Greater London Council

ROYAL FESTIVAL HALLDirector: John Denison, C.B.E.

WILFRID VAN WYCK LTD.

present

A Pianoforte Recital

by

ARTURRUBINSTEIN

Friday, 28th May 1971 at 8 p.m.

PROGRAMME AND NOTES 15p

Front page photograph by EVA RUBINSTEIN. NEW YORK

Sonata in B flat No.

PROGRAMME r-, /

■Ì ’yop. posth SCHUBERT

Rhapsody in B minor Op. 79 No. 1 i

Rhapsody in G minor Op. 79 No. 2BRAHMS

INTERVAL

Vaises nobles et sentimentales RAVEL

Scherzo—Valse CHABRIER

Ondine (from Preludes Book 2) )

Prélude (from "Pour le Piano") lDEBUSSY

Dance of fear (from El Amor Brujo)

Dance of the Miller's Wife (from El Sombrero de Tres Picos)

)DE FALLA

i

STEINWAY PIANOFORTE R.C.A. VICTOR RECORDS

Programme Notes

MOSCO CARNER[Author's Copyright)

Sonata in B flat Major Op. Posth. 10.960) SCHUBERTMotto moderatoAndante sostenutoScherzo: Ahegro vivace, con dehczfczzzAlif.gio m» non troop o

Thanks to the pioneering work of Arthur Schnabel Schubert s piano sonat36 have now established themselves ¡nine concert hall We have by now come to soo them in their true llght-as iho crowning achievomont of Schutxrfs genius as a piano compose» and as a fascinating rocorc ol the various sieges through which his devaloprneni a« a keyboard wrier passed. Schubert wrote his fust sortBta in 1815. at the age of eigbtoon, and ho pennod his last in 1828. the year of his death Within iho spacoot tnirtocn years ho composed twenty-one sonatas whicn are as eoquent a testimony to his incxhaustfcle powers of invention •. :hey □'0 to his persetent efforts to master his cyclical form. Admitted^, there are weaknesses m his large-scale structuie. weakne»vrs wtiid- become particularly marked it wo comoaro his

with those of Beethoven. Beethoven was a concentrated musical thinker who strove a'wr the utmost concisenoa of oxp»o33 on. Schubert, on the other hand. was a lyr cal singer who dcl ghtcd in a brood, leisurely unfolding of his id-ws Concentration was not his strong suit-tberu ore heavenly lengths' also in nit sonatas But this is mere than componsotod for by the brmuty of nls melodies, h» sons« of bold harmonic edventure the immense variety in his rythmic language and, lost but by no means least his highly original style of piano writing Schubert was a pianist but not a virtuoso such is Rietnoven was. He wroto for the instrument in a fat less brilliant mannw than his older contemporary and, although bis keyboard style has its own and often considerate difficulties it is cn the whoc less rewarding for the pianist than Beothovon s treatment, This may be the explanation for the feci that Schubert s piano sonatas made so belated a conquest of the concert hell. In a sense Schubert composed them lor himself not for the world at large Tho B flat major Sonata (D.960) is tho lest of the three bg sonatas Schubert wrote como soven weeks before hi» death His intention was to dedicate thorn to J. N. Hummol, Mozart's most distinguished piano pupil. but they ware not pub'lshed until 1838 by which time Hummel h nistlf had clod, and so the publisher Oiabclii decided to inscribe them to Schumann, the discovorer of the manuscript scoro of Schubert's Great C major Sonata, tach of those posthumous sonatas opens up a vista into a different region of Schuberts imaginative world, each has a distinct character of Its own Yet. if the lyrical element is never far from them it is particularly marked In the first two movements of Iho B flat major Sonata The opening Molto modorato, broadly conceived, begins with a d-eam-like. quietly ruminating themo remm scent or one of Schubert Mignon settings (’So lassi micti schomcn >. The surprise of tne second subject is its first appearance in tho far-away key of F sharp minor before it settlus in the orthodox dominant of tho tonic. And who but Schubert could have conceived a deve'oomar.t section dommatoc by irridiscect chromat c harmonics which lead to a moditativo hovering on D minor before the key ol B flat major is rmir.hed in the recapitulation' The Andante sostenuto is a poem in sound—the apothoosis of Schubert's

io SMoeno in art aucitosum or tax no o» rHotouru»»'IN ACCOXOANCC M'M THi RtOU KtMtKf S Of (Hr CRMHB IONDCM CCUHC U Anom M.l »I M lo M.M c

