1957 Jewish YIDDISH PHOTO MAGAZINE Music HUBERMAN Rubinstein TOSCANINI Stern IPO for Sale

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1957 Jewish YIDDISH PHOTO MAGAZINE Music HUBERMAN Rubinstein TOSCANINI Stern IPO For Sale

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1957 Jewish YIDDISH PHOTO MAGAZINE Music HUBERMAN Rubinstein TOSCANINI Stern IPO:
$75.00

DESCRIPTION:Up for sale is an EXTREMELY RARE memorabilia item IPO - ISRAEL PHILHARMONIC ORCHESTRA related as well as JEWISH MUSIC and LEGENDARY FIGURES : Huberman , Toscanini, Rubinstein, Stern , Tortolier and the YIDDISH culture and language.Over 60 years ago , In 1957 ,TheJEWISH - YIDDISH illustrated magazine\"TSANIN ILLUSTRIRTE WELT \"( \"Tsanin Illustrated World \" - צאנינס אילוסטרירטע וועלט ) , On the occassion of the opening of the Frederick Mann Auditorium ( Heichal Hatarbut ) in TEL AVIV and the inaugural concert with some of the largest musical names ,has dedicatedits FRONT COVER to the legendary JEWISH PIANIST of Polish descent ARTHUR RUBINSTEIN who was one of the soloists at the concertand its MAIN ARTICLE to the PALESTINE ORCHESTRA , The IPO , The AUDITORIUM and the INAUGURAL CONCERT with Leonard Bernstein conducting the IPO with RUBINSTEIN , Isaac STERN and Paul TORTELIER ( Replacing the absent Gregor PIATIGORSKY ) . The double spreadPHOTOGRAPHED ARTICLE accompanied by quite a few photos depicting the AUDITORIUM , The ORCHESTRA and all the above mentioned figures.The Israeli YIDDISH MAGAZINE \"Tsanins Illustrierte Welt\"( Yiddish :צאנינס אילוסטרירטע וועלט‎, English:\"Tsanin\'s illustrated world\"), a magazine covering news, the arts, theater, movies and fashion , Was published in TEL AVIV Israel for only a few years in a very limited number of copies and hence EXTREMELY RARE. Many more photographed articles , A humor - Caricatures back page and more.Size of magazine around 13\" x 9.5 \". 20 pp. Very good condition for age . Quite poor paper quality and printing quality.Yet Intact. Nothing missing. Age tanning of paper. ( Please watch the scan for a reliableAS IS scan ) . Magazine will be sent in a special protective rigidsealed packaging.

PAYMENTS : Payment method accepted : Paypal& All credit cards.

SHIPPMENT : Shipp worldwide via registered airmail is $ 29. Magazine will be sent inside a protective packaging . Will be sent around 5-10 days after payment .

The Palestine Symphony Orchestra was founded in 1936 under the leadership of Bronislaw Huberman. Huberman, a violinist, at first envisioned an international center for the arts, but instead focused on developing a critically acclaimed symphony orchestra. Conditions in Europe had become such that the orchestra could serve as a haven for persecuted Jewish musicians. Many immigration certificates became available, as the orchestra could provide employment for the refugees. The new immigrants themselves provided fresh talent and energy for cultural pursuits in the yishuv. While Huberman continued to work on behalf of the orchestra, Arturo Toscanini agreed to become its first conductor. He was quick to help establish the orchestra\'s reputation. In addition to drawing talented musicians to the orchestra itself, many other chamber orchestras and groups formed throughout the yishuv. In 1948, the orchestra changed its name to the Israel Philharmonic Orchestra.****** The Israel Philharmonic Orchestra The internationally renowned musicians who began their careers with the Israel Philharmonic Orchestra (IPO) loyally returned home for its 60th anniversary celebrations in December 1996. The artists included Yitzhak Perlman, Daniel Barenboim, Pinchas Zuckerman, Yefim Bronfman, Shlomo Mintz and the young virtuoso Gil Shaham. Coincidentally, or perhaps not so because their fates have been so intertwined, the ]PO celebrated its 60th birthday together with conductor and Music Director for life, Zubin Mehta, the Indian-born maestro who took charge of the IPO in 1968, and who also turned 60 last year. It was Arturo Toscanini, the greatest conductor of his time, who presided over the orchestra\'s first performance in 1936. Italian-born Toscanini, who was not Jewish, despised Nazism and saw the formation of a Jewish orchestra as an act of defiance against Hitler. Most of the original members of the orchestra, then called the Palestine Philharmonic Orchestra, were assembled by the Polish Jewish violinist Bronislaw Huberman, and were fortunate enough to get out of Europe before the Holocaust began. Re-named the IPO after the establishment of Israel in 1948, the orchestra has always acted as the country\'s foremost cultural ambassador, carrying the joy of music and the message of peace from Israel to music lovers around the world. Zubin Mehta recalls that one of his most moving moments was when the IPO agreed to play in Germany in 1971 and he was able to conduct \"Hatikvah,\" Israel\'s national anthem, in the country that had unintentionally caused the establishment of the IPO through its persecution of Jews. In the late 1980s, the IPO visited Auschwitz on a concert tour of Poland, Hungary and the former Soviet Union. And in 1994 Mehta was able to lead the IPO to China and his native India, shortly after Israel established diplomatic relations with the two Asian powers. The sell-out success of the 12 celebration concerts around Israel characterizes the local popularity of the IPO, which has the largest subscription public per capita in the world. In its 60th year the IPO recruited 6,200 new subscribers, a world record for a symphony orchestra. In fact, the IPO has always managed to break even without the need for government subsidies. With plentiful local talent, the IPO has never needed to offer fabulous salaries to entice musicians from overseas. About half of the orchestra\'s 110 musicians are native-born Israelis, 35% were born in the former Soviet Union and Eastern Europe, and 15% hail from North America. In addition, the IPO\'s many worldwide friends, such as the late Leonard Bernstein, conductors Kurt Masur and Lorin Maazel, and violinists Isaac Stern and Yehudi Menuhin, have been frequent guest players. The IPO also regularly records for leading companies such as Sony Classical, Teldec, EMI and Deutsche Grammophon. Recent recordings include the best of the IPO\'s concert repertoire such as Brahms\' four symphonies, Prokofiev\'s Piano Concertos and Mahler\'s symphonies. Based in Tel Aviv at the Mann Auditorium, the challenge facing the IPO over the next 60 years is to maintain and enhance the high standards that have been established. The Young Israel Philharmonic Orchestra, supported by scholarship funds, should ensure that the next generation of musicians is no less talented than the present. ******* The Israel Philharmonic Orchestra (abbreviation IPO; Hebrew: התזמורת הפילהרמונית הישראלית, ha-Tizmoret ha-Filharmonit ha-Yisre\'elit) is the leading symphony orchestra in Israel. History The IPO was founded by violinist Bronisław Huberman in 1936, at a time when many Jewish musicians were being fired from European orchestras. Its inaugural concert took place in Tel Aviv on December 26, 1936, and was conducted by Arturo Toscanini. In 1958, the IPO was awarded the Israel Prize, in music, being the first year in which the Prize was awarded to an organization.[1] The IPO enjoys frequent international tours, and has performed under some of the world\'s greatest conductors, including Leonard Bernstein and Zubin Mehta, both of whom are prominent in the orchestra\'s history. Bernstein maintained close ties with the orchestra from 1947, and in 1988, the IPO bestowed on him the title of Laureate Conductor, which he retained until his death in 1990. Mehta has served as the IPO\'s Music Advisor since 1968. The IPO did not have a formal music director, but instead \"music advisors\", until 1977, when Mehta was appointed the IPO\'s first Music Director. In 1981, his title was elevated to Music Director for Life.