The Israel Philharmonic Orchestra is delighted to be able to

welcome to its platform yet once again that prince of pianists

ARTHUR RUBINSTEIN who has given so much joy and spiritual

satisfaction to thousands of music-lovers in our country. His triumphal

visit of last year is still fresh in the memory of the community which,

with the Orchestra itself, is surely only too happy to pay him tribute

once more.

His current stay will be marked by the official inauguration at

the Wise Auditorium in Jerusalem on May 21st of the “Arthur

Rubinstein Chair of Musicology" at the Hebrew University. It will

be remembered that the maestro has always refused to accept any

fees for his appearances in Israel and that the I.P.O, accumulated in

a special fund the sum of IL. 90,000.— with which to endow the

‘ Rubinstein Chair". It might be mentioned here that Mr. Rubinstein

would not have been averse to the Orchestra making use of these

monies for its own particular purposes but the Orchestra felt that

a more lasting tribute would be paid to the great pianist by linking

his name permanently with an educational project in Israel's capital.

Not content with what he has already done for music in Israel

and for the Orchestra. Arthur Rubinstein will be giving a special

recital next November in London’s famous Guildhall for the benefit

of the Israel Philharmonic Orchestra so that, yet again, our gratitude

and appreciation go to this great musician and outstanding person­

ality who has never spared himself in his service to others.

Arthur Rubinstein was born in Warsaw in January 1889, the

youngest of seven children. His remarkable musical gifts revealed

themselves very early and at the age of eight, after receiving serious

encourgament from Joseph Joachim, he was sent to Berlin where

he studied piano with Heinrich Barth, a pupil of Buelow, Tausig and

Liszt. At 11 he played for the first time in public with Joachim

conducting and a little later began giving concerts in the main

towns of Germany and Poland. In 1905 he made his first tour of

the U.S.A., playing above all in Philadelphia and New York. The

criticisms showed a certain reserve. He then went back to Berlin and

Paris and played in the principal European cities. In 1916 Spain

received him with acclaim; he gave 120 recitals and became a

familiar figure in royal circles. A similar success awaited him in South

America and it was there that Rubinstein's outstandingly successful

international career commenced. In 1919 he again toured the U.S.A.,

returning at intervals till 1927. In 1937 he achieved a triumphant

success to which the years have only added lustre.

In 1932 Rubinstein married the beautiful Aniela Mlynarski,

daughter of conductor Emil Mlynarski under whose baton he had

played in Warsaw when he was 14. Between 1933 and 1946 four

children were born to the couple: Eva, Paul, Aline and John Arthur.

In 1946 Rubinstein became an American citizen and in 1954 he

also acquired a home in Paris, near the house in which Debussy

spent the last 13 years of his life, by the Bois de Boulogne. It is there

and in his American home that Rubinstein lives in between the tours

that take him all around the world. Everywhere he is feted as one

of the greatest pianists of our time.

★ ★

The conductor for the Rubinstein Festival is PAUL KLECKI, one of

the most eminent of today's conductors, who has been closely

associated with the I.P.O, for many years. Apart from his many

appearances with the Orchestra in Israel — this is his eighth visit —

he was the conductor of its first recordings and the main conductor

of its European tour of 1955.

The Polish born conductor, who settled in Switzerland in 1949,

has directed most of the leading orchestras of the world and aftei

a highly successful tour of the U.S.A, in 1958, accepted the position

of Music Director of the Dallas (Texas) Symphony Orchestra, which

he relinquished a couple of years ago to devote himself again to

guest-conducting.

Programme Notes by Uri Toeplitz

CONCERTO IN D MINOR FOR PIANO AND ORCHESTRA (K. 466)

WOLFGANG AMADEUS MOZART

The D minor Piano Concerto approaches the style of Beethoven and for once Mozart displays his passion, usually expressed with

caution, in an open manner. The work has a daemonic character closely related to that of his opera Don Giovanni”, and Mozart here abstains from the many small improvisational ideas that

customarily make his music so attractive.