>*i nr- ."irxcuaoc »»<«■•» in«uMrc«ns*anr rsr a o r sauries an oe.row t» m> arm km coti soae.

instrumental lyricism. It is cast in the remote key of C sharp minor and its subdued yot impas­sioned oppogiMure recall these of the Song, Do/ Doppelganger. An extraordinary offect is .»thieved by the lei: hand which ranges across four octavos below ond above ihe right-hand melody enveloping it in o veil of o most delicate sonority. Tne Scherzo, in B flat major is a piece of great delicacy, never rising above p and marked by bo d harmonic shifts. Its unreal, almost spectral character is set off by the harshness cf the Tro in the minor mode which, in strong contrast to the Schorzo, has a pure y chordal texture, with irregular accents and an mteno- molody. The Finclo i o sonata rondo bearing a certain resemblance to rhe l«t move­ment ol Beethoven's String Quartet Op 130 Its main tneme or ritornello, a somewhat wistful and mercurial strain, starts off key ar.d then swings into B flat major with chorm nq offect. Them are two epeodos of a mjrkodly contrasted character. Tho first o' these ■ a b>ottd. singing melody formed by tho top notes of arpeggiated semiquavers figures, while th« second storms along in an energetic dotted rhythm Tn« relatively short development introduces a fragments of the opening themo modulating at tho samo timo to distant keys. Afte- the recapi­tulation is over, iho movomont closes with a brill ant Presto coda

Rhapsody in B minor. Op 79, No. 1 BRAHMS

Rhapsody in G minor. Op. 79, No. 2

Brahms wrote the two Rhapsodies Op. 79 in 1879. in the prime of Us creative career. They represent his p i no style at its most mature displaying an «npeccablo, uniformly finely wrought workmanship He called tnose pieces 'RhapGodic-s'. not because there is anyihing loose or casual cbout their thought end construction—on the contrary, their argument Is coherent and logical and their formal design firm and clear; but ratbor because they soem to bs reciting' a tale like thn rhapsodst In arcieni Greece. Thoy a'« «Mronatc, deeply felt music, full of romant c poetry 3nd abrupt in the change of mood between their different cectront, Tho Rhop3ody No. 1 dsrivos one of its chief effects from tlw contrast beiween a highly agitated. turbulent opening and a lyrical section of a quotly narrative character. And Brahmss consummate art of variation s seen n tho Trio in B major, markod motto dotcc, which is nothing oise but an imaginative variant of the lyrical section. Its charming, musette- liko charactc' resides in the ingenuous use the compos* makes of pedals in both the treble ond bass.

In the Rn3p3ody No. 2 several seemingly unconnected idea following one anotn« but they spring from a central unifying mood and are. moreover held together by a pervasvo movement in flowing tr plats The piece is, liko its companion, tripartite, yet approaches sonata form in that Brahms usee tho middlo section for on oxtensive development of his initial thematic ideas.

iNTFRV AlA warning gonj wlite lowrded for fin rnfa/tes tefote tne ond of the interval

Valsos noblos ot scntimontolos RAVELVoises nobtes et sentimentales wbs written in 1911 and first performed the following

year at a concert of the newly founded Society Musical« Independent. It had been docidod to ntroduc» t-io work anonymously tho oudonco being invited to pucss the identity cf its composer. As Ravel records, while its authorship was recognized by only a small minority the public at large was mystified rece viug the music with protests and boos, whilo some critics attributed it to a variety of modem composers—from Sato to Kcdoly’ Tne title was taken from two sots of Schubert waltzoc, as it wm tho composer's avowed intention to write

a c*um of waltzoa rcmm scent cf the Schubarem manner Raye) addod that th® virtuoso ejemen: which was the Ims s of my Gaspard do M nuit. is hero roploccd by a style of wrtino " greater clarity which has the ctfoct of sncrpcn ng the hormones as well the outline of the rustc . At the heed of tie score he Quotes from tlw poet. Hern de Régn ei Lo paisiraolicicux et tcu.ours nouveau d'une occupation inutile-poihap® a cluo to the mood Ravel was in When he composed thee® pioocs. Ravoi has written piano works of fei gieaei brilliance and more striking technical display but none which embodies the Quintessence ot hie ocrsonolity as completely as (he Vaises nobles « sertrmenuies.