[2] Kurt Masur is the IPO\'s Honorary Guest Conductor, a title granted to him in 1992. Gianandrea Noseda is Principal Guest Conductor, a role previously occupied by Yoel Levi. With Mehta, the IPO has made a number of recordings for Decca. Under the baton of Bernstein, the IPO also recorded his works and those of Igor Stravinsky. The IPO has also collaborated with Japanese composer Yoko Kanno in the soundtrack of the anime Macross Plus. As of 2006, the composers whose works have been most frequently performed by the IPO were Beethoven, Mozart, Brahms, Mendelssohn and Dvořák. The initial concerts of the Palestine Orchestra in December 1936, conducted by Toscanini, featured the music of Richard Wagner.[3] However, after the Kristallnacht pogroms in November 1938, the orchestra has maintained a de facto ban on Wagner\'s work, due to that composer\'s antisemitism and the association of his music with Nazi Germany.[4] The Secretary-General of the orchestra is Avi Shoshani. The IPO has a subscriber base numbering 26,000.[5] Commentators have noted the musically conservative tastes of the subscriber base.[6] Musical Advisors/Music Directors Zubin Mehta (1968–) (Musical Advisor 1968–77; Music Director thereafter) Jean Martinon (1957–59)Bernardino Molinari Paul Paray (1949–51) Leonard Bernstein (1947–49; Laureate Conductor 1947–90) William Steinberg (1936–38) ***** Bronisław Huberman (19 December 1882 – 16 June 1947) was a Jewish Polish violinist. He was known for his individualistic and personal interpretations and was praised for his tone color, expressiveness, and flexibility. The Gibson ex-Huberman Stradivarius violin which bears his name was stolen and recovered twice during the period in which he owned the instrumen Biography Huberman was born in Częstochowa, Poland. In his youth he was a pupil of Mieczyslaw Michalowicz and Maurycy Rosen at the Warsaw Conservatory, and of Isidor Lotto in Paris. In 1892 he studied under Joseph Joachim in Berlin. Despite being only ten years old, he dazzled Joachim with performances of Louis Spohr, Henri Vieuxtemps, and the transcription of a Frederic Chopin nocturne. However, the two did not get along well, and after Huberman\'s fourteenth birthday he took no more lessons. In 1893 he toured Holland and Belgium as a virtuoso performer. Around this time, the six year old Arthur Rubinstein attended one of Huberman\'s concerts. Rubinstein\'s parents invited Huberman back to their house and the two boys struck up what would become a lifetime friendship. In 1894 Adelina Patti invited Huberman to participate in her farewell gala in London, which he did, and in the following year he actually eclipsed her in appearances in Vienna. In 1896 he performed the violin concerto of Johannes Brahms in the presence of the composer, who was stunned by the quality of his playing. In the twenties and early thirties, Huberman toured around Europe and North America with the pianist Siegfried Schultze and performed on the most famous stage (Carnegie in New York, Scala in Milan, Musikverein in Vienna, Konzerthaus in Berlin....). During many years, the duet Huberman-Schultze were regularly invited in private by European Royal Families. Countless recordings of these artists were done during that period at the \"Berliner Rundfunk\" and unfortunately destroyed during the second war. In 1937, a year before the Anschluss, Huberman left Vienna and took refuge in Switzerland. The following year, his career nearly ended as a result of an airplane accident in Sumatra in which his wrist and two fingers of his left hand were broken. After intensive and painful retraining he was able to resume performing. At the onset of the Second World War, Huberman was touring South Africa and was unable to return to his home in Switzerland until after the war. Shortly thereafter he fell ill from exhaustion and never regained his strength. He died in Corsier-sur-Vevey, Switzerland, on June 16, 1947, at age 64. Palestine Philharmonic Orchestra In 1929 Huberman first visited Palestine and developed his vision of establishing classical music in the Promised Land. In 1933, during the Nazis\' rise to power, Huberman declined invitations from Wilhelm Furtwängler to return to preach a \"musical peace\", but wrote instead an open letter to German intellectuals inviting them to remember their essential values. In 1936 he founded the Palestine Philharmonic Orchestra, which gave its first performance on 26 December with Arturo Toscanini conducting. Upon the establishment of the State of Israel in 1948 the orchesra was renamed as the Israel Philharmonic Orchestra. Stradivarius theft Before 1936, Huberman\'s principal instrument for his concerts was the 1713-vintage Stradivarius \"Gibson\", which was named after one of its early owners, the English violinist George Alfred Gibson. It was stolen twice. In 1919, it was stolen from Huberman\'s Vienna hotel room, but recovered by the police within 3 days. The second time was in New York City. On February 28, 1936, while giving a concert at Carnegie Hall, Huberman switched the Stradivarius \"Gibson\" with his newly acquired Guarnerius violin, leaving the Stradivarius in his dressing room during intermission. It was stolen by a New York nightclub musician, Julian Altman, who kept it for the next half century. Huberman\'s insurance company, Lloyd\'s of London, paid him $US30,000 for the loss in 1936. Altman went on to become a violinist with the National Symphony Orchestra in Washington, D.C. and performed with the stolen Stradivarius for many years. In 1985, Altman made a deathbed confession to his wife, Marcelle Hall, that he had stolen the violin. Two years later, she returned it to Lloyd\'s and collected a finder\'s fee of $US263,000. The instrument underwent a 9-month restoration by J & A Beare Ltd., in London. In 1988, Lloyd\'s sold it for $USD 1.2 million to British violinist Norbert Brainin. In October 2001, the American violinist, Joshua Bell, purchased it for just under $4,000,000. The price, or the value, had more than tripled in 13 years - a 340% appreciation. Recordings Huberman made several commercial recordings of large-scale works, among which are: Beethoven: Violin Concerto (w. Vienna Philharmonic Orchestra, cond. George Szell) (Columbia Records, LX 509-13) (18–20 June 1934). Beethoven: Kreutzer Sonata (no 9) (w. Ignaz Friedman, pno) (Columbia Records, C-67954/7D) Lalo: Symphonie Espagnole (omits 3rd movt.) (w. Vienna Philharmonic, cond. George Szell) (Columbia Records, C-68288/90D) Tchaikovsky: Violin Concerto (w. Berlin State Opera Orchestra, cond William Steinberg) (Columbia Records, C-67726/9D) (December 1928; originally for Odeon) Mendelssohn: Violin Concerto (2nd & 3rd movts) (w. Siegfried Schulze, pno) (Brunswick Records, PD-27242: acoustic) Also Bach Concerti 1 & 2, and Mozart Concerto 3. Several other large works exist in off-air broadcast recordings, including the Brahms concerto. *******Arthur Rubinstein(Polish:Artur Rubinstein; January 28, 1887– December 20, 1982) was aPolish Americanclassicalpianist. He received international acclaim for his performances of the music written by a variety of composers and many regard him as the greatestChopininterpreter of his time.[1][2]He was described byThe New York Timesas one of the greatest pianists of the twentieth century.[1]He played in public for eight decades.[3] Contents[hide] 1 Early life 2 Music and career 3 Personal life 3.1 Marriage and family 3.2 Jewish identity 3.3 Polish identity 3.4 Charitable contributions 3.5 On practice 3.6 Pupils 4 Death and legacy 5 Recordings 6 Honors 7 Filmography 8 Bibliography 9 See also 10 References 11 External links Early life[edit] Rubinstein grew up on Piotrkowska Street,Łódź,Poland Rubinstein was born inŁódź,Congress Poland(part of theRussian Empirefor the entire time Rubinstein resided there) on January 28, 1887, to a Jewish family. He was the youngest of seven children of Felicja Blima Fajga (née Heiman) and Izaak Rubinstein. His father owned a small textile factory.[4][5] Rubinstein\'s birth name was to beLeo, but his eight-year-old brother claimed that \"His name must be Artur. Since Artur X (a neighbor\'s son) plays the violin so nicely, the baby may also become a great musician!\"[6]And so he was called Artur, although in English-speaking countries, he preferred to be known asArthur Rubinstein. His United States impresarioSol Hurok, however, insisted he be billed asArtur, and records were released in the West under both versions of his name.[7] At age two, Rubinstein demonstratedperfect pitchand a fascination with the piano, watching his elder sister\'s piano lessons. By the age of four, he was recognised as achild prodigy. His father had a predilection for the violin and offered Rubinstein a violin; but Rubinstein rejected it because he thought his instinct was for harmony and polyphony. The Hungarian violinistJoseph Joachim, on hearing the four-year-old child play, was greatly impressed, telling Arthur\'s family, \"This boy may become a very great musician—he certainly has the talent for it... When the time comes for serious study, bring him to me, and I shall be glad to supervise his artistic education.\" On December 14, 1894, seven-year-old Arthur Rubinstein had his debut with pieces byMozart,SchubertandMendelssohn.[6][8] When he became ten years of age, Rubinstein moved toBerlinto continue his studies, and gave his first performance with theBerlin Philharmonicin 1900, at the age of 13.[1]Joseph Joachim recommendedKarl Heinrich Barthas the boy\'s piano teacher. As a student of Barth, Rubinstein inherited a renowned pedagogical lineage: Barth was himself a pupil ofLiszt, who had been taught byCzerny, who had in turn been a pupil ofBeethoven.[1] Music and career[edit] In 1904, Rubinstein moved toParisto launch his career in earnest, where he met the composersMaurice RavelandPaul Dukasand the violinistJacques Thibaud. He also playedCamille Saint-Saëns\'Piano Concerto No. 2in the presence of the composer. Through the family ofJuliusz Wertheim(to whose understanding of Chopin\'s genius Rubinstein attributed his own inspiration in the works of that composer) he formed friendships with the violinistPaul Kochanskiand composerKarol Szymanowski.[8] Rubinstein in 1906 Rubinstein made his New York debut atCarnegie Hallin 1906, and thereafter toured the United States, Austria, Italy, and Russia. According to his own testimony and that of his son inFrançois Reichenbach\'s filmL\'Amour de la vie(1969), he was not well received in the United States. By 1908, Rubinstein, destitute and desperate, hounded by creditors, and threatened with being evicted from his Berlin hotel room, made a failed attempt to hang himself. Subsequently, he said that he felt \"reborn\" and endowed with an unconditional love of life. In 1912, he made his London debut, and found a home there in the Edith Grove,Chelsea, musical salon of Paul and Muriel Draper, in company with Kochanski,Igor Stravinsky,Jacques Thibaud,Pablo Casals,Pierre Monteuxand others.[8] DuringWorld War I, Rubinstein stayed in London, giving recitals and accompanying the violinistEugène Ysa e. In 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed a lifelong enthusiasm for the music ofEnrique Granados,Isaac Albéniz,Manuel de Falla, andHeitor Villa-Lobos. He was the dedicatee of Manuel de Falla\'sFantasía Bética, Villa-Lobos\'sRudepoêmaand Stravinsky\'sTrois mouvements de Petrouchka. Rubinstein was disgusted by Germany\'s conduct during the war and never played there again. His last performance in Germany was in 1914.[8] In the autumn of 1919 Rubinstein toured the British provinces with sopranoEmma Calvéand tenorVladimir Rosing.[9] In 1921 Rubinstein gave two American tours, travelling toNew Yorkwith Karol Szymanowski and his close friend Paul Kochanski.[8] In 1934, the pianist, who stated he neglected his technique in his early years, relying instead on natural talent, withdrew from concert life for several months of intensive study and practice. Rubinstein toured the United States again in 1937, his career becoming centered there during theWorld War IIyears when he lived inBrentwood, California. He became a naturalized US citizen in 1946.[10] A cast of the pianist\'s hands, at theŁódźmuseum During his time in California, Rubinstein provided the piano soundtrack for several films, includingSong of LovewithKatharine Hepburn. He appeared, as himself, in the filmsCarnegie HallandOf Men and Music. Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries asHenryk Szeryng,Jascha Heifetz,Pablo Casals,Gregor Piatigorskyand theGuarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of theRomanticcomposers. At the time of his death,The New York Timesin describing him wrote, \"Chopinwas his specialty ... it was [as] a Chopinist that he was considered by many without peer.\"[1]With the exception of theÉtudes, he recorded most of the works of Chopin. In 1964, at the height of theCold War, he gave a legendary concert inMoscow, with a pure Chopin program.[11]He was one of the earliest champions of Spanish and South American composers, as well asFrench composersof the early 20th century (such asDebussyandRavel). In addition, Rubinstein promoted the music of his compatriotKarol Szymanowski. Rubinstein, in conversation withAlexander Scriabin, namedBrahmsas his favorite composer, a response that enraged Scriabin.[12] Oscar Award statuette granted in 1969 for the film \"L\'Amour de la Vie\" with Arthur Rubinstein. The statuette is exhibited in Izrael Poznanski Castle (Museum of City of Lodz). In 1969Arthur Rubinstein – The Love of Lifewas released; it won theAcademy Awardfor Best Documentary Feature. A TV special,Rubinstein at 90, represented that he had been playing for people for eight decades. By the mid-1970s, Rubinstein\'s eyesight had begun to deteriorate. He retired from the stage at age 89 in May 1976, giving his last concert at London\'sWigmore Hall, where he had first played nearly 70 years before. Rubinstein, who was fluent in eight languages,[10]held much of the repertoire, not simply that of the piano, in his formidable memory.[10]According to his memoirs, he learnedCésar Franck\'sSymphonic Variationswhile on a train en route to the concert, without the benefit of a piano, practicing passages in his lap. Rubinstein described his memory asphotographic, to the extent that he would visualize an errant coffee stain while recalling a score.[13] Rubinstein also had exceptionally developedauralabilities, which allowed him to play whole symphonies in his mind. \"At breakfast, I might pass a Brahms symphony in my head,\" he said. \"Then I am called to the phone, and half an hour later I find it\'s been going on all the time and I\'m in the third movement.\" This ability was often tested by Rubinstein\'s friends, who would randomly pick extracts from opera and symphonic scores and ask him to play them from memory.