1953 Jewish HEIFETZ Concert PHOTO PROGRAM Violin BACH Scriabin MOZART Israel for Sale

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1953 Jewish HEIFETZ Concert PHOTO PROGRAM Violin BACH Scriabin MOZART Israel For Sale

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1953 Jewish HEIFETZ Concert PHOTO PROGRAM Violin BACH Scriabin MOZART Israel:
$125.00

DESCRIPTION: Herefor sale isthe 60 years old1953 Judaica CONCERT PROGRAMof therenowned JEWISHMUSICIAN , The ViolinistJASCHJAHEIFETZ. TheVIOLINCONCERT took place in 1953 inISRAEL. HEIFETZ played pieces byBACH , MOZART , SCRIABINandPROKOFIEFF. The conductor wasPAUL KLETZKIconductingthe IPO.Small SC booklet .Photos ofHEIFETZ andKLETZKI.6x9 ". 12 pp inc printed covers. Hebrew and English.Good condition . ( Plslook at scan for AS IS images - Kindly note that small differences may exist between the scanned copy to the copy on this sale - The condition of the copy on sale is better than the scanned one ) .Will be sent inside aprotective rigid packaging .

PAYMENTS: Payment method accepted : Paypal & All credit cards .SHIPPMENT:SHIPP worldwide via registered airmail is $ 25 .Will be sent insidea protective packaging . Willbe sent around 5-10 days after payment .

More than a century after his public debut, the nameJascha Heifetz continues to evoke awe and excitement among fellow musicians.In a performing career that spanned 65 years, he established an unparalleledstandard of violin playing to which violinists around the world stillaspire. The day after the 19-year-old Heifetz’s London debut, George BernardShaw wrote him a now legendary letter. “If you provoke a jealous God byplaying with such superhuman perfection,” Shaw warned, “you will dieyoung. I earnestly advise you to play something badly every night before goingto bed, instead of saying your prayers. No mortal should presume to play sofaultlessly.” Heifetz is widely considered to be one of the most profoundlyinfluential performing artists of all time. Born in Vilnius, Lithuania —then occupied by Russia — on February 2, 1901, he became a U.S. citizenin 1925. Fiercely patriotic to his adopted country, he gave hundreds of concertsfor Allied service men and women during World War II, including tours of Centraland South America, North Africa, Italy, France, and Germany, often playingfrom the back of a flatbed truck in dangerous conditions. In 1928, he publishedthe first of dozens of acclaimed violin transcriptions. Many, including hisarrangements of selections from Gershwin’s “Porgy and Bess,” are now part ofthe standard repertoire. Using the pseudonym Jim Hoyl, he even wrote a popsong that became a hit in1946. In his later years, Heifetz became a dedicatedteacher and a champion of causes he believed in. He led efforts to establish“911” as an emergency phone number, and crusaded for clean air. He and hisstudents at the University of Southern California protested smog by wearinggas masks, 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.” Heifetz, Jascha(Iossif Robertovich), great Russian-born American violinist; b. Vilnius, Feb.2, 1899; d. Los Angeles, Dec. 10, 1987. His father, Ruben Heifetz, an ablemusician, taught him the rudiments of violin playing at a very early age; hethen studied with Ilya Malkin at the Vilnius Music School, and played in publicbefore he was 5 years old; at the age of 6, he played Mendelssohn's Concerto inKovno. In 1910 he was taken by his father to St. Petersburg, and entered theConservatory there in the class of Nalbandian; after a few months, he wasaccepted as a pupil by Leopold Auer. He gave his first public concert in St.Petersburg on April 30, 1911. The following year, with a letter ofrecommendation from Auer, he went to Berlin; his first concert there (May 24,1912), in the large hall of the Hochschule für Musik, attracted greatattention: Artur Nikisch engaged him to play the Tchaikovsky Concerto with theBerlin Philharmonic (Oct. 28, 1912), but his appearance proved uneventful. Hethen decided to continue his studies with Auer in St. Petersburg and inGermany. While visiting Auer in Norway in 1916, he played in a joint concertwith Toscha Seidel before the king and queen of Norway. After the RussianRevolution of 1917, he went to America, by way of Siberia and the Orient. Hisdebut at Carnegie Hall in N.Y. (Oct. 27, 1917) won for him the highestexpression of enthusiasm from the public and in the press. Mischa Elman, theprime violinist of an older generation, attended the concert in the company ofthe pianist Leopold Godowsky. When Elman complained that it was too hot in thehall, Godowsky retorted, "Not for pianists." Veritable triumphsfollowed during Heifetz's tour of the U.S., and soon his fame spread all overthe world. He made his first London appearance on May 5, 1920; toured Australia(1921), the Orient (1923), Palestine (1926), and South America. He revisitedRussia in 1934, and was welcomed enthusiastically. He became a naturalizedAmerican citizen in 1925, and made his home in Beverly Hills, Calif. Heifetzmade regular tours throughout the world, appearing not only with the foremostorchestras but as a recitalist. As a chamber music artist, he played in trioswith Rubinstein and Feuermann, and later with Pennario and Piatigorsky. Hetaught classes of exceptionally talented pupils at the University of SouthernCalif. in Los Angeles (1962-72). In 1974 he made his last public appearance andthereby brought to a close one of the most extraordinary violin careers inhistory. The Olympian quality of Heifetz's playing was unique in luminoustransparency of texture, tonal perfection, and formal equilibrium of phrasing;he never allowed his artistic temperament to superimpose extraneous elements onthe music; this inspired tranquillity led some critics to characterize hisinterpretations as impersonal and detached. Heifetz made numerous arrangementsfor violin of works by Bach, Vivaldi, and contemporary composers; his mostfamous transcription is "Hora Staccato" by Grigoraş Dinicu, made intoa virtuoso piece by adroit ornamentation and rhythmic elaboration. In hisdesire to promote modern music, he commissioned a number of composers (Walton,Gruenberg, Castelnuovo-Tedesco, and others) to write violin concertos for himand performed several of them. 1368 4522