A main idea runs through the piece and it is its strict logic that brings the Concerto close to Beethoven and it was not by mere chance that Beethoven chose to write cadenzas for it. Especially

typical of this relationship is the development of the first movement, which is purposeful and shows concentrated use of the given thematic material with the aim of reaching the recapitulation. The second movement is a Romance, tender and poetic but not without

an agitated interlude. With the Rondo, Mozart returns to the sphere of the first movement, but towards the end, there is a transformation to the major key and happy sounds in all the instruments, including the trumpets, lead to the conclusion of the work.

CONCERTO NO. 4 IN G MAJOR FOR PIANOAND ORCHESTRA, OP. 58 LUDWIG VAN BEETHOVEN

In a concerto the soloist usually makes his entry after a long introduction played by the whole orchestra, which is, in fact, a complete exposition in the sense of the sonata form. But in his G Major Concerto Beethoven gives the opening theme to the soloist, and the listener of that time certainly felt, as does the listener of today, that something extraordinary is coming.

This work shows Beethoven from an unfamiliar angle; here he is unlike the composer of the other great piano concertos or of the third or fifth symphonies with their overwhelming, heroic language. The music of this concerto speaks out of the human heart, lyrical and reflective. It is of extraordinary beauty and subtlety. No wonder that the orchestra does not include trumpets and kettledrums and that these appear only in the last part. The first part is over-rich in themes and intricate development and, in contrast, the second part has an easily conmprehensible ground-plan. There the strings, in frightening octaves, give out a severe theme in the minor key, inaccessible and unyielding, and they remain aloof to the pleading voice of the piano. Only after what seems to be a long time in this

very concentrated movement, do the strings abandon their attitude. With a "pizzicato" the ice is broken and the once opposing forces come to a peaceful conclusion. But the tension is maintained till the end and gives way only with the beginning of the Rondo. Now the listener experiences an intense feeling of relief. The first theme starts, again in the major, and now conspicuous brilliance testifies to regained joy and happiness.

It is little wonder that Beethoven's contemporaries failed to understand this work. It was performed only twice during his life­time. Twenty-eight years later it was performed in Leipzig by Mendelssohn, that great recuscitator of forgotten music, and about this Schumann wrote : "This day Mendelssohn played the G Major Concerto of Beethoven with a power and finish that transported us all. I received a pleasure from it such as I never enjoyed and I sat in my place without moving a muscle or even breathing — afraid of making the least noise."

CONCERTO NO. 2 IN F MINOR FOR PIANO AN ORCHESTRAFREDERIC CHOPIN

In the spring of 1830 Chopin gave two concerts in Warsaw. These took place before the young composer left his homeland, going first to Vienna and then to Paris, his second home, from which he was never to return. In each of his Warsaw concerts Chopin played one of his two piano concertos, and in accordance with the custom of that time, the first part of the concerto was played and then another work — in this particular case a "Divertissement" for Horn and

Orchestra, composed and performed by a certain Goerner — and afterwards the second and last part of the piano concerto was played. This second concerto was in fact Chopin's first, but the incorrect numbering has become traditional. The composer himself reported on that performance and expressed his disbelief in the success of the first part of the piano concerto, ascribing it to the "people who like to assume the air of connoisseurs", but he was convinced that the applause that came at the end of the concerto, came really from the heart. The concerto itself too came from the heart, and the beauty of its themes as well as its youthful spirit keep this concerto ever fresh and this in spite of the fact that

concertos became only a sideline in the work of Chopin, who excelled in smaller forms and in pieces for the piano alone.

The young composer tried to fulfil the demands of the concerto form, and he was certainly acquainted with Beethoven’s concertos, but this is not very important and even the orchestra is merely a background for the playing of the soloist. Hugo Leichtentritt correctly remarked about this work that here Chopin used only "second" themes, thus referring to their exclusively lyrical character. While he was talking about the first movement, such a characteristic would be only natural for the Larghetto, the beautiful second movement, but here strength and greatness come to their climax when the piano, in the middle, from out of a mood of romantic reverie, enters upon a highly dramatic recitative. And one is reminded of Schumann's words of praise when he said that "Chopin's works are cannons

embedded among flowers”.

The third movement has a Mazurka as its second theme. It ends

on a note of lightness when ,after a signal in the horn, a Coda in

F-major concludes the work.

