneva Chamber Orchestra, with which, during

the greatest soloists of the e performed, and with which

he attained his greatest successes. Pierre Colombo has been a guest conductor of more than 120 well known symphony and opera orchestras, and has appeared in many International European Festivals.In Switzerland he principally conducts concerts and radio recordings of the "Orchestra de Suisse Romande".

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ORAZIO FRUGONI

been President of the International Rostrum of Composers at the UNESCO in Paris He is an individual member of the International Music Council (UNESCO). He is President of the Federation of International Music Competitions, and very often member of the jury of famous music competitions.

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Grazio Frugoni was born in Switzerland and studied in Milan. Siena and Geneva, one of his teachers being Dinu Lipatti. Since his debut at Carnegie Hall in 1948 he has toured extensively in the United States. Canada.South America, the Middle and Far East and throughout Europe. He his Professor of Piano at the Luigi Cherubini Conservatory. Florence, and the Eastman School of Music. N.Y.. President, CIPIMF (Centro internazio­nale perfezionamento internazionale musica — Firenze) from 1975. He has conducted master-classes and served as jurymember at competitions in U.S.A.. France and Italy.

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»va i”a “X VZ*PIERRE PETIT

Pierre Petit was born in Poitiers, France. He studied literature at the Sorbonne; music under the tution of Nadia Boulanger and continued his studies at the Conservatoire National Superieur de Musique de Paris.In 1946 he was awarded the Premier Prix de Composition — Premier Grand­Prix de Rome.He is the author of a number of musical works and is a producer at the Radio and Television of LuxembourgPierre Petit is the music critic of "Le Figaro" He is also the Head of the "Ecole Normale de Musique" in Paris and the President of the jury of the Marguerite Long Competition.

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HAROLD C. SCHONBERG

Born New York City, 29 November 1915. BA cum laude. Brooklyn College. 1937 MA, New York University. 1938. Studied music with Alica Frisca (piano) and at New York University with Marion Bauer. Also studied with Kuniyoshi at Art Students League.Music critic. American Music Lover, 1939-42. Music critic. New York Sun, 1946-50. Columnist for The Grampphone (London). 1948-58. Contributor and columnist. Musical Courier, 1946-51. Music critic, staff of New York Times. 1950-60. Senior music critic, 1960-80. Cultural correspondent,

Pulitzer Prize for criticism, 1971.Contributor to many American magazines. Author of eight books, including The Great Pianists (1963), The Great Conductors (1967), Lives of the Great Composers (1970). Facing the

\Music (1981).

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MICHAL SMOIRA-COHN

Michal Smoira-Cohn was born in Tel Aviv, and studied at the University of Uppsala in Sweden. In the past she has worked as a critic for the Israeli news-paper. Ha'aretz, and as a lecturer in the musicology department of Tel Aviv Uni­versity and the Academies of Music in Jerusalem and Tel Aviv. Served as the Director of the Music Department of the Israel Broadcasting Authority and as Chairperson of the Music Section of the National Council of Culture and Art. Today she is Head of the Jerusalem Music Academy and Musical Adviser to the ''Koi Israel” Director. Her new book: "Meanings in Music" has been pub­lished recently.

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zTAKAHIRO SONODA

Takahiro Sonoda is one of the leading Japanese pianists playing in Europe

Born in Tokyo in 1930, he was given his first piano lessons by his father before studying with Leo Sirota, a pupil of Busoni, and Marguerite Long in Paris. When Herbert von Karajan conducted in Japan in 1957. Sonoda played as soloist under his direction and was advised by Karajan to come to Europe. Sonoda went to Berlin and took up studies with Helmut Roloff, professor at the Academy ■of Music in Berlin.Sonda made his debut in Paris in 1958 and in Berlin together with the Berlin Philharmonic Orchestra, which were followed by an immediate success in various countries in Europe, USSR and USA.He appeared with major orchestras under the baton of prominent

^conductors.____

He was appointed professor at Kyoto University of Arts and Tokyo University of Arts. He is a member of the Imperial Academy of Japan.