There etc saven waltzes and an epfogun all remarkable for the r almost cpigrommotic concis on and a subtly sensuous yet rather ac d fragrance possessed by no oilier composition of Ravels to th» same dogroo As an Engish biographer (Rollo M. Myers) aptly wrote: The work is o microcosm in wh ch the whole of Ravols formidable mutca equipment, both technical mil «motional. and »spec ally Ins harmonic sense, can oe studied to the v«iy best advantag® Irdeeo, ns subtleties ond refinements cf style moved Debussy, who was no mean ludgc n these matters, to say. C'es- l'oreille la plus fine qui ait aman existé. The seven wsltzes are of varying character prd length and aro rounded off by tic epilogue which is a <ind cf summing uo m which Revel quistiy and nostalgically reminisces on the links of his ■wait»

Préluda from the Suite 'Pour le plano' DEBUSSY

The three movements of which Dopctsy's pano suite. Pour fo pro no, consists, were composed at different times the first. Priludc. in 1896. and the lest. Toccoto. in 190’ Each piece bears c dedication to a different person. The work P> generally regarded as being tn® first to display tho characteristic features of Debussy s koyboatd style suggestivo, evocative and conjuring up a subtle atmosphere at once archaic and exotic We heat in it «Wn Irani Couoerin and Rameau but at the same t me there ate suggestions of the Javarses gamelan which came as such a revelation when he heard it at the Pans oxhipmon o’ 1889.

in the Prehrdo there are unmistakable signs lhat Debussy wk trying to get owoy from conventional oiono writing an.d venture into new territory. Tne opening manedeto thut ie repeated in strongly contrasted regisieis, the bold use mace of harmonies based on tho whole-tone scale, and tho dieombodiod, harp like sound at the conclusion—all this stamps the picco os a novel ond highly anginal contribution to early 20tli-centuiy piano music

Donco of Fear from 'El Amor brujo' FALLA

Donee of tho Miller’s Wife from 'El Sombrero de tres pi co s'

SeW.zo-VH«. CHABRIFR

Chabno-'s prolcuionai career as a composer did not start until relatively late m Id®. For eighteen years he was an official m the Ministry o' the Inter,or in Paris wh ch h» loft m 1 880 aged nearly forty, to d wote himself exdutivaly to composition. Chobrier's fame rests today largely on his Spsnnh pioccs, such as CspoHa (1833: and (1835) in which hawas aWe to recapture the broad, popular eliment of, chiaf.y, Andaluson music n a more direct way iMn rhe Spanish- pieces by DePussy and Ravel He was. moreover, a humorist and wit of the typically Gallic veriaty and thus str kes us a forerunner of Frit Satie and one or two members of Les Six (Poulenc and Milhaud) Who but Chabner could think of a Quod/iUe on themes from ham write a Mer.uot pompeux or entitle a song Pastorale de; cochons rotes? But Chabricr suporimooscd cn this vein a turgid Wagnerian style, as. for instance in his opera. GwaruMmo. which was completely at variance with his natural tolont and really incompatible with it.

Chabner's piano music is aJegani. charming and economic m manner which is another imk witn Satie A good oxamp:® o’ this s the Scfwzo-Va/se. the last of his Dix Prices gro­tesques (1880). which, while harmoncally very simple, is a brilliant study in staccato wrung.

Falla's two ballets—El Arix.r hujo (Madrid 1915) and Ft Sombrero de ¡respicos (London, 1919; show him at the height cf nis powers o’ evocacrOn. It ic as rf Spam hcrcolt, her strangely mixed atmosphere ot Moorish and occidental elements, comes to fife in them Both the choreography and the music recreate a Spanrdi ambienco. notably of Andalusia in the most vivid colours, and this with tn® composer hardly aver resorting to authentic nativo music but assimilating its characteristic melodic and rhythmic inflexions to his own style in a nighly individual manner.