CONCERTO NO. 5 IN E-FLAT MAJOR FOR

PIANO AND ORCHESTRA (‘‘EMPEROR”), Op. 73

LUDWIG VAN BEETHOVEN

Beethoven’s three great concertos, the two for piano in G and

E-flat major and the one for violin, were written comparatively

early, between 1806 and 1809. Especially in the Piano Concerto

No. 5 (the name ‘‘Emperor” is not authentic and was added later)

did Beethoven transform his form, which he had taken over from

Mozart and others, into something entirely new in structure and

content. The key of E-flat major symbolises the manly-heroic character

of this work. The orchestral language is forceful with dominating

rhythms and accents, while the piano part is imbued with power

and virtuosity. The piano is often presented in an improvisatory

manner which is in contrast to the march-like, even military character

given to the orchestra.

The work opens with three free improvisations in the piano and

only then does the real first movement start with the large orchestra

tutti. Contrary to usual custom, this concerto has no free cadenzas

at the end of each movement and, in the first part, Beethoven

expressly stated that no cadenza is to be played. The tutti at the

beginning brings an extended statement of the two subjects and then

the piano repeats the statement. The movement proceeds in the

customary manner except for the many different episodes given to

the piano, which show the work in a mood close to the romantic.

The “clothing” of the second theme is interesting. It is not really in

contrast to the first, but before each regular appearance in the

orchestra, it is played by the piano, transformed into a mystical

minor. The second movement is in the nature of a lyrical intermezzo,

at the end of which there is an anticipation of the last part which

follows without a break. This, a Rondo, is again extremely forceful.

At the close the timpani are given importance.

p’vwpsn nh”3NiArthur and Aniela Rubinstein

CONCERTO NO. 1 in B-FLAT MINOR FOR PIANO

AND ORCHESTRA, OP. 23PETER ILYTCH TCHAIKOWSKY

In the course of his life Tchaikowsky’s great mastery of the art

of composition was always improving but, apparently, through his

bitter experience he lost some of the youthful fervour and natural

force of expression that had characterised him up to and including

the time of his first piano concerto. It is strange to read that when

Tchaikowsky first played this extremely popular work to his friends,

among them Nicholas Rubinstein to whom he had dedicated it, he

was met with severe criticism. The result was that the composer

looked around for another great pianist to play the work and found

him in the renowned Hans von Buelow. The German was full of

enthusiasm and took the concerto to America where it received

its world première in Boston in 1875.

To the credit of Nicholas Rubinstein it must be said that he soon

changed his mind and played the Tchaikowsky Concerto many times

with great success but its dedication he had lost to Hans von Buelow.

Special Concertwith

ARTHUR. RUBINSTEINConductor:

PAUL K L EC KIJESURALEM - BINYANEI HA'OOMA at 8.30 p.m.

WEDNESDAY, MAY 20, 1964

Programme:

Concerto in D Minor for Piano and Orchestra, K. 466Mozart (1756-1791)

AllegroRomanceRondo. Allegro assai

Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 Beethoven (1770-1827)

Allegro moderatoAndante con motoRondo — Vivace

INTERVAL

Concerto No. 2 in F Minor for Piano and Orchestra, Op. 21Chopin (1810-1849)

AllegroLarghettoAllegro vivace

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Special Concertwith

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ARTHUR RUBINSTEINConductor :

PAUL KLECKI

TEL A V I V — FREDRIC R. MANN AUDITORIUM at 8.30 p.m.

TUESDAY, MAY 19, 1964

Programme:

“Egmont" Overture, Op. 84 Beethoven (1770-1827)

Concerto No. 5 in E-Flat Major (“The Emperor")for Piano and Orchestra, Op. 73 Beethoven (1770-1827)

AllegroAdagio un poco mossoRondo Allegro

INTERVAL

Concerto No. 1 in B-Flat Minor for Piano and Orchestra, Op. 23Tchaikowsky (1840-1893)

Allegro non troppo e molto maestosoAndantino sempliceAllegro con fuoco

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ARTHUR RUBINSTEINConductor:

PAUL KLECKITEL A V I V - FREDRIC R. MANN AUDITORIUM at 8.30 p.m.

