Pianist RUDOLF SERKIN Hand SIGNED AUTOGRAPH + PHOTO + MAT Jewish PIANO Beethoven for Sale

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Pianist RUDOLF SERKIN Hand SIGNED AUTOGRAPH + PHOTO + MAT Jewish PIANO Beethoven For Sale

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Pianist RUDOLF SERKIN Hand SIGNED AUTOGRAPH + PHOTO + MAT Jewish PIANO Beethoven:
$117.50

DESCRIPTION: Up for sale is sBEAUTIFULY HAND SIGNED AUTOGRAPH - signature - Autogramme ,Signed with a blue pen of the acclaimed and admiredJEWISH PIANIST of Bohemian descent ,which isbeautifuly and professionaly matted below his reproduction action photo , A stodio portrait of young SERKIN playing his PIANO. The hand signed AUTOGRAPH - signature and the reproduction ACTION PHOTOarenicely matted together , Suitable for immediate framing or display . (An imageof a suggested framing is presented - The frame is not a part of thissale - An excellent framing - Buyer\'s choice - is possible for extra $80).The size of the decorative mat is around 8 x 12 \" .The size of the reproduction photo is around 7 x 5 \" .Thesize of the original hand signed autograph is around 1.5 x 3.5 \" .Very goodcondition of the hand signed autograph, The reproduction photo and the decorative mat .( Pls look at scan for accurate AS IS images)Authenticityguaranteed.Will be sent inside a protective rigidpackaging .

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

Rudolf Serkin(28 March 1903 – 8 May 1991) was aBohemian-bornAmericanpianist. He is widely regarded as one of the greatestBeethoveninterpreters of the 20th century.[1]Contents1 Life and early career2 Emigration to the United States3 Awards and recognitions4 References5 External linksLife and early career[edit]Serkin was born in thenEger,Kingdom of Bohemia,Austro-Hungarian Empire(nowCheb,Bohemia,Czech Republic), to a Russian Jewish family. His father, Mordko Serkin, \"had been a Russian basso, and taught him to read music before he could read words.\"[2]Hailed as achild prodigy,[3]he was sent to Vienna at the age of 9, where he studied piano withRichard Robertand, later, composition withJoseph Marx, making his public debut with theVienna Philharmonicat 12. From 1918 to 1920 he studied composition withArnold Schoenbergand participated actively in Schoenberg\'s Society for the Private Performance of Music. He began a regular concert career in 1920, living in Berlin with the German violinistAdolf Buschand his family, which included a then-3-year-old daughter Irene, whom Serkin would marry 15 years later.In 1921, at age 17, he made his Berlin debut performing in Busch\'s ensemble as the keyboard soloist in theBrandenburg ConcertoNo. 5. At the end of the concert, Busch told Serkin to play an encore to the enthusiastic audience. Serkin later reported that he asked Busch, \"What shall I play?\" and Busch \"as a joke\" told him to play theGoldberg Variations\"and I took him seriously. When I finished there were only four people left: Adolf Busch,Artur Schnabel,Alfred Einsteinand me.\"[2]In the 1920s and early 1930s, Serkin performed throughout Europe both as soloist and with Busch and the Busch Quartet. With the rise ofHitlerin Germany in 1933, Serkin and the Busches (who were not Jewish but who vehemently opposed theNaziregime) left Berlin for Basel, Switzerland.In 1933, Serkin made his first United States appearance at the Coolidge Festival in Washington, D.C., where he performed with Adolf Busch. In 1936, he launched his solo concert career in the US with theNew York PhilharmonicunderArturo Toscanini. The critics raved, describing him as \"an artist of unusual and impressive talents in possession of a crystalline technique, plenty of power, delicacy, and tonal purity.\"[This quote needs a citation]In 1937, Serkin played his first New York City recital atCarnegie Hall.Emigration to the United States[edit]Shortly after the outbreak of World War II in 1939, the Serkins and Busches immigrated to the United States, where Serkin taught several generations of pianists at theCurtis Institute of Musicin Philadelphia. From 1968 to 1976 he served as the Institute\'s director. He lived with his growing family, first in New York, then in Philadelphia, as well as on a dairy farm in ruralGuilford, Vermont. In 1951, Serkin and Adolf Busch founded theMarlboro Music School and Festivalin Marlboro, Vermont, with the goal of stimulating interest in and performance of chamber music in the United States. He made numerous recordings from the 1940s into the 1980s, including one atRCA VictorofBeethoven\'sPiano Concerto No. 4in 1944, with theNBC Symphony Orchestraconducted by Toscanini. Most of his recordings were made forColumbia Masterworks, although in the 1980s he also recorded forDeutsche GrammophonandTelarc. Serkin admired the music ofMax Reger, which he discovered while working with Adolf Busch. In 1959, he became the first pianist in the United States to record Reger\'s Piano Concerto, Op. 114, withEugene Ormandyand thePhiladelphia Orchestra.External audioYou may listen to Rudolf Serkin with theNew York PhilharmonicOrchestra conducted byBruno WalterperformingLudwig van Beethoven\'sPiano Concerto No. 5 in E flat (Emperor) Op. 73in 1941here on archive.orgSerkin was awarded thePresidential Medal of Freedomin 1963 and in March 1972 celebrated his 100th appearance with the New York Philharmonic by playingJohannes Brahms\'Piano Concerto No. 1. The orchestra and board of directors also named Serkin an honorary member of the New York Philharmonic-Symphony Society, a distinction also conferred onAaron Copland,Igor Stravinsky, andPaul Hindemith. In 1986, he celebrated his 50th anniversary as a guest artist with the orchestra. He is regarded as one of the primary interpreters of the music of Beethoven in the 20th century.Revered as a musician\'s musician, a father figure to a legion of younger players who came to the Marlboro School and Festival, and a pianist of enormous musical integrity, he toured all over the world and continued his solo career and recording activities until illness prevented further work in 1989. He died of cancer on 8 May 1991, aged 88, at home on hisGuilfordfarm.He and Irene were the parents of seven children (one of whom died in infancy),[4]including pianistPeter Serkinand cellist Judith Serkin.[5]They had fifteen grandchildren, including the composerDavid Ludwigand the bassoonist Natalya Rose Vrbsky. Irene Busch Serkin died in 1998.Awards and recognitions[edit]Presidential Medal of Freedom(1963)Ernst von Siemens Music Prize(1978)Kennedy Center Honors(1981)Grammy Award for Best Chamber-Music Performance–Mstislav Rostropovichand Rudolf Serkin forBrahms:Cello Sonata No. 1 in E minor, Op. 38; andCello Sonata No. 2 in F, Op. 99(1984)National Medal of Arts(1988) *****Rudolf Serkin, 88, Concert Pianist, DiesBy Donal HenahanMay 10, 1991Credit...The New York Times ArchivesSee the article in its original context fromMay 10, 1991,SectionD,Page18Buy ReprintsNew York Times subscribers* enjoy full access to TimesMachine—view over 150 years of New York Times journalism, as it originally appeared.SUBSCRIBE*Does not include Crossword-only or Cooking-only subscribers.About the ArchiveThis is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.Rudolf Serkin, one of the most revered pianists of his time and a founder of the Marlboro Festival, the summer music series in Vermont, died on Wednesday night at his Vermont home after a long illness. He was 88 years old.He died of cancer, his wife, Irene, said.Mr. Serkin frequently had to cancel performances in recent seasons. His last appearance in New York was a Carnegie Hall recital on April 9, 1987, but in 1988 he played Beethoven\'s \"Emperor\" Concerto with both the Chicago and Cleveland orchestras.Although not considered by keyboard connoisseurs to be one of the great naturally equipped pianists, Mr. Serkin triