temporaneity the nuances and cadencesrnof an earlier day. No musician respectedrnthe composer’s notes and the composer’srnintent more than Casals. But he alwaysrnwent beyond this, continuing his studyrnof a score, though he knew it well, in orderrnto reach within the mind and thernpsyche of the composer. The imaginationrnof the performer had to work symbioticallyrnwith that of the composer, perhapsrnarriving at a ney expression. /s hernremarked, “Sometimes, looking at arnscore, I say to myself, ‘What marvelousrnmusic. But I must make it so.’ The performancernmust give to the work the fullrnmeaning of its existence”—as it filteredrnthrough his intuition.rn’interpretation of a work,” he told arnfriend, “must be something organic,rnsomething which makes you know howrnto vary all repeated passages, how to establishrna graduation of detail in the unitrnof the work—and how to remember twornvery simple things: that the natural originrnof melody was vocal, and that truthrnrhythms come from the natural movementsrnof man, from steps and therndance.” It was this sense which made hisrnuse of the rubato so expressive and sornnatural—a musical liberty as in speech orrnin singing. To what he called the “constantrnfever of thinking,” he counterposedrnintuition—more important than academicrnanalysis. Casals always had a veryrnstrong feeling about performance, andrnthis contributed to what he consideredrnof great importance. “It is not gien torneveryone to know how to plav the firstrnnote of a work”—the first call to the listener.rnIt was not, he would say, particularlyrna question of technique but of scnsiti’rnity, too subtle to define. He wouldrnhave been thoroughh’ in agreement withrncritics who maintain that much of a novel’srnmerit can be perceived in the firstrnparagraph.rnCasals brought to the cello not only arnsuperb technique but a whole mannerrnand approach, a sensibility—and thisrnfrom his eariv ears. The vibrato for himrnwas an instrument of musical delineationrnand expression, restrained butrnpronounced in passages that contributedrnto the melodic enfolding, but in otherrnpassages almost nonexistent—the dynamicsrnwide-ranging but with never arnsob. Tempo, he believed, should be dictatedrnby the music itself, with the composer’srndirection read only as “indications.”rnDespite his age, he had a greaterrncontrol of the bow than any other cellistrnI have heard, the pressure and movementrnevenly distributed, at heel or tip ofrnthe bow, and producing his delicate pianissimornand robust fortissimo—somethingrnachieved on the less strenuous butrnalmost as inhuman violin by Isaac Stern,rnwhose bow, fingers, wrist, and arm seemrnTHE PERESTROIKA DECEPTIONrnThe world’s slide towards’WELTOKTOBEi?’- &-%e% ctrn’THE SECOND OCTOBER REVOLUTION’ Zxcf£rnBy the world-famous genuine Soviet defector CARD ORDER TOANATOLIYrnGOLITSYN ^””^^oa*rnWorld-renowned Author of ‘New Lies for 0/d'[1984]rnIn this sequel to his 1984 Bloclcbuster, which contained 148 predictions of which 139 had beenrnfulfilled by 1993, Golitsyn reveals how the West has been duped by the Soviet Communists, followingrnthe implementation of their strategic deception ‘disappearing act’ of 1991 [KGB codename:rn’Golgotha’]. This fascinating new book shows that the West is blind to Soviet-Chinese aimsrnand has fallen for the greatest strategic deception scam in world history.rnGolitsyn explains that the Soviets, and their Leninist colleagues the Chinese, are engaged, asrnbefore the ‘changes’, in a deadly secret war against Western civilisation. There has been no tnierndiscontinuity, merely a Leninist (deceptive) one. As their cover, the Soviets replaced overt Communismrnwith c(w«rt Communism under the fake ‘non’-Communist [KGB officer] Boris Yeltsin.rnThis confirmed the West’s illusions, fostered under Gorbachev’s ‘perestroika’- a military termrnmeaning ‘new formation’ – and encouraged it to embark recklessly upon long-term disarmament,rncollective security (a primary Soviet objective since the 1920s), the open-ended transfer ofrnfinancial and technological resources, and a policy of appeasement and ‘friendship’ with thernenemy. This policy, based on false information, is doomed to failure, and this book shows why.rnWithout the framework provided by this book, you will never make sense of developments mrnthe ‘former’ Soviet Bloc. As you read it, everything becomes clear and falls into place at last.rn• Send $29.50 to the publishers: EDWARD HARLE LIMITED, SUrTE 1209, 280 MADISONrnAVENUE, NEW YORK, NY ^Q^6O^02.