MONDAY, MAY 18, 1964

Programme :Concerto in D Minor for Piano and Orchestra, K. 466

Mozart (1756-1791) Allegro

RomanceRondo. Allegro assai

Concerto No. 4 in G Major for Piano and Orchestra, Op. 58

Beethoven (1770-1827) Allegro moderatoAndante con moto

Rondo — Vivace

INTERVAL

Concerto No. 2 in F Minor for Piano and Orchestra, Op. 21

Chopin (1810-1849) AllegroLarghettoAllegro vivace

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Recital Programme

ARTHUR RUBINSTEINTEL A V I V — FREDRIC R. MANN AUDITORIUM at 8.30 p.m.

SUNDAY, MAY 17, 1963

PARTI

Sonata in C Sharp Minor, Op. 27 No. 2 ‘‘Moonlight Beethoven (1770-1827)

Adagio sostenuto

Allegretto Presto

“Carnaval” Op. 9 :1. Préambule2. Pierrot3. Arlequin4. Valse noble5- Eusebius6. Florestan7. Coquette8. Réplique

Sphinxes9. Papillons

10. A-S.C.H. - S.C.HzA: (Lettres dansantes)

PART IISchumann (1810-1856)

11. Chiarina12. Chopin13. Estrei la14. Reconnaissance15. Pantalon et Colombine16. Valse allemande

Intermezzo: Paganini17. Aveu18. Promenade19. Pause20. Marche des "Davidsbuendler"

contre les Philistins.

INTERVAL

PART III

“Visions Fugitives”Ballad in G Minor, Op. 23BerceusePolonaise in A-Flat Major

Prokofieff (1891-1953)

Chopin (1810-1849)

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Sphinxes9. Papillons

10. A-S.C.H. - S.C.H:A: (Lettres dansantes)

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Intermezzo: Paganini17. Aveu18. Promenade19. Pause20. Marche des "Davidsbuendler"

contre les Philistins.

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Maestro Rubinstein with his two younger children, Aline and John

1963 Jimnn bs>n ,y>w»»an nwiNb jtn» owxnn bnpAudience applausing Arthur Rubinstein, Mann Auditorium, 1963

..

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1963 ,in» ,r»w»»an iwixb j>»i» o>5>tx»n bnpAudience applausing Arthur Rubinstein, Mann Auditorium, 1963

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•nn»s»n Pp naa»p nx a»a»Paa ,nm

Paul Klecki

ì!1xd sin ’i”vv>a>nin in’vva.n □ ’□nnnpn iy nylon pnn nwp nivpn ,ii’a>n □’nmnn ’nwna tnx — ’pnip i&o -man mav nt miNnmn n’manni’an mnatnn oy ’J’»vn mp»a mt — iNnw’a nnnatnn oy mann l’myain ansio mm nmwn mmvipn iy wi <in Nin — iianNn

•1955 mva nan’Na mvv nya ’win

ni ,1949 mi' txn vnw avnm pila n>i’ xinw ,nsnan -jivn nnNi -oiiya mnwnn mniiatnn mania iy nun ninni Nin ,1958 mwa ,n’nan-manNa nnva ninna niyam vnìxp iv n’iion’vn nnnatnn iv ’ip’oinn inani iavv na navia D’iw >aai nnaia roti nnwia ,(ONvav)

•miN-nmna myami mat ia un wnpni

nnvy-jinN ina -üc’íi i’üinü ,aiia ivi □t’Din ,mna ,0’axv iw innoia pama vnnnpa nmiiNnn oyaa y’am iw nvwin innya omnsnp -jinyi inn nup )nt mayai liwm □ mnsnpn yv» jin -fny 1905 mwa -piiai n’inni nnp’an -pni’-i’iai n’ainNi’an p’j np’yai mina iiv> P’ii t’naii pinai un Nin ja nnN -nnpna nmnvia nmn Tnav win nia’p 191ó rana •narvx yyi minan maya mana mían nyiyai D’iv’vn 120 ov> jny Nin ,maninna ,ovi npniaN-Di-na nat non nniuni -mainn ’ama •l”vwi’an iv nn’ntnn miaiNimn nn’npn ninn ,osyn ,mpoana ,dv i’myvnn f’vnni a'nnNa n”t> aw 1919-a i»n ,nvaa nniana ot> nat Nin 1937 nwi -1927 nw iy