Too gist of tho story on which E!Amor btu/c Ot Fhe Demon Lores is as follows:Candila c beautiful and passionate gypsy gid. was once loved by a dissolute and jealous

rJiaiacter, row rfcrxd She hMieves that his ghost is continuing to love h9< m his sovago fashion. It is now Carmelo who is in lovo with hor, but whenever nc presses his suit or her, the ghost aopea-s and frightens him away. By a clever rus? Carmelo succeeds in hying the spectre and the lovers fall into each other’s arms Th» Dance of Fear occurs oartv m th® ballet whet® it accomoomos the appcararco of tho demon lover.

Alarcon s t/ Sombrero do tros p'cos or The Jhtce-Cotneted Hot is based on a Spanish ba5ad which (ixc most popu ar ballads) s said to be founded on fact It tells l ow a lecherous magistral« is thwarted n nis intentions to seduco tho Miller s beautiful wifo ond in tho end nas to cat humbio po. Ib.o Donco of tho Miller's Wife, e fandango comas in the first part cf the belle:.

Ondine DEBUSSY

Debussy s two sets of PrHudes (1910 ond 1913) may be Mid to display the whole wide range o h- art os a piano composer. At the same lime they are a microcosm o’ images moods and atmospheres of the mist diverse kind. In them. Dobussy transports us to the exot c ambience of the Orient, gives us v.gnottcs ot an imaginary Spain. Italy er d Scotland, uaots us to the antics of clowns ond eccentrics (rem real life as well as from literature, ma<ee us the observers of nature phenomena such as snow. mist, wind and water and enchants us vvr.h nis tales from ancient mythology and remoto legends. Ondine in the second »t cf PtO.udos, belongs to tho last-named variety. Thu legendary wattr nymph comas to life in a nimbly tripping dance executed against the spray and backwash of waves. In Debussy she is " creature of night—th® dynamics novar rtso above p. indeed most of the music is in an

ARTUR RUBINSTEINciv.cl th« It»« of i

War oj tat Nt* York linn

Aarn Rirevsirix it a oxnpku ante because he .» > wbc-le nan. It «« .1« nailer whetfer ibote who go to hit concert« are car-nunJ.-d ar eyc-rvirsifol-oe both Hi» pcvtornarxe. are a comfixt to. ;M an erli’geraot of. al the faeuke« in th« audlenx And tv hit its? choce ¡ ft of tel ng »Mr to convey irswjl latlsfnaicr—even eumlce—to all coal lioni of iteow from the n»xt high;» trains! expert« to tic most Innotcrt o'bynvn

Tte reason for thn it tint you ornot teparau Attn- Rubcuxm th* nnn from Artur Ruhmsur th; musioar. Man and nwsrcian art rnJ.Mwbir. u t.-vy mi« be in ill truly great and inttgratcd mterprrtrn. You ktow t i « a: orcc «hen sou meet Rubimtein orf the concert platform, and you Iron- it beyond any »vaifos» of doubt w.s;o you hear him play.

I: has been written that Rubinstein repreaenu the list of a great line of magtetic virtucnot vtoywere in tfe axaxf- ant in tfe r.irxteeelh cent» rf and who mad; ttor lai: und m the frtitolf of the twentiMh. Itlsusbeer. adkiJroit.ilgici ly that he owe; hit specal ponton in the n^sal world to the cignm>r, rorants Hair he hoe earned over from a departed a#e

Sucls an oral,-us is only partly true Rubintoin la« the romantic flair, all right, but his suture as en artist at well os his hold on the public ire hnedoa wiser qsalities. He .« e modern man too He docs no:<lramatirehim»rff ar a Uvt or as Paderewski did. He sfc« not poalurc e* thaMricalin hrnsdf or he work in publfe, as a lesser figure might, to loo up loo na.se pot.ire cf whit anrtvoso shosM be. He hippo»;lobe a thoughtful.alert, sms ti-e. grrerost;hearted.civilvcd human being who cspreuec ba-nself through nine.

Cel! him a uniscrsal rror.. end you will be rcarcit the marl, ile would be at hcenc in any place cr time where culti- salcd »aloes orc rcspcctod. And the Ince is that to has born hailed cyan artist and admired as 0 man all over th; world. In his decades as n public performer he hat appeared, 1 has been estiirotcd. in «cry country except Tibet

He txcadili of Rubinstein*» syriAUlienatc incMa31.dc in the tomtit l ai. He pla>s i>a* of all pc iutSawd lank am) tv each to gives its due. Because Rubiratcin wan born in Peland. be has a spec.cl fellow-fcclu« for th: nuos <f Chopir and he rocrcafcv it with g'owirg conviction B.it be is not .»imply a Cnopin jpcculnt. which wovM b: accotn- liiiimcat cixigh. lie play» Bach and Bcelbcscr, Schubert ail Schumann. Ora loss and Debussy and a host cd other composer» of pnv. and present with equal fctoity.

RubirMein hasaecenmandinglcebnijvc. l!e can mike Ito piano dowu-.cvcr he wishes, but Iks aim h rever to allow ufT Is» virtuosity His tcchnicil comaurd is the servant of his art. I Ic has the rarest of «its of being abk to play ail hinds if mute will- ckqucrcc. He can project bis imr-gmatox into each Creative world, as if he were a cit Kn of that world. And that n tie test of the complete artist and tbe wbek ran

Rubinstein K secure in lib knowledge. arxl on lire qmsxii platfonn lie cumcyv tbe impression of a run who fat i.ik»cd serenity. Has less misled sera observers into tb inking tulle lias nonetvex and some have gone w Or as to wry that to licks Ito imxvuiy irgroSent of temicei You hast only to tear the eecilcmcM of hb paying Io k»rw that be pro- rest» licuicndevs lersion. but it is tb« tension of an crermordy powerful steel spring under fu I control. Yoj hast onto to talk to him U rcolae tbet he it as subpxt to nctnovs pressure as the rest of u*

1 beard him rival o«e tint a yonng mink is n lad toasted to him ‘ Playing in public doesn't »«try me nt an, I have to tof’ousne».- Rubinstein's response was. " How lucky you aid I w.-Ji you could teach me tout KCtCl"

It t« atoms« bromide to eiy Ibot an ar kt conveys in hk art the nvn of what be has absorbed from Ide. But th« truth need« to b««mp»M|red tn tte tournee of m-an*.-tea rrs people with Wile kaowfedge or eipcrl-tve of tfiitsn ray tu to »eetteccnaeetioa IntMcaseof R-ibirnmn ■ it rxot only tmporuri to tea*nreof the rometloa; it mu« te grnipM t htouwNy. for RubiiKein, at mnth a« any inrerprerer armiM todiy. reflect« in bit m is cal r«rf>»-man ccs i»c kind of life be has I tie'll ai»l tbe kind of man he k.

Been in Indi, be wac Ibe yemgev ct sesen children in a family that wax wclbtorfo; hi« fitter owned a handloom 'ictory. At 3 ArWr swed an aptitesde lor m«ic. txfered a fiddle seseral timet he »mashed it. By the at» of 4 he »ns ready to impress the dittl»girthed vsollnar. foteph Iccschim, with tut prog.«« at the piinp. Young Artur's since hop- pencl to he Irave ling to Berlin to perrare fiv her nurriage at live time, and tocto tte lad alixn* Joichim beard him aad pi bn under tte cue of Hdnri.n ttinh. who had ciudtol wih Billow, Turuig ard li»r “Mn he was 11. Artur made Ins foroul dehut in Bell i in 11 Miva 1 cotoerlo, with Joachim conducting the orehrara.

Attar, a cheerfu. ou.going boy wto had come from 1 hoppy home eroi-omxr.t. soeira to hose relished the odsc- nwnk of > « »ucrcct for a time He had p ayed all C»«r Ge.-mary irsj Poland, once tn Warsaw under the directionof tmrt M fiumgirnted cn-ilisrtor. wtoreitaigHv. Amela. tot yet bcm wat de«med to breomc Mr«. Rubirsrem.During thK period Joachim sew Artur to»k t Paderewski, iterant of to time at the keyboard, and Padcrcwskr, cfeimhced with tte young fellow's ability and rctvaadity. pt mailed cn him. to pre lx« hit vWt to three msr»i.

m *fí c.f 161 *"?' 5“* l"’ fi*’1 fu*' 1 Aiweti-a. In January, nj*. ... pk1>f.j t. phtadeiphta with thePhdidclpli.1 Orchcitn end a few days later wih tte miik on.hcst.4 ii hfew York. He t*aycd a lot of concent In the t'mkd Sitios, bat the response wan far from ccstat c. Later on he coaid vast »»> tic reactiva tilTvx phkitlly by c»plunlng - I wit not 1 prodey any mere, ord I »os not a rature artist Tte critfes w;x severe, mid too xscic. I 1 > ..rdu I had Io« Arx-Ci forcser.'

