1950 JASCHA HEIFETZ Program VIOLIN RECITAL - BRUCH DEBUSSY RAVEL RACHMANINOFF
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1950 JASCHA HEIFETZ Program VIOLIN RECITAL - BRUCH DEBUSSY RAVEL RACHMANINOFF:
$75.00
DESCRIPTION : Here for sale is a Judaism - Judaica original RECITAL PROGRAM of the renowned JEWISH VIOLINISTJascha HEIFETZ. The VIOLIN RECITAL took place in 1950 in ISRAEL. The accompanist was Emanuel Bay. HEIFETZ played pieces byFRANCK , BRUCH ,DEBUSSY, ACHRON, RAVEL , MEDTNER, RACHMANINOFF ( Last 3 pieces Transcribed by JH) ,ROSINNI CASTELNUOVO-TEDESCO . Hebrew & English. Folded once.8.5x12 \" (While opened). Good condition . Clean. Age tanning of paper. Folding line reinforced .( Pls look at scan for accurate AS IS images )Will be sent inside a protective rigid envelope . PAYMENTS : Payment method accepted : Paypal .SHIPPMENT :SHIPP worldwide via registered airmail is $ 12 .Will be sent inside a protective envelope . Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 14 days.
Heifetz, Jascha (IossifRobertovich), great Russian-born American violinist; b. Vilnius, Feb. 2, 1899;d. Los Angeles, Dec. 10, 1987. His father, Ruben Heifetz, an able musician,taught him the rudiments of violin playing at a very early age; he then studiedwith Ilya Malkin at the Vilnius Music School, and played in public before hewas 5 years old; at the age of 6, he played Mendelssohn\'s Concerto in Kovno. In1910 he was taken by his father to St. Petersburg, and entered the Conservatorythere in the class of Nalbandian; after a few months, he was accepted as apupil by Leopold Auer. He gave his first public concert in St. Petersburg onApril 30, 1911. The following year, with a letter of recommendation from Auer,he went to Berlin; his first concert there (May 24, 1912), in the large hall ofthe Hochschule für Musik, attracted great attention: Artur Nikisch engaged himto play the Tchaikovsky Concerto with the Berlin Philharmonic (Oct. 28, 1912),but his appearance proved uneventful. He then decided to continue his studieswith Auer in St. Petersburg and in Germany. While visiting Auer in Norway in1916, he played in a joint concert with Toscha Seidel before the king and queenof Norway. After the Russian Revolution of 1917, he went to America, by way ofSiberia and the Orient. His debut at Carnegie Hall in N.Y. (Oct. 27, 1917) wonfor him the highest expression of enthusiasm from the public and in the press.Mischa Elman, the prime violinist of an older generation, attended the concertin the company of the pianist Leopold Godowsky. When Elman complained that itwas too hot in the hall, Godowsky retorted, \"Not for pianists.\"Veritable triumphs followed during Heifetz\'s tour of the U.S., and soon hisfame spread all over the world. He made his first London appearance on May 5,1920; toured Australia (1921), the Orient (1923), Palestine (1926), and SouthAmerica. He revisited Russia in 1934, and was welcomed enthusiastically. Hebecame a naturalized American citizen in 1925, and made his home in BeverlyHills, Calif. Heifetz made regular tours throughout the world, appearing notonly with the foremost orchestras but as a recitalist. As a chamber musicartist, he played in trios with Rubinstein and Feuermann, and later withPennario and Piatigorsky. He taught classes of exceptionally talented pupils atthe University of Southern Calif. in Los Angeles (1962-72). In 1974 he made hislast public appearance and thereby brought to a close one of the mostextraordinary violin careers in history. The Olympian quality of Heifetz\'s playingwas unique in luminous transparency of texture, tonal perfection, and formalequilibrium of phrasing; he never allowed his artistic temperament tosuperimpose extraneous elements on the music; this inspired tranquillity ledsome critics to characterize his interpretations as impersonal and detached.Heifetz made numerous arrangements for violin of works by Bach, Vivaldi, andcontemporary composers; his most famous transcription is \"HoraStaccato\" by Grigoraş Dinicu, made into a virtuoso piece by adroitornamentation and rhythmic elaboration. In his desire to promote modern music,he commissioned a number of composers (Walton, Gruenberg, Castelnuovo-Tedesco,and others) to write violin concertos for him and performed several of them. More than a centuryafter his public debut, the name Jascha Heifetz continues to evoke awe andexcitement among fellow musicians. In a performing career that spanned 65years, he established an unparalleled standard of violin playing to whichviolinists around the world still aspire. The day after the 19-year-oldHeifetz’s London debut, George Bernard Shaw wrote him a now legendary letter.“If you provoke a jealous God by playing with such superhuman perfection,”Shaw warned, “you will die young. I earnestly advise you to play somethingbadly every night before going to bed, instead of saying your prayers. No mortalshould presume to play so faultlessly.” Heifetz is widely considered to beone of the most profoundly influential performing artists of all time.Born in Vilnius, Lithuania — then occupied by Russia — on February 2,1901, he became a U.S. citizen in 1925. Fiercely patriotic to his adoptedcountry, he gave hundreds of concerts for Allied service men and women duringWorld War II, including tours of Central and South America, North Africa,Italy, France, and Germany, often playing from the back of a flatbed truck indangerous conditions. In 1928, he published the first of dozens of acclaimedviolin transcriptions. Many, including his arrangements of selectionsfrom Gershwin’s “Porgy and Bess,” are now part of the standard repertoire.Using the pseudonym Jim Hoyl, he even wrote a pop song that became a hitin1946. In his later years, Heifetz became a dedicated teacher and achampion of causes he believed in. He led efforts to establish “911” as anemergency phone number, and crusaded for clean air. He and his students atthe University of Southern California protested smog by wearing gasmasks, and in 1967 he converted his Renault passenger car into an electricvehicle. As a result of his vast recorded legacy, Heifetz’s violin playing isno less influential today than it was in his lifetime. To legions of violinistshe remains, quite simply, “TheKing.”