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HUGO STEURER

Hugo Steurer was born in Munich. He studied in his native town at the "Akade­mie der Tonkunst" under Professor August Schmid-Lindner, friend and adviser of Max Reger. Hugo Steurer started his pianistic career in 1934, and performed in almost every country in Europe, U S A., South America, Middle and Far East. From 1943 until 1958 he was Professor for piano and chamber music at the "Hochschule für Musik" in Leipzig and ever since he holds the same position at the "Hochschule für Musik" in Munich. In recent years he has taught in master classes and given lectures in Tokyo. Osaka, Nagoya and at a number of Universities in South America.

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Maria Tipo is at present considerec of the outstanding virtuoso pianists in the world. She received her musical training first under the tutorship of her mother, herself a pupil of Busoni, anc later under A. Cassella and G. A< Her first public appearance was a age of four and at seventeen she the 1st Prize at the Councnurs Interna­tional de Geneve. From pursued a most succet career all over the globe. She played with the most prominent conductors and with leading orchestras of the world. Her first record of 12 Sonatas by Scarlatti was acclaimed in the U.S. by the Newsweek Magazine as "...the most spectacular recording of the year". Since then she has made many highly praised records. Maria Tipo is not only a concert pianist but also a dedicated teacher. Many aspiring young pianists in' the world

^received their training at her school. She

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ARIE VARDI

Arie Vardi. born in Israel, is considérée one of the leading pianists in Israel. He started his concert career at the age oi 16 and later acquired his musical education at the Rubin Academy in Tel Aviv and the Hebrew University ol Jerusalem.As a prize winner of the Chopin Competi­tion in Israel in 1960, he made his debut with the Israeli Philharmonic Orchestra. He won the Enesco International Com­petition in Bucharest and was invited tc perform in Europe, where he continued his piano and composition studies with Baumgartner, Boulez and Stockhausen. He appears, as soloist and conductor, with all the major Israeli orchestras, in recitals, chamber music concerts, radie and television recordings. He serves also as a Professor at the Tel Aviv Music Academy.

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-Totessor of Ptanc Conservatories of Bolzano and Florence for the past 20 years. She is often invited to give Master Classes and to serve on Juries at the most important international competitions.

greatest interpreters. His abroad included Europe, West and East, the United States, South Africa, the Far East. Australia and Japan under the batons of the greatest conductors.

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MENDI RODANMendi Rodan studied violin and conduct­ing at the Music Academy in Bucharest with Constantin Silvestri, and subse­quently served as permanent conductor of the Rumanian Radio-Television Orchestra until After settling ir Rodan made hi Philharmonic Orchestra, with which he has continued to perform regularly. As a dominant figure in the musical life of the country, he served as Chief Conductor and Music Adviser of the Israel Broad­casting Symphony Orchestra, and founded the Jerusalem Chamber Orchestra which he also conducts.Mendi Rodan's ever widening reputa­tion has taken him to conduct in Europe, the Far East, Australia, South Africa and the United States. Among the many for­eign orchestras who have invited him as guest conductor are the Vienna Sym­phony Orchestra, the London Symphony

\_ Orchestra, the Royal Philharmonic

Orchestra, and other leading orchestras. Maestro Rodan has been Music Director of the Israel Sinfonietta and its Conduc­tor since 1977, Dean of the Rubin Academy of Music in Jerusalem and Professor of conducting, and Adviser of the Jerusalem International Music

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Zvi Harell came to Israel from Berlin at the age of three and began to play the cello at the age of six. He received his entire musical education in Israel. His solo appearances started at an early age and led to subsequent solo performan­ces with conductors including Celibidache. Abbado. Mehta. Dorati, Paray. Martinon and others. As principal cellist of the Israel Philharmonic for over ten years. Zvi Harell was soloist on tours with the orchestra throughout Israel and abroad. Also as principal cellist and solo­ist with the Japan Philharmonic for a period of three years, he played the major solo repertoire with the orchestra.

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52

JERUSALEM SYMPHONY ORCHESTRA

IBAMusical Director:

Gary Bertini Director: Yehuda Fikler .o’inNi uftna uno ,pis pxpt> ."papixn tox ,o>ip>nd -nvi ,»»iv pn>n o’jm jmntjin dv ljnoinv

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ProkofievGROUP C Chopin Etude op. 10 no.

Etude op. 25 no. 10

GROUP D Toccata in C Major, op

GROUP AGROUP BGROUP CGROUP DGROUP E Brahms Trio in B Major, op.

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Sonata in F MajorImpromptu in G-flat Major,

Des pas sur la neige (Preludes. Book

Elude op.Etude op.

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Schubert Impromptu in G lial Major, op. no. 3

Debussy Des pas sur la neige (Preludes. Book I)Prokofiev Suggestion diabolique. op. 4. no 4.

GROUP C Chopin Etude op. 10 no. 1Chopin Etude op. 25 no. 10Liszt Etude d'exècution transcendante

(Mazeppa)no. 4

GROUP 0 Chopin Scherzo no. 3 in C-sharp minor. p. 39STAGE II:GROUP A Beethoven Sonata in C minor, op. 111GROUP B Chopin Sonata in B-flat minor, op 35GROUP C Maayani Impromptu no. 2GROUP D Franck Prelude, choral et fugueGROUP E Ravel Trio in A minorSTAGE III: A Mozart Concerto in E-flat Major, K. 482STAGE IH: B Brahms Concerto no. 2 in B-flat Major, o 83

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Schubert

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Chopin Elude op. 10 no.

d'apres Paganini no.

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GROUP AGROUP 8

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. Prelude & Fugue i Major (Book I)Sonata in F Major, K. 189e (280)Impromptu in G-flat Major, op. 90

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STAGE III: B Prokofiev

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polonaise, op. 22

i G Major, op. 58

Chopin

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Impromptu in G-flat Major, op. 90Sonata in F Major, K. 189e (280)

Jairo GROSSI

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Etude d'execution transcendante (Feux follets)

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Gnomenreigen, Etude de Concert

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DebussyProkofiev

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Des pas sur la neige (Preludes. Book I)

Sonata in A-flal Major, op. 110

Moussorgsky Pictures at an Exhibition

Concerto in A Major. K. 488Tchaikovsky Concerto no. 1 in Bflat minor, op. 23

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GROUP C

GROUP AGROUP BGROUP CGROUP 0GROUP E

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Sonata i Major. K. 189e (280)Schubert

ProkofievChopin

Chopin

Beethoven

BrahmsBeethoven

Impromptu in G-flat Major, op. 90

Suggestion diabolique, op.

Etude op. 25 no. 11Etude d'exécution transcendante no.10

polonaise, op. 22

BalladeImpromptu no.Petrouchka (3 mov’ts)

Rachmaninoff Concerto no.

Schubert

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STAGE IIGROUP A

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Sonata in D Major, op. 10 no.

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Impromptu in G-tlat Major, op. 90 no. 3

Etude d'exécution transcendante no. 12 (Chasse-neige)

Sonata in A-flat Major, op, 110

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GROUP A Beethoven

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Prelude & Fugue in B-flat minor (Book II)

Impromptu in G flat Major, op. 90Sonata in F Major. K. 189e (280)

Des pas sur la neige (Preludes. Book I)

Sonata in F Maior. K. 189e (280)

Barcarolle in F-sharp Major, op. 60

Prelude & Fugue in F minor (Book II)

a neige (Preludes

Etude op

GROUP D

GROUP B

GROUP F

GROUP 8

GROUP A

GROUP 0

(Chasse-neige)

81

ARTHUR RUBINSTEIN'S ADDRESS AT THE PRIZE - DISTRIBUTION CEREMONY

SEPTEMBER 1974, JERUSALEM

Your Excellency, the President of Israel. Her Excellency. Mrs. Golda Meir, my old friend and most admired woman in the world, spoke to you in Hebrew, apparently about me. I guessed from her voice, from the expression of her eyes, that she did speak too well about me. I felt that because she has in her heart a generosity which is unequalled; I cannot answer what she said, because I do not, unfortunately, understand Hebrew. I know only the Hebrew prayers as a little boy, and I never learned your new wonderful Hebrew language. I am very ashamed of it. So please pardon - excuse me please - if I answer in English.

This Government; the President; Mrs. Golda Meir; Mr. Koi, Minister of Tourism - they have all taken to heart to make this competition for pianists in my name, which was a little bit too much for me to

I was afraid of it, I thought it might be difficult - the country suffers so much; there are countries always ready to fight; it must be always ready to defend itself - it has so many things to face, so many more difficult than any country in the world just now, and yet, the pride of my heart is that it has never lost sight of culture, of music, of art, of love of life, of high spirit, of magnificent humanity. This is the pride of this country. This is one of the reasons why I love it so dearly, and so much, and so deeply.

This competition was on the highest level of all the competitions at which I have ever been present. And I am old enought to say that I have been at very many. I must say it is a pride for Israel to have such a high level of pianists.

My friend Bistritzky gave the name to this competition of "Master Pianist." I was a little bit against that very high word "Master," but I must admit it was rightly used. Indeed, all of them show that they are master pianists. I am very happy to be allowed to give them the prizes which they deserve. One thing, you must excuse me, that they put so much weight on my poor old name. I attribute it really to my old age maybe. I am by far the dean of oldest living pianists tonight. And so you couldn't find anybody better for the moment.

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

Thank you.

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Arthur Rubinstein

MEMBER OF THE FEDERATION DES CONCOURS INTERNATIONAUX

DE MUSIQUE GENEVA

SECRETARIATShalom Tower, P.O.B. 29404Tel Aviv 61293, ISRAËL Tel. (03)-651604DIRECTOR OF THE COMPETITIONJ. Bistritzky

20th March - 7th April,1983 Israel

Maestro Arthur Rubinstein

Some notes about the previousArthur Rubinstein International Piano Master Competitions

THIS MASTER COMPETITION - conceived in the spirit of the Great Maestro and

' is honour — aims at establish- fostering talented and aspiring to promote their true artisticyoung

criteria for this

's own approach

In setting the highly demanding stimulating musical confrontation, were inspired by Maestro Rubinstein

THE INTERNATIONAL JURY FOR THE FIRST COMPETITION (September. 1974): Guido Agosti. Vice-Chairman (Italy); Enrique Barenboim (Israel); Arturo Benedetti Michelangeli (Italy): Jacques Fevrier (France); Henri Gagnebin (Switzerland); Eugene Istomin (U.S.A.); Mindru Katz (Israel); Irving Kolodin (U.S.A.); Arthur Rubinstein; Pnina Salzman (Israel); Michal Smoira-Cohn, Chairman (Israel); Alexander Tansman (France): Dieter Weber (Austria).

THE FIRST COMPETITION LAUREATES & PRIZEWINNERS:Emanuel AX (U.S.A.): 1st Prize — The Arthur Rubin stein Prize — $5,000. and the Competition GOLD MEDAL: recording engagements, concerts with var­ious orchestras of international renown arid contracts with leading American and European artists' managements.

to the great art of the piano.The International Jury's task was to select pianists

of more than average concert standard, and with a mature intellectual and emotional response to music.

The prizes were awarded to a number of pianists of outstanding musicianship and a talent for persuasive, versatile rendering and creative interpretation of mus­ical works, ranging from the pre-classical to the

Eugene INDJIC (U.S.A.): 2nd Prize - S3.000.andthe Competition SILVER MEDAL.

Janina FIALKOWSKA (Canada) and Seta TANYEL (Austria): 3rd Prize — $2.000 and the Competition SILVER MEDAL awarded exequo to both contestants. 4th Prize — not awarded.

Oscar TARRAGO (Mexico). Arnaldo COHEN (Brazil). Jeremy BROWN (England), and Jonathan PURVIN (U.S.A.), fifth through eighth prizewinners; each received $600 and the Competition Bronze Medal.

THE JURY OF THE SECOND COMPETITION (April. 1977): Guido Agosti (Italy). Jan Ekicr (Poland). Jacques Fevrier (France). Marian Filar (U.S.A.) Rudolf Firkusny (U.S.A.). Akiko Iguchi (Japan). Nikita Maga- loff (Switzerland). Andre F. Marescotti (Switzerland).

Robert Ponsonby (England), Arthur Rubinstein (U.S.A.). Michal Smoira-Cohn (Israel). Hugo Steurer (W. Germany). Josef Tai (Israel). Arie Vardi (Israel), Ilona Vincze (Israel).THE SECOND COMPETITION LAUREATES & PRIZEWINNERS WERE AS FOLLOWS:Gerhard OPPITZ (W. Germany): The Arthur Rubin­stein Prize — the competition GOLD MEDAL and $5,000; contracts with leading American and Euro­pean artists’ managements, concerts with various orchestras of international renown and recording engagements./Programme performed: Bach — Prelude & Fugue in c sharp minor.

Diana KACSO (Brazil): GOLD MEDAL and $4.000. Etsuko TER ADA (Japan): GOLD MEDAL and $3.000.

SILVER MEDAL and 81.000 each:Larry GRAHAM (U.S.A). Natasha TADSON (Israel), Boris BLOCH (U.S.A.).

BRONZE MEDAL and $500 each: Geoffrey TOZER (Australia), Craig SHEPPARD (U.S.A.), Yitkin SEOW (Singapore), Alexandru PREDA (Romania), Mioko KATO (Japan). Jahja MURSALIM (Indonesia).ADDITIONAL SPECIAL ARTHUR RUBINSTEIN AWARDS of $1,000 each (founded by the Maestro):Yitkin SEOW for a masterly performance of Brahms's Paganini Variations; Craig SHEPPARD for an out­standing performance of Ravel's "Gaspard de la Nuit".

HobsoMliy GregoryAHen (I^Ceof'frey Tozier (III) with the Organ" izer of the Contest.THE THIRD COMPETITION (1980)160 pianists from 33 countries across five continents applied to participate in this contest. 46 applicants were accepted by the screening committee; 35 of the

selected applicants were laureates having won top prizes in otner serious competitions.THE JURY OF THE THIRD COMPETITION (April 1980): Guido Agosti (Italy), Arthur Balsam (Poland), Jan Ekier (U.S.A.). Leon Fleischer (U.S.A.), Hans Graf (Austria), Akiko Iguchi (Japan). Nikita Magaloff (Switzerland). Andre-Francois Marescotti (Switzer­land), Michal Smoira-Cohn (Israel). Pnina Salzman (Israel), Hugo Steurer (Germany), Arie Vardi (Israel). THE THIRD COMPETITION LAUREATES 8< PRIZEWINNERS:

Gregory ALLEN (U.S.A.) The Arthur Rubinstein Prize — the competition Gold Medal and $5.000, contracts with leading American and European artists manage­ments. concerts with various orchestras of interna­tional renown and recording engagements.

III. Beethoven - six Venations on an anginal Theme in F ma/or. Op. 14, Haydn-Andante and Variations inf minor. Chopin-Elude Op 2! Ko. 11. Kachmaninov - Etude Op. }9 No. 5. Debussy - Etüden No.

of Alba

Ian HOBSON (Great Britain) The GOLD MEDAL and $4,000.Geoffrey TOZER (Australia) The GOLD MEDAL and $3,000.

SILVER MEDAL and $1.000 each: Lyras PANAYIS (U.S.A ), TRIFAN Mariora (U.S.A.). YUGUCHI-YONOGI Miwa (Japan).

BRONZE MEDAL and $500 each:ADNI Daniel (Israel). BLACKSHAW Christian (Great Britain). BRANCART Evelyne (Belguim). EDELMAN Sergei (Stateless), DE PALMA Sandro (Italy). WEISS Alan (U.S.A.).

Rules and Repertoire of the

The high musical level of the Contest, and the standard of its organization, were praised by the members of the Jury, as well as by the participants in the yearly assembly of the Federation des Concours Internationaux de Musique. Geneva, music critics of world renowned newspapers, and particularly by Maestro Arthur Rubinstein:

"...NEVER. NEVER. NEVER have I met such a concentration of talent before; everyone, al a lesser contest, would easily have won first prize..." (The Jerusalem Post. Sept. 13, 1974).

"...The name 'Master Competition given to thisContest was rightly used..." (Prize-distribution ceremony, Sept. 14. 1974).

Maestro Rubinstein's cable to Director Bistritzky, dated Sept. 19, 1974: "...Congratulations and many thanks for the brilliant organization of the Piano Mas­ter Competition in Israel, success of which was due to your relentless enthusiasm and expert handling of everything and everybody, in spile of great difficulties..."

”... Now. after the third contest, one can surely claim that this is not just another piano competition among the hundreds taking place all over the world, but one of three or four which are truly master competitions... ... The Maestro can be proud of this event held in his name and in homage to his artistry..."(TheJerusalem Post. April 25. 1980)

"A week ago, Gregory Allen was just as talented a pianist as he is today. But a week ago he couldn't find a single manager to represent him. and today they are tripping over one another trying to sign him up. What happened? He simply won the Arthur Rubinstein Piano Competition in Tel Aviv last Thursday..."(The

.New York Times. April 20, 1980)

"But lhere is no doubt that a good competition can be exciting; and in an atmosphere of such public commit­ment and interest as was found in Tel Aviv, it can be more exciting still. In its repertoire the Rubinstein is possibly the most exhaustive and the most taxingofall piano competitions........The decision of the Jury —the spirit of Rubinstein must have hovered somewhere in the wings — to award the First Prize to Allen was surprising and gratifyingly "right"..." (Financial Times. June 17. 1980)

I

”... The eleven judges worked long intensive hours to render a just verdict in an extraordinarily high-level contest. Even so, it wasn't until the gala final concert was over that the jury began to look happy... There was general agreement that the best man had won... ...And what has Greg Allen learned from his foray into the competition scene? 'I think the important thing is to make the jury listen to you. and not to worry about whether they like you.' The Arthur Rubinstein jury, obviously, did both..." (Musical America. Oct. 1980) .

4 th

Arthur Rubinstein

International Piano Master Competition

I. The 4th Arthur Rubinstein International Piano Master Competition will be held in Tel Aviv — 20th March-7th April 1983: Stages I and II at the Recanati Auditorium, Tel Aviv Museum — from 20th-31st March and Stage Ill at the Federic R. Mann Auditorium — 5th-7th April, 1983.A festive Prizewinners’ Concert and Distribution of Prizes Ceremony will take place on 7th April. 1983.Stage III (SEMI-FINAL AND FINAL) and the Fes­tive Concert will be performed with the Jerusa­lem Symphonic Orchestra.

II. The Competition is open to pianists of all nationalities between 18 and 32 years of age.

III. Candidates are requested to send their application forms to the Competition Secretariat (address below) accompanied by the following: a) birth certificate: b) curriculum vitae; c) 3 photographs (9 x 12 cm. suitable for reproduction); d) Certificate of Studies, including results obtained and listing names of teachers: e) letters from candidate's current or most recent institu­tion of music studies, or teacher, recommending participation in The Fourth Arthur Rubinstein International Piano Master Competition; f) addi­tional recommendation from musicians of rec­ognized international stature; g) details and published references of musical activity — con­

certs given, if any, press-releases, reviews, etc.; h) list of works to be presented at the Competi­tion. chosen by the candidate from the musical repertoire suggested below (see VII); i) a receipt indicating that a non- refundable entry fee of $50

I U.S. has been remitted to the Competition Account, No. 14788-5. Israel General Bank, Ltd., 28 Achad Ha'Am St., Tel Aviv.

Application forms and all other documents mustBE MAILED NO LATER THAN NOV. 1. 1982.

IV. All applications will be screened by the Admissions Committee. Advice of participation will be mailed to applicants no later than Dec. 15, 1982.

V. The auditions are open to the public. The contestants will not be interrupted during their performances, but the Jury will determine whether the works chosen should be played in whole or part in order not to exceed the time alloted.

VI. Contestants should choose editions that adhere to the original text. Works must be played from memory with the exception of Chamber Music (Stage II).Contestants will be granted one rehearsal with members of Chamber Ensemble and finalists will be granted one rehearsal with the orchestra.

VII. COMPETITION REPERTOIRE

Stage I. Four Groups (A-D) are included in this Stage. The contestant is required to play nine works in a recital programme of approximately 55 minutes duration.Order of performance of recital at contestant’s discretion.

group A — one workBACH: One Prelude and Fugue from the Well Tempered Clavier, Books I & II.

group B four worksMozart: Sonata in F major KV 189e (280) Schubert: Impromptu in G flat major Op. 90. No. 3Debussy: Des pas sur la neige (Preludes, Book 1) Prokofiev: Suggestion diabolique Op. 4, No. 4

group C — three virtuoso worksTwo Etudes by Chopin: one from Op. 10

and one from Op. 25One Etude by Liszt

group DThe contestant may choose any significant com­position to complete Stage I programme (dura­tion of this work together with works of Groups A. B. and C not to exceed the alloted 55 minutes)

Stage II. Five Groups (A-E)The contestant will be required to play four works in a recital programme of approximately 60 minutes duration (A-D) and to prepare one Chamber work (E).The jury will select one or two movements from this work (E) of approximately 10 minutes duration.The Chamber music will be performed before the recital: total duration of performance 70

group ABeethoven: One of the following Sonatas:Op. 2, No. 3: Op. 7; Op. 10, No. 3;Op. 22; Op. 26; Op. 31, No. 2; Op. 53; Op. 57; Op. 81, Op. 101; Op. 109; Op. 110; Op.111.

group BChopin: one of the following works: a Ballade. Barcarolle, Polonaise-Fantasie. Sonatas Op. 35 or Op. 58.

group COne Israeli Composition (5-7 minutes)The score will be sent to the contestant 3 months prior to the opening of the competition.

group DThe contestant may choose any significant com­position to complete the Stage II programme (duration of this work together with works of Groups A. B. and C not to exceed the alloted 70 minutes).

group EOne of the following Piano Trios: Mendelssohn; Op. 49 Brahms: Op. 8Ravel

Stage III - A - SEMI-FINALThe contestant may choose one of the following concerti:Mozart : Concerto K482. or K488 or K491Beethoven : Concerto No. 3. or No. 4. or No. 5.

Stage III - B - FINALThe finalist may choose ONE of the following concerti:Chopin — Concerto No. 1 or No. 2: Schumann —Concerto in A: Liszt — Concerto No. 1 or No. 2;

Brahms — Concerto No. 1 or No. 2; Tschaikovsky — Concerto No. 1; Rachmaninov — Concerto No. 2 or No. 3 or Rhapsody on a Theme by Paganini; Prokofiev — Concerto No. 2 or No. 3 or No. 5; Bartók — Concerto No. 2 or No. 3; Ravel — Concerto in G Major.

VIII. The Jury will assess contestants' performances by allotting up to 12 points each stage. The 12 contestants with the highest rating in Stage I will be allowed to compete in Stage II. The 6 contestants with the highest ratings in Stage II will be admitted to Stage III-A (Semi- Final). The 3 contestants with the highest number of points in Stages 1, II and II-A will be admitted to Stage III-B (Final).

IX. All decisions rendered by the Jury are final and beyond appeal.

X. PRIZES: A total of 6 prizes will be awarded, at the discretion of the Jury, to the following groups:

1ST GROUP - FIRST THREE LAUREATES - THE ARTHUR RUBINSTEIN PRIZE - GOLD MEDAL and $10,000, $5,000, $3,000, respectively.

2ND GROUP: Three Prizes — silver medal and $1,000 each one.

Recording (records and video-cassettes), engagements, concerts with various orchestras of inter-national renown, and contracts with sig­

OFFICIAL CARRIER

nificant European and American concert man­agements are also offered.

XI. The Prizes will be distributed at a Fes-tive Laureates Concert.

XII. The Competition Secretariat reserves the right to all reproductions (via recording or filming) of any or all auditions, and the Laureate Concerts (“live chronicle”). This right extends to the use of such recordings for radio, television, films and records. Contestants will not claim fees for performances, or any reproductions of same, that are made within the framework of the Competition.

XIII. The Competition Secretariat will pro­vide contestants with free board and lodging, for two days prior to commencement of Stage I and throughout the period of official participation in the Competition. The Competition Secretariat pan arrange for contestants a 50% Discount on any direct round-trip, by El-Al Airlines’. Con­testants who wish to receive this discount should notify the Secretariat and mail their application forms and documents NO LATER THAN OCTOBER 1st, 1982.

XIV. Additional information concern-ing the Competition will be published in forth­coming issues of our bulletin. Further details may be obtained from: The Secretariat, The Fourth Arthur Rubinstein International Piano Master Competition, Shalom Tower, 5th Floor, jP.O.B. 29404, Tel Aviv 61293, Israel. Tel. 03-651604.

We are privileged to announce a SINGLE WORLD EDITION (strictly limited) of

3 STATE GOLD MEDALS

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

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

GOLD 22 KRT — DIAMETER 35 MM - WEIGHT 30 GRAMS

THESE MEDALS WILL NOT BE OBTAINABLE ON THE FREE MARKET

ALL PROCEEDS from the presentation of these medals will be donated to the COMPETITION FUND.

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

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

•Tel-Aviv12th 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.

Youi