[1] Rubinstein\'s autobiography contained two volumes:My Young Years(1973); andMy Many Years(1980). Many were displeased by their emphasis on personal anecdotes over music. PianistEmanuel Ax, one of Rubinstein\'s greatest admirers, was profoundly disappointed by readingMy Many Years: \"Until then,\" he told Sachs, \"I had idolized Rubinstein—I had wanted to have a life like his, the book changed all that.\"[3] In a reflective muse, Rubinstein once noted \"It is simply my life, music. I live it, breathe it, talk with it. I am almost unconscious of it. No, I do not mean I take it for granted--one should never take for granted any of the gifts of God. But it is like an arm, a leg, part of me. On the other hand, books and paintings and languages and people are passions with me, always to be cultivated. Travel too. I am a lucky man to have a business which allows me to be on the road so much. On the train, the plane, I have time to read. There again, I am a lucky man to be a pianist. A splendid instrument, the piano, just the right size so that you cannot take it with you. Instead of practicing, I can read. A fortunate fellow, am I not?\"[14] Personal life[edit] Rubinstein in 1963 Marriage and family[edit] Of his youth, Rubinstein once said: \"It is said of me that when I was young I divided my time impartially among wine, women and song. I deny this categorically. Ninety percent of my interests were women.\"[1]At the age of 45, in 1932, Rubinstein married Nela Młynarska, a 24-year-old Polishballerina(who had studied withMary Wigman). Nela was the daughter of the Polish conductorEmil Młynarskiand his wife Anna Talko-Hryncewicz, who was from aPolisharistocraticheraldic familyof Iłgowski coat of arms. Nela had first fallen in love with Rubinstein when she was 18, but marriedMieczysław Munzafter Rubinstein began an affair with an Italian princess.[15][16]Nela subsequently divorced Munz and three years later married Rubinstein.[16]They had five children (one died in infancy), including photographerEva Rubinstein, who marriedWilliam Sloane Coffin, and sonJohn Rubinstein, aTony Award-winning actor and father of actorMichael Weston.[17]Nela subsequently authoredNela\'s Cookbook, which included the dishes she prepared for the couple\'s legendary parties.[18] Both before and during his marriage, Rubinstein carried on a series of affairs with women, including Lesley Jowitt, the wife of the politicianWilliam Jowitt, andIrene Curzon.[19] In addition to fathering a daughter (South American pianist Luli Oswald) with his mistress Paola Medici del Vascello, who was an Italian marchioness (née Princess Paola di Viggiano), he may have been the father of American decorator and artistMuriel Draper\'s sonSanders Draper, who died in World War II.[8] Though he and Nela never divorced, in 1977, at age 90, he left her forAnnabelle Whitestone, then 33 years old. Jewish identity[edit] While he was anagnostic, Rubinstein was nevertheless proud of hisJewishheritage.[20]He was a great friend ofIsrael,[21]which he visited several times with his wife and children, giving concerts with theIsrael Philharmonic Orchestra, recitals, and master classes at theJerusalem Music Centre. In 1949, Rubinstein—who lost family members inthe Holocaust—along with other prominent musicians (includingHorowitzandHeifetz) announced that he would not appear with theChicago Symphonyif it engaged the conductorWilhelm Furtwängler, who had remained in Germany during the war.[3] Polish identity[edit] Throughout his life, Rubinstein was deeply attached toPoland. At the inauguration of theUnited Nationsin 1945, Rubinstein showed his Polish patriotism at a concert for the delegates. He began the concert by stating his deep disappointment that the conference did not have a delegation from Poland. Rubinstein later described becoming overwhelmed by a blind fury and angrily pointing out to the public the absence of the Polish flag. He then sat down at the piano and played thePolish national anthemloudly and slowly, repeating the final part in a great thunderousforte. When he had finished, the public rose to their feet and gave him a great ovation.[10][22] Charitable contributions[edit] Rubinstein pictured in 1970 Rubinstein was active in supporting charities throughout his life. He performed charity concerts to raise donations for numerous organizations which interested him. In 1961, he performed ten recitals in Carnegie Hall to raise roughly $100,000 for charities includingBig Brothers,United Jewish Appeal,Polish Assistance, Musicians Emergency fund, theNational Association for Mental Health, and theLegal Defense Fund of the National Advancement of Colored People.[23] On practice[edit] In his youth, as a natural pianist with a big technique, Rubinstein practiced as little as possible, learning new pieces quickly and without sufficient attention to textual details, relying on his personal charm to conceal the lack of finish in his playing. But his attitude toward his playing changed after his marriage. He stated that he did not want his children to take him as a has-been, so he began in the summer of 1934 to restudy his entire repertoire. \"I buckled down back to work—six hours, eight hours, nine hours a day.\" he recalled in 1958. \"And a strange thing happened... I began to discover new meaning, new qualities, new possibilities in music that I have been regularly playing for more than 30 years.\" In general, however, Rubinstein believed that a foremost danger for young pianists is to practice too much. Rubinstein regularly advised that young pianists should practice no more than three hours a day. \"I was born very, very lazy and I don\'t always practice very long,\" he said, \"but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of \'Oh, I know this,\' you play without that little drop of fresh blood that is necessary—and the audience feels it.\" Of his own practice methods, he said, \"At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It\'s like making love. The act is always the same, but each time it\'s different.\"[1][24] Pupils[edit] For Rubinstein\'s notable students, seeList of music students by teacher: R to S §Arthur Rubinstein. Rubinstein was reluctant to teach in his earlier life, refusing to acceptWilliam Kapell\'s request for lessons. It was not until the late 1950s that he accepted his first pupil,Dubravka Tomšič Srebotnjak. Other pupils of Rubinstein includeFrançois-René Duchâble,Avi Schönfeld,Ann Schein Carlyss,Eugen Indjic,Janina Fialkowska,Dean Kramerand Marc Laforêt. Rubinstein also gave master classes towards the end of his life.[21] Death and legacy[edit] \"I have found that if you love life, life will love you back...\" \"People are always setting conditions for happiness... I love life without condition.\" — Arthur Rubinstein[25] Grave of Arhur Rubinstein at Arthur Rubinstein forest near Jerusalem Rubinstein died in his sleep at his home inGeneva,Switzerland, on December 20, 1982, at the age of 95, and his body wascremated.[1]On the first anniversary of his death, an urn holding his ashes was buried inJerusalem—as specified in hiswill—in a dedicated plot now dubbed \"Rubinstein Forest\" overlooking theJerusalem Forest. This was arranged with Israel\'s chiefrabbisso that the main forest wouldn\'t fall under religious laws governing cemeteries.[26] In October 2007, his family donated to theJuilliard Schoolan extensive collection of original manuscripts, manuscript copies and published editions that had been seized by theGermansduringWorld War IIfrom hisParisresidence. Seventy-one items were returned to his four children, marking the first time that Jewish property kept in theBerlin State Librarywas returned to the legal heirs.[27] In 1974, Jan Jacob Bistritzky established theArthur Rubinstein International Piano Master Competition, held every three years in Israel, intended to promote the careers of young and outstanding pianists. The Arthur Rubinstein Award and other prizes are presented to the winners. The Rubinstein Competition also commissions works by Israeli composers.[28] There is an Arthur Rubinstein Street in Tel Aviv, Israel. Recordings[edit] For more details on this topic, seeArthur Rubinstein discography. In 1910, Rubinstein recordedFranz Liszt\'sHungarian Rhapsody No. 10for the Polish Favorit label.[8]The pianist was displeased with theacoustic recordingprocess, saying it made the piano sound \"like abanjo\" and did not record again until the advent ofelectrical recording. However, Rubinstein made numerousplayer pianomusic rolls for theAeolianDuo-Artsystem and theAmerican Piano Company(AMPICO) in the 1920s. Beginning in 1928, Rubinstein began to record extensively for theGramophone Company, better known asHis Master\'s Voicein England and thenRCA Victorin the USA, making a large number of solo, concerto andchamber musicrecordings until his retirement in 1976. As recording technology improved, from 78-rpm discs to LPs and stereophonic recordings, Rubinstein re-recorded much of his repertoire. All of his RCA recordings have been released on compact disc and amount to about 107 hours of music. Rubinstein preferred to record in the studio, and during his lifetime approved for release only about three hours of live recordings. However, since his death, several labels have issued live recordings taken from radio broadcasts. Honors[edit] Sculpture of Arthur Rubinstein on Piotrkowska Street, inŁódź, Poland, where Rubinstein once lived Sonning Award(1971; Denmark) On April 1, 1976, Arthur Rubinstein was presented with thePresidential Medal of Freedomby PresidentGerald Ford. In 1977, he was made anhonoraryKnight Commander of the Order of the British Empire(KBE).[29] Grand Officier of theLegion of Honour. Kennedy Center Honors(1978) Officer\'s Cross (Krzyż Oficerski) of theOrder of Polonia Restituta. Commander of theOrder of Merit of the Italian Republic. Member of theCivil Order of Alfonso X, the Wise. Officier of theOrder of Leopoldof Belgium. Voted intoGramophone\'s Hall of Fame in 2012.[30] Best Chamber Performance Grammy Award statuette granted in 1975 to Arthur Rubinstein, Henryk Szeryng and Pierre Fourner for their performance of Brahms and Schumann Trios. The statuette is exhibited in Izrael Poznanski Castle (Museum of City of Lodz). a Grammy Award for Best Chamber Music Performance: Pierre Fournier, Arthur Rubinstein &Henryk SzeryngforSchubert: Trios Nos. 1 in B-flat, Op.99 and 2 in E-flat, Op.100 (Piano Trios)(Grammy Awards of 1976) Pierre Fournier, Arthur Rubinstein & Henryk Szeryng forBrahms: Trios (Complete)/Schumann: Trio No. 1 in D Minor(Grammy Awards of 1975) Grammy Award for Best Instrumental Soloist Performance (without orchestra): Arthur Rubinstein for \'Beethoven: Piano Sonata No. 18 in E-flat/Schumann:Fantasiestücke, Op.12(Grammy Awards of 1978) Arthur Rubinstein forBeethoven: Sonatas No. 21 in C (Waldstein) and No. 18 in E-flat(Grammy Awards of 1960) Grammy Lifetime Achievement Award(1994) Filmography[edit] Night Song(1948) L\'amour de la Vie (The Love of Life)(1969) Bibliography[edit] Artist Biography byJames Reel Warm, lyrical, and aristocratic in his interpretations,Artur Rubinsteinperformed impressively into extremely old age, and he was a keyboard prodigy almost from the time he could climb onto a piano bench. He came from a mercantile rather than a musical family, but fixated on the piano as soon as he heard it. At age three he impressedJoseph Joachim, and by the age of seven he was playingMozart,Schubert, andMendelssohnat a charity concert in his hometown. In Warsaw, he had piano lessons with Alexander Róóycki; then in 1897 he was sent to Berlin to study piano with Heinrich Barth and theory withRobert KahnandMax Bruch, all underJoachim\'s general supervision. In 1899 came his first notable concerto appearance in Potsdam. Soon thereafter, just barely a teenager, he began touring Germany and Poland. After brief studies withPaderewskiin Switzerland in 1903,Rubinsteinmoved to Paris, where he metRavel,Dukas, andJacques Thibaud, and playedSaint-Saëns\' G minor concerto to the composer\'s approval. That work would remain a flashyRubinsteinvehicle for six decades, and it was the concerto he offered in his American debut with thePhiladelphia Orchestrain New York\'s Carnegie Hall in 1906. His under-prepared American tour was not especially well-received, though, so he withdrew to Europe for further study.Rubinsteinbecame an adept and sensitive chamber musician and accompanist; his 1912 London debut was accompanyingPablo Casals, and during World War I he toured withEugène Ysa e. He gave several successful recitals in Spain during the 1916-1917 season, and soon toured Latin America. Along the way he developed a great flair for Hispanic music;Heitor Villa-Loboswent so far as to dedicate toRubinsteinhis Rudepoêma, one of the toughest works in the repertory. AlthoughRubinsteinwould later be somewhat typecast as aChopinauthority, his readings ofFalla,Granados, andAlbénizwould always be equally idiomatic. Rubinstein\'s international reputation grew quickly, although he was by his own account a sloppy technician. In the mid-1930s he withdrew again and drilled himself in technique. By 1937 he reemerged as a musician of great discipline, poise, and polish -- qualities he would mostly retain until his farewell recital in London in 1976, at the age of 89.Rubinstein\'s temperament had sufficient fire forBeethovenbut enough poetry forChopin; his tempos and dynamics were always flexible, but never distorted. His 1960s recordings for RCA of nearly allChopin\'s solo piano music have been considered basic to any record collection since their release, and his version ofFalla\'s Nights in the Gardens of Spain is another classic, as are his various late collaborations with theGuarneri Quartet. Rubinsteinbecame a naturalized American citizen in 1946, but he maintained residences in California, New York, Paris, and Geneva; two of his children were born in the United States, one in Warsaw, and one in Buenos Aires. He had married Aniela Mlynarska in 1932, but womanizing remained integral to his reputation as an irrepressible bon vivant. He maintained that the slogan \"wine, women, and song\" as applied to him meant 80 percent women and only 20 percent wine and song. Still, there was a serious side to his life. After World War II, he refused ever again to perform in Germany, in response to the Nazi extermination of his Polish family.Rubinsteinbecame a strong supporter of Israel; in gratitude, an international piano competition in his name was instituted in Jerusalem in 1974. His honors included the Gold Medal of the Royal Philharmonic Society of London, the U.S. Medal of Freedom (1976), and membership in the French Legion of Honor. ****Zubin Mehta(English pronunciation:/ˈzuːbɪn मेहता,Hindi pronunciation:[ˈzuːbɪn ˈmeːɦt̪aː];[3]born 29 April 1936) is anIndianconductorof Western classical music. He is the Music Director for Life of theIsrael Philharmonic Orchestraand the Main Conductor forValencia\'s opera house. Mehta is also the chief conductor ofMaggio Musicale Fiorentinofestival. Contents[hide] 1 Background 2 Conducting career 2.1 1990s 2.2 2000s 2.3 2010s 3 Performance style 4 Honours and awards 5 Films 6 Educational projects 7 See also 8 References 9 Sources 10 External links Background[edit] Mehta was born into aParsifamily inBombay (now Mumbai), India, the son ofMehliand Tehmina Mehta. His father was a violinist and founding conductor of the Bombay Symphony Orchestra, and also conducted the American Youth Symphony upon moving to Los Angeles, CA. Mehta is an alumnus ofSt. Mary\'s School, Mumbai, andSt. Xavier\'s College, Mumbai. While in school, Mehta was taught to play the piano by Joseph de Lima, who was his first piano teacher. Mehta initially intended to study medicine, but eventually became a music student in Vienna at the age of 18, underHans Swarowsky. Also at the same academy along with Mehta were conductorClaudio Abbadoand conductor–pianistDaniel Barenboim. Mehta\'s first marriage was to Canadian soprano Carmen Lasky in 1958. They have a son, Mervon, and a daughter, Zarina. In 1964, they divorced.[4]Two years after the divorce, Carmen married Mehta\'s brother,Zarin Mehta, formerly the Executive Director of theNew York Philharmonic. In July 1969, Mehta marriedNancy Kovack, an American former film and television actress.[5]Mehta, a permanent resident of the United States, retains his Indian citizenship. Conducting career[edit] WithIsaac Sternat Lincoln Center, 1980 In 1958, Mehta made his conducting debut inVienna. The same year he won the International Conducting Competition in Liverpool and was appointed assistant conductor of theRoyal Liverpool Philharmonic. Mehta soon rose to the rank of chief conductor when he was made Music Director of theMontreal Symphony Orchestrain 1960, a post he held until 1967. In 1961, he was named assistant conductor of theLos Angeles Philharmonic; however, the orchestra\'s music director designate,Georg Solti, was not consulted on the appointment, and subsequently resigned in protest;[6]soon after, Mehta himself was named Music Director of the orchestra, and held the post from 1962 to 1978. Mehta conducted theLos Angeles Philharmonicin the finale ofBeethoven\'s9th Symphonythat concluded the legendary 12-hour Beethoven Marathon on the composer\'s 200th birthday, December 16, 1970, a concert at which his fatherMehli Mehta, also conducted.[7] In 1978 Mehta became the Music Director and Principal Conductor of the New York Philharmonic and remained there until his resignation in 1991, becoming the longest holder of the post. TheIsrael Philharmonic Orchestra(IPO) appointed Mehta its Music Advisor in 1969, Music Director in 1977, and made him its Music Director for Life in 1981.[8] Since 1985, Mehta has been chief conductor of the Teatro delMaggio Musicale Fiorentinoin Florence. (In 2015, he announced his intention to step down from this position in 2017.[9]) Additionally, from 1998 until 2006, Mehta was Music Director of theBavarian State Operain Munich. TheMunich Philharmonicnamed him its Honorary Conductor. Since 2005, Mehta has been the main conductor (together withLorin Maazel) of thePalau de les Arts, the new opera house of theCiutat de les Arts i les Ciènciesin Valencia, Spain. Mehta conducted theVienna New Year\'s Concertin 1990, 1995, 1998, 2007 and 2015. He has also made a recording of Indian instrumentalistRavi Shankar\'s Sitar Concerto No. 2, with Shankar and theLondon Philharmonic Orchestra. 1990s[edit] In 1990, he conducted the Orchestra del Maggio Musicale Fiorentino and the Orchestra del Teatro dell\'Opera di Roma in the first everThree Tenorsconcert in Rome, joining the tenors again in 1994 at theDodger Stadium, Los Angeles. In between those appearances he conducted the historic 1992 production ofToscain which each act took place in the actual setting and at the actual time specified in the score. This production starredCatherine Malfitanoin the title role,Plácido Domingoas Cavaradossi andRuggero Raimondias Baron Scarpia. Act I was telecast live from Rome\'s basilica ofSant\'Andrea della Valleon Saturday, 11 July, at noon (Central European Daylight Saving Time); act II was telecast later that evening from thePalazzo Farneseat 9:40p.m.; act III was telecast live on Sunday, 12 July, at7:00am from theCastel Sant\'Angelo, also known as Hadrian\'s Tomb. Mehta conducting theIsrael Philharmonic Orchestrain Mumbai, October 2008 In June 1994, Mehta performed theMozart Requiem, along with the members of theSarajevoSymphony Orchestra and Chorus at the ruins of Sarajevo\'s National Library, in a fund raising concert for the victims of armed conflict and remembrance of the thousands of people killed in theYugoslav Wars. On 29 August 1999, he conducted MahlerSymphony No. 2(Resurrection), at the vicinity ofBuchenwald concentration campin the German city ofWeimar, with both theBavarian State Orchestraand the Israel Philharmonic Orchestra, sitting alongside each other. He toured his native country India and home city Mumbai (Bombay) in 1984, with the New York Philharmonic, and again in November–December 1994, with the Israel Philharmonic Orchestra, along with soloistsItzhak PerlmanandGil Shaham. In 1997 and 1998, Mehta worked in collaboration with Chinese film directorZhang Yimouon a production of the operaTurandotbyGiacomo Pucciniwhich they took to Florence, Italy, and then to Beijing, China, where it was staged in its actual surroundings in the Forofferden City, with over 300 extras and 300 soldiers, for nine historic performances. The making of this production was chronicled in a documentary calledThe Turandot Projectwhich Mehta narrated. 2000s[edit] Zubin Mehta, 2010 On 26 December 2005, the first anniversary of theIndian Ocean tsunami, Mehta and the Bavarian State Orchestra performed for the first time inChennai(formerly called Madras) at theMadras Music Academy. Thistsunamimemorial concert was organised by the Madras German consulate along with the Max-Mueller Bhavan/Goethe-Institut. 2006 was his last year with the Bavarian State Orchestra. 2010s[edit] In 2011, Mehta\'s performance with theIsrael Philharmonic OrchestraatThe Promsin London was picketed and interrupted by pro-Palestinian protesters.[10] On 7 September 2013, Zubin Mehta appeared with theBavarian State Orchestraat a Special concert namedEhsaas e Kashmirorganized by the German Embassy in India, at historic Mughal Gardens,Srinagar. Both Mehta and Orchestra reportedly renounced their usual fees for this concert.[11] For his 80th birthday on April 29, 2016, Mehta conducted theVienna Philharmonicin an all-Beethoven concert in the \"Golden Hall\" of Vienna\'sMusikvereinthat includedDaniel Barenboimperforming the3rd Piano Concerto. Performance style[edit] Mehta received praise early in his career for dynamic interpretations of the large scale symphonic music ofAnton Bruckner,Richard Strauss,Gustav MahlerandFranz Schmidt. His conducting is renowned as being flamboyant, vigorous and forceful. In 2010, Mehta conducted the orchestra for theKing Carlos and Queen of Spainto play variations ofHappy Birthdayin the styles of various performers in the Viennese, New Orleans and Hungarian composition styles.[12][13] Honours and awards[edit] Mehta at a ceremony to receive a star on theHollywood Walk of Famein March 2011 In 1965, he received an honorary doctorate fromSir George Williams University, which later becameConcordia University.[14] Mehta\'s name is mentioned in the songBilly the Mountainon the 1972 albumJust Another Band from L.A.byFrank ZappaandThe Mothers of Invention. At theIsrael Prizeceremony in 1991, Mehta was awarded a special prize in recognition of his unique devotion to Israel and to the Israel Philharmonic Orchestra. In 1995, he became a Laureate of theWolf Prize in Arts. In 1999, Mehta was presented the \"Lifetime Achievement Peace and Tolerance Award\" of the United Nations. TheGovernment of Indiahonoured Mehta in 1966 with thePadma Bhushanand in 2001 with India\'s second highest civilian award, thePadma Vibhushan.[15] In September 2006 theKennedy Centerannounced Mehta as one of the recipients of that year\'sKennedy Center Honors, presented on 2 December 2006. On 3 February 2007, Mehta was the recipient of the Second Annual Bridgebuilder Award atLoyola Marymount University. Then U.S. PresidentGeorge W. Bushand First LadyLaura Bushstand with theKennedy Centerhonourees in theBlue Roomof theWhite Houseduring a reception Sunday, 3 December 2006. From left, they are: singer and songwriterSmokey Robinson;Andrew Lloyd Webber; country singerDolly Parton; film directorSteven Spielberg; and Zubin Mehta. In 2007 he received the prestigiousDan David Prize. ConductorKarl Böhmawarded Mehta the Nikisch Ring – the Vienna Philharmonic Ring of Honor. Mehta is an honorary citizen of Florence and Tel Aviv. He was made an honorary member of theVienna State Operain 1997. In 2001 he was bestowed the title of \"Honorary Conductor\" of theVienna Philharmonicand in 2004 theMunich Philharmonicawarded him the same title, as did the Los Angeles Philharmonic and the Teatro del Maggio Musicale Fiorentino in 2006. At the end of his tenure with the Bavarian State Opera he was named Honorary Conductor of the Bavarian State Orchestra and Honorary Member of the Bavarian State Opera, and theGesellschaft der Musikfreunde, Wien, appointed him honorary member in November 2007. In October 2008, Mehta received thePraemium Imperiale(World Culture Prize in Memory of His Imperial Highness Prince Takamatsu), Japan. On 1 March 2011, Mehta received the 2,434th star on theHollywood Walk of Fame. On 2 October 2011 he received theEcho Klassikin Berlin, for his life\'s work.[16] On 6 September 2013, President of IndiaPranab Mukherjeeawarded him theTagore Award2013 for his outstanding contribution towards cultural harmony.[17] Films[edit] Mehta\'s life has been documented inTerry Sanders\' filmPortrait of Zubin Mehta. A documentary film about Mehta,Zubin and I, was produced by the grandson of an Israeli harpist who played with the Israel Philharmonic Orchestra before Mehta assumed the helm. The filmmaker joins the orchestra on a tour of Mumbai and meets with him for two interviews, in India and Tel Aviv.[18] InChristopher Nupen\'s 1969 documentaryThe Troutabout a performance ofSchubert\'sTrout Quintetin London byJacqueline du Pré,Daniel Barenboim,Pinchas Zukerman,Itzhak Perlmanand Mehta, he plays thedouble bass.[19] Zubin Mehta was also mentioned in the novelMaster of the GamebySidney Sheldon. Educational projects[edit] In 2009, Mehta established Mifneh (Hebrewfor \"change\"), a music education program forIsraeli Arabs, in cooperation withBank Leumiand the Arab-Israel Bank. Three schools, inShfaram, theJezreel ValleyandNazareth, are taking part in the pilot project.[20] He and his brother Zarin constitute the Advisor Council of the Mehli Mehta Foundation.[21] ****Mordechai Tsanin(Yiddish:מרדכי צאנין‎;Hebrew:מרדכי צאנין‎; 1 April 1906 – 4 February 2009) was aYiddishlanguage author, journalist and lexicographer and a leading[citation needed]figure in post-warIsraeliYiddishculture. Contents 1 Early life 2 World War 2 3 Civic Affairs 4 Journalism 5 Books 6 Yiddish politics and controversy 7 References Early life[edit] Tsanin was born Mordechai Yeshayahu Cukierman,[1]in the town ofSokołów Podlaskiin theRussian Empire(today inPoland). His father\'s occupation, practiced in nearbySiedlce, was that of writing petitions to the government on behalf of private citizens, while his mother worked in the family home.[2] His formal education began inHederandYeshiva(roughly, the elementary and high schools of traditional Jewish education). When the family relocated to Warsaw, in 1921,[1]he embarked on secular studies, at a Polishgymnasium.[3] As a young man, his politics leaned towards theBund, a Jewish Socialist party.[4]Of the Zionist enterprise he took a dim view: as he told an interviewer many years later, \"Heint and Moment [Jewish newspapers in pre-war Warsaw], were, for me,treif; they were Zionist.\"[2] World War 2[edit] At the outbreak ofWorld War II, Tsanin served in the Polish army. With Poland defeated, he returned home to Warsaw. After two months, he fled to Lithuania with his family, from where he saw them off toMandatory Palestine.[2]He remained in Lithuania throughthe Soviet takeover in 1940, soon after which he obtained a Japanese visa.[4]FromJapanhe went toShanghaiand from there back west, aiming at Mandatory Palestine, which he reached in 1941 via India and finally Egypt.[3] In 1947, Tsanin returned to Poland on a year-long[3]fact-finding mission as correspondent for the New York Yiddish dailyForward. What he found there was published in the Forward, republished in every major Yiddish newspaper worldwide,[4]and finally collected in book form asUber Stein und Stock: a reise uber hundert horuw gewarene kehilos in Poilin(Yiddish:איבער שטיין און שטאק: א רייזע איבער הונדערט חרוב געווארענע קהילות אין פוילן‎, English:\"Of Stones and Ruins: a journey through one hundred destroyed communities in Poland\"). The mission ended prematurely when it came to the attention of the Polish authorities, who expressed their displeasure with Tsanin\'s emphasis on the negative, compelling him to quit the country promptly.[4] Civic Affairs[edit] For the rest of his life, Tsanin lived inTel Avivwhere, apart from his literary pursuits, he was active in civic affairs.[5]He co-founded[3]Beit Leivick (named for the writerLeivick Halpern), the headquarters for the Israeli association of Yiddish journalists and a center for everything Yiddish in Tel Aviv. Tsanin headed that association of Yiddish journalists for many years, and also served as president of an international association of Jewish journalists.[3] Journalism[edit] His first published works — chiefly short stories and journalism — appeared in Warsaw beginning in 1929. His outlets included the English:\"Dawn\"),Naie Volkszeitung(Yiddish:נאיע פאלקסצייטונג‎, English:\"New popular newspaper\"), andLiterarische וואכנשריפטן‎, English:\"Literary weekly\"). In addition, he edited a book review English:\"Book world\").[4] In July 1948, after seven years in Israel, he founded aYiddishweekly,Illustrierter וואכנבלאט‎, English:\"Illustrated Weekly\"). It ran until October 1949 and was immediately succeeded by the publication for which he is best-known,Lezte Neies(Yiddish:לעצטע נייעס‎, English:\"Latest News\"). This, founded with two partners,[3]began also as a weekly, soon went to thrice-weekly and finally in 1957 to daily. Though a big success in terms of circulation (daily runs of 20-30,000),[6]financial difficulties[6]led Tsanin, in 1960, to sellLezte a news conglomerate owned by theMapaiparty. There is, however, another theory for why Tsanin soldLezte Neiesto Mapai: he knew that his ideas would stir up party operatives, which would force them to think about his ideas.[7] Though no longer the owner, and despite sharp political differences with Mapai and its successor, theLabor Party,[6]Tsanin remained editor-in-chief until his retirement from journalism in 1977.[3] In parallel withLezte Neies, Tsanin foundedTsanins Illustrierte Welt(Yiddish:צאנינס אילוסטרירטע וועלט‎, English:\"Tsanin\'s illustrated world\"), a magazine covering news, the arts, theater, movies and fashion. Naming it for himself was a offer to capitalize on his fame.[3]This operated from 1968 to 1975. Lezte Neiesitself kept on after Tsanin\'s retirement until 2006 when it succumbed, as had all its competitors already, to the dwindling population of Yiddish speakers in Israel.[6] Books[edit] Tsanin\'s first published book appeared in 1935, in Poland. It was a collection of stories,Vivat Leben(Yiddish:וויוואט לעבען‎, English:\"To life!\"). Two years later he published his first novel,Oif Sumpiker Erd(Yiddish:אויף זומפיקער ערד‎, English:\"On Swampy Ground\").[4] He authored some twenty more books, with a few translated to English, Hebrew and French but the lion\'s share as yet available only in the original Yiddish.[3]The account of his post-war mission to Poland has been noted above. Among his other books, especially notable is the story of his long war-time flight through the USSR, the Far East, India, Egypt and finally to Israel,Grenezen bis zum Himmel(Yiddish:גרענעצן ביז צום הימל‎, English:\"Borders all the way to the sky\"), 1970. His biggest literary work isYiddish:ארטפנוס קומט צוריק אהיים‎, translated to English asArtapanos Comes Home, (Gazelle Book Services Ltd, 1980) an epic six-volume work that follows the eponymous hero\'s family through the Jewish people\'s 1900-year exile. As of 2014, the University of California, Berkeley, library holds nine distinct Tsanin books.[8]These include novels, reflections on the condition of the Jewish people, collected essays, and a dictionary. The dictionary is notable as the first Yiddish-Hebrew (and Hebrew-Yiddish) dictionary that reflects modern Hebrew usage.[3]Reviews of it, however, have been mixed.[3][9]In the words of one[9]reviewer, \"The author was a journalist and not a linguist or possessed of any deep knowledge of historical linguistics or of Yiddish itself, and his dictionary reflects that fact: each entry and its translation, nothing more.\" To be fair, that reviewer has little good to say about any extant Yiddish-Hebrew dictionaries. Yiddish politics and controversy[edit] At the beginning of the twentieth century, three languages competed for the loyalty of modernizing Jews in Eastern Europe: Russian, Yiddish and Hebrew.[10]The Zionist movement lined up behind Hebrew, and after the establishment of the State ofIsraelmade establishing Hebrew among the many new immigrants a top priority.[6]Yiddish was viewed as a threat to the nation\'s unity, and the early Israeli state\'s uncertain commitment to press freedom provided a tool. Thus, in 1949, when Tsanin wished to convertLezte Neiesfrom a weekly to a daily, he had to apply with the government for permission. Permission was granted to go to a three-day-a week format, but no further. Tsanin evaded this stricture by establishing a second thrice-weekly newspaper,Heintike Naies(Yiddish:האינטיקע נאייעס‎, English:\"Daily News\") and arranged to have that andLezte Neiespublished on alternate days. The authorities chose to look the other way on that,[3]and finally approvedLezte Neiesfor daily format in 1957. It would be wrong to describe the government\'s attitude to Yiddish, even early on, as uniformly hostile. TheIsraeli armyitself ordered copies of Tsanin\'s first magazine,Illustrierter Wochenblatt, in quantity for the benefit of newly-arrived Yiddish-speaking soldiers. However, the army cancelled that subscription after only three months, a decision Tsanin interpreted as ideologically motivated.[2] Friction between Tsanin and the establishment came to a head in 1964.Lezte Neieswas by then, as mentioned above, owned by a subsidiary of Mapai (the governing party at the time and long a leading force in the battle against Yiddish). Though Tsanin, still editor-in-chief, had much to complain about on the language-war front (for example the government\'s policy of discouraging Yiddish theater[6]) he consciously toned down his criticism in the interests of keeping his job.[6]Nonetheless, a group of party functionaries felt that Tsanin\'s fulsome praise of Yiddish and the Eastern European Jewish culture that went with it went too far at suggesting an invidious comparison to the heritage of Jews from North Africa and the Middle East,[6]and for that tried to get Tsanin fired. They found some support from the prime minister,David Ben-Gurion, who said about Tsanin, \"I don\'t read that Lezte Neies paper, but I know its editor was once an anti-Zionist and I have no idea how he wound up in Israel.\"[6]Ben Gurion\'s accusation was not implausible in view of Tsanin\'s own statement (see above) about \"treif\" Zionist newspapers.[2]Nonetheless, Tsanin kept his job. In time, the government became more tolerant of Yiddish. Tsanin\'s one-time protege Yitzhak Luden summed it up: \"Tsanin symbolized Yiddish in the Jewish state, and the authorities\' attitude to him was always an indication of its attitude to the Yiddish language.\" ***TSANIN, (Yeshaye) MORDKHE(1906– ),Yiddishwriter. Born in Sokołow-Podlaski (Poland), he settled inWarsaw(1920), where he had a traditional andseculareducation and became a writer and cultural organizer (publications inOyfgang, which he also edited, andNaye Folksysaytung) until the Nazi invasion, when he fled to Vilna (1939), Japan (1940), andPalestine(1941). After several years of manual labor, he worked full-time as a journalist and writer. His consistent and adamant advocacy of Yiddish in Israel was of signal importance. HisIber Shteyn un Shtok: a Rayze iber Hundert Khorev-Gevorene Kehiles in Poyln(\"Through Thick and Thin: A Journey through 100 Destroyed Jewish Communities in Poland,\" 1952) collected his columns from theForverts(for which he was also the Israeli correspondent, 1947–56), based on his postwar travels through Poland, posing as a gentile (1945–6). He contributedto Yiddish newspapers and periodicals throughout the world, includingTsukunft, Di Goldene Keyt, Davar, and editedIlustrirte Veltvokh(1956– ) and founded and editedLetste Nayes(1949– ),Israel\'s first Yiddish daily, where the first part of hismagnum opus, Artopanus Kumt Tsurik Aheym(\"Artopanus Comes Home\") began to appear serially; it was published in six volumes:Yerusholayim un Roym(\"Jerusalemand Rome,\" 1966),Fremde Himlen(\"Foreign Skies,\" 1968),Libshaft in Geviter(\"Love during a Storm,\" 1972),Di Meride fun Mezhibozh(\"The Revolt of Mezhibozh,\" 1976),Der Yardn Falt Arayn in Yam Hamelekh(\"The Jordan Flows into the Dead Sea,\" 1981), andDer Gzar-Din(\"The Verdict,\" 1985). The epic series of historical novels traces the history of Jews and Jewish culture from the Roman conquest ofJudeaup to the present as a series of cycles of persecution, survival,exile, and personal memory that comes to function as cultural memory and cultural tradition, projecting a moral and intellectual code that transcends individuals and even historical periods. It is one of the great achievements of Yiddish narrative, especially in post-war literature. Among his other books areVivat Lebn!(\"Live!,\" 1933; stories),Oyf Zumpiker Erd(\"On Swampy Ground,\" 1935; novel),Vuhin Geyt Yapan(\"Whither Japan,\" 1942; journalism),Shabesdike Shmuesn(\"SabbathChats,\" 1957; feuilletons),Megiles Ruth / Shir Hashirim(\"Ruth / Song of Songs,\" 1962; Yid. tr.);Oyf di Vegn fun Yidishn Goyrl(\"The Paths of Jewish Fate,\" 1966; also Heb., 1967; essays),Der Dekadents fun a Meshiekh(\"Decadence of aMessiah,\" 1967; essays),Grenetsn biz tsum Himl(\"Borders up toHeaven,\" 1969/70; autobiography),Der Shlisl tsum Himl(\"The Key to Heaven,\" 1979; stories),Fuler Yidish-Hebreisher Verterbukh(\"Complete Yiddish-Hebrew Dictionary,\" 1982),Fuler Hebreish-Yidisher Verterbukh(\"CompleteHebrew-Yiddish Dictionary,\" 1983),Fun Yener Zayt Tsayt(\"Behind the Times,\" 1988),Zumershney(\"Summer Snow,\" 1992; stories, essays),Herts Grosbard(1995; biography),Shluf Nit Mameshi(\"Do Not Sleep, Mama,\" 1996; stories), andDosVortMayn Shverd(\"Word My Sword,\" 1997; essays). For several decades Tsanin served as president of the Association of Yiddish Writers and Journalists in Israel. folder 156