He returned to t'imxu nnd f.w tte nett few srart « red to drop out at sight When lie appesred In Berlin in 1910 he exponed to fitendi wtoi inq tired -tome he had been. " Oh. I hav; been dead for a few >«ar>. Actio! y. tte opcneisce ot tte« .ear» anwvnto) to a new bath Hr spent most of to time in Park, in those " muting yean' He slidi.-d tcene. r.rd met a great many 11« 11 mid wutnc.nof all «alian» and tXKxgrojrxR He sw am) d d thirgc tbu 1 n tooletcert ripen ng into runtoxd could see and do with peirfi. rtusided lie u> tte energy aiJ Imelllgrrcc n r' «lt from Item Rubmuer. did p oi. Later he was able to u- tlut be was oxupied in hurdling tte g'catev iCMack' n tte path <f a Perdlfy. that of sheddm.g my immaturity '

Hact in t w concert ««».»vOTMi ague greeted mm m Europe. By 1914 lie hid toured al oier tbe continent and his toTperament had made hw piano playing tn; sesarre to acceptance everywhere Wter tte *nr broke o at he was tn London, «.here ho »nowInJe' of laneiiipes enabled him to find ».is-t m an mtrtprcter for tte Alite». Then to concerted for the A loe, joint appear!unce» with Ft gene Y«ayv A <W1 jab errad tot coaiurrc tic etorgm of this young man

11 1916 lie »cat tv Satin for a handful of concerts nrd remained to »he t?O If Rittonlnn it a nwncran ««h axil Ccrjc in himself, tte Spansh dsapCct ivad rut bu: liase rei ifo »«! rhx fo-lmg He tx»->me friendly w.lh the royal family. he was imiKd to the royal puU.c fix ftcuucst dirurcs. Suddenly he was «uxotinded by money nnd «lit" e»«r l< told tot dreamed of. lie admitted liter that I is technique was a tot c.rali to better nboutcleanup 1 up in tte face cf such advliticr. It is tte nature of Rubinstein's <r<>»th tint Lrtci<« hit x*hiirrt<« in bard ir>J drove 'limrwTto »cm out the deficiencies. Butt! css icinaiiicd «1the K jNmtem career; m alar years South Anwrsca tool lam to its heart with a Latm expansiseneu utonflbcticn

I s February. HI9. RuNnvein confrertrl New York spin He wnwel recci'cd. eipecull, by the clement, ol tte press, lie returned ftu 1 line (»• title until I92'.bj: for reason« dtflnilt togmtp he did ra-t capture tte team nrd aiagi. natontf the AratUn people as to wa« to do later on It wit not. In farr. un'll hie refam in I9J’—he had not p ayed here iAn crKO) for ten years b. this Ira- .bat le 11 adc on alKonque mg return This time be cime h*-lc itrxkr the managershrp of S. Its rvk. At once to »as haded is one of tie g cat living muKbiB. His fees and Nt crpgmrn-» mil trpbed. His feld of activity wrJcncd to tacludc an occis.mil film and rad v appearaisre »tore be won I K way r<tl only as a piamit tort is a charming figure as a guest with the rcdouteabic '* Information. Phase “ paid of experts.

W.n it America or Riibineein that had changed’ It may te that the United State», whch has a wav of rcrniining faithful tv it« petniitk Wvt. *rn nun- fesoted to xop* Ide Paderewtli. RichminnwCf, Hofmann. It ray also be that .IiiíitK» lad occurred Ml Rubiiueln An impo-rant e.rnt held rst.n place in his life tn I9J2. He had married Anieb Mlynarski. to.i lie Iccm :v lase a family. There ire fnur children: Fva. hem In Buetot Aires in lu.t.t; Paul, m in Warsaw us 1935. Abac, torn in Holywvcd in Jotin Arthur, arched In Holy.ood in ¡«46.

Rsbmuein » a brm adstcafc cf fes» «mi Both helped birr ' SaJdatlv." lie <xec rcwlkd•' I Msame conscsous o4 every wrong mull chafcl in the Alps, and

“•« *1 an st» cmx do*.- before. With thesrir.lnowfcdge of mmur.ty, be knew b ;n ¡adf w„ emMn.Hi- gmne.1 even greater trchnlcal assoanre ami per up. mgortant. he reoebed for and began to cchicic new mtosixelisc peik»

Here we hast wk of tte treat secrets of RuihiisteiiiS grown demniun over publi: taste. He ba« te-rer ceiled to grow. Driven by ms own trcnxndcvs gust.' i».l rtloli for life, he iranlitcd it iniomieser-ocrcisrp breid hcf nvsJnl v«aon He dyed to strive for tbe Urge smpliety. si ucking oil minnerisns that arc tte attribute of It»«« artists It may tv j,d el him whs: waa s..d of the venerable Bo-yiaiin I rcrll., • The elder the tosklei ' Ard it« better mu-oilly.

Rtiblrw-cln embrkvs I fe as ardently as te d«s mute. ' I happen to be terr with a territi.- vitality." he his said.I a n luppy uruu .Mwiully. l ife tokk so much—<0 much to be happy alcut always. Me« car. cr.ly be fit if von

don't ask m » cuttoftlkn»"Ate Rufxruier can lire! boppress in all sitJiticrn. lie totes Ibc compu»« of all kinds of pcutle. and he h at will isxxfcors ard crcaors m al tte art» will teircn men. por.ician». iaxi-diive.'s. waiters, dip'vauts. toads

of «'ate He has gaiety >o cocol crvccs nter». He his a fund cf stories and be knows how ip till them in ars ere of his amral ol Uaguiges. He cut ako act them out with gestares and farol eipreBscrcss tbit aJJ to lb; jest. 11 hi, trav.-s ill over tte -ertd he hit been not merely 1 tourist poairg tnrough a strange lite, bi: an obwrbcd studert.

RubissKinisbusineiwfikcateiut >is arlistac claim knimil» nn! iirtisllcin th* afltln 0Í living. Wteshefnt ippcired ina tl-n juJk>. tterc wa, tr«piJati.r that a trmperararial virtuoso wouftl reate irouh’o He took off fir can. roited up

’*'11 "miU *"ne 1 |K "««ding ahidio-bc is one cf the tec viler» in i-r ghtunngstaNc of v Ktor rceotdmg artists -te know» l«iw to -wor k » ill d witch, arid he knows euuaily uc’l bow ns take 1 sp-wio breatter.

In Ms ivrinnil life te rm in the g-and n-urrer. rot from aflecuton but because it it nal.vo to him. He noket Hrora cigar« ipeciall,' h'ercW for him and drink« the I rest w.nes and cogrucs. His horre in lloLswoxd fe calls it lit. tliiily-vreond ' tvrmnnert home ''-4, a bitrd cf elegWKc and simplsoty. It a 1 proper rettirg for a ran of his parts. Bui .uysh a.leado c, berg tn it with hi, family, be could tot remim Bngiway 'rom to concert round«. Mak rg muss 1, in In bl>x*L and ttoyjy of reaching oxirt e« tbciisarck cf re<'r*r thnwgh thre irvar is ample reward for the dtfBcalte» of troupmg.

No one phce co«« coofire 1 richly cared personality Eke Rubaatein. It is ven that this should be so. For íl­eon and hk rrn«e enreb the 1st» of people ess-ywtere.

Greater London Council

ROYAL FESTIVAL HALLDirector: John Denison, C.B.E.

MONDAY 7th JUNE 1971 at 8 p.m.

WILFRID VAN WYCK LTD. present

ARTUR RUBINSTEINALL-CHOPIN PROGRAMME

Polonaise-Fantaisie in A flat major Op. 61

Nocturne in F sharp major Op. 15

Mazurka in C minor Op 56 No. 3

Sonata in B flat minor Op. 35

Barcarolle Op. 60

4 Etudes from Op. 10 and 25

Berceuse Op. 57

Scherzo in C sharp minor Op. 39

STEINWAY PIANOFORTE R.C.A. VICTOR RECORDS

ALL SEATS SOLD