•nnnt iy la’vin jn ta’nyn

’pvnxi’iia ni”iN un i”w¡man ii nvi 1932 mwa m’nnyi nnnv ppvnxi’in í’dn nunan iv wa ,mana’n □ ni nin 1946n 1933 o’iisn pa -14 ia mvna nvinNia p’i

•mvnN 11'ai ni’iN ,íinb ,nnN : oni> nynnN

wan 1954 mrai a"niNa i”iayman nntxm 1946 nava nnwy-yniv un ’ovan ni’a 11» man vi ,tnaa mi ii imaai nt maa -pila ny’ vi ,i”ni mannNn miuin •ian »ana ’10 iy yviai yma i>a i”vvmain avv nprniNat» Nim oiiyn munN ian np>a Nin ,iNt>p’iNlBNii vami tana

•11’ma D’inmvan ’inna nnxa mpia ian nana

★ ★

nin3i aio3 irtxwn nuimn3’an mintn3 nin uiy3 nnm aono ,i»ov)w nmn 3um prucan nx nrm 3y np’an -usina np’oinn ’aam ’o3n3 ai na >inn pia’oi 3npi ,wnata >n pny ipnon usina 7iyo pnsm noy

•lúa nn 3ap3i aio3 nno> ’mi ,nnsy minina ,un’tnD

3o ’oom naunn cao >i’-3y pus’ >naun mp’a -lamna "p’voi’an luían no 3y nui3ip’oiD3 mmpm •n’3oii’a t”i nunomna ’nna 21-3 7iy”o ,n>iayn np’o pruyam aya m3ori ya 3ap3 qpuia iioonnn aioo ,nata ’"3 90,000 70a mnvn pip mas isa minuini ,3mo»a aa ’a ina pus» -"p’ooi’an no 3y niinpn,, nptnn3 n3n o’aoaa odjioji mintnno aunó n»n n3 p’oonaii on moy3 a>»>n ’a mav mintnn n3in ,n»n mais3 >au’n ’3p’oin 3yana 3rnn iiiuoan 3o ido nn iiopn

•3mo’ ju’id 3o nm’aa yiap

)yn3i 3mon np’oion iyn3 noy iaao no 3a3 qoua aanaua mun 3no>vi p’voi’an iimn piy’ ,mintnn ■3»an miDtnn naio3 pui3ao noiiann ”3im3n»a nan mpim muí un n’3”n aio 7a 3yi ,n»3mo’n nmmn pjirpoa insyn ^nnn 3a 7oin U’no ,nt 3ui >np’oin3

•n3nn iyn3

pa i’ysn ,1889 anu’a noama i3u p’vouan nmn n’o3ian n”3p’omn vnunoa -innaona on3’n nyao 501’ 3o mi’ya ,nuno 3uai ,0’0’3 i’ys muña i3uu 7’iin 3sn iiuoaa nru in3 no ,p3ia3 n3oi nin ,u’anp

1t

the Israel philharmonic orchestra n’jinirn’Dn mininn

THE MAYOR OF TEL AVIV AND MRS. NAMIR l’DJ 'aim mny »hi

THE ISRAEL PHILHARMONIC ORCHESTRA

take pleasure in inviting you

to a Dinner Reception in honour of

MAESTRO ARTHUR RUBINSTEIN

Greetings by

Deputy Prime Minister MR. ABBA EBAN

at the Dan Hotel on Monday, May 18, 1964

(after the Concerti

n>jimn>’ün niinrnn

'3 5 FIX D’lSSJlO

1133b nuun nny-nmixb

liniN 11VPND

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1 aN nin in nbiynarr crxn po

'11. 1 1 b n s

1964 -»xan is nm

(imjipn nnx)

R. S. V. P. Tel. 228102 2 2 8 1 0 2 5ö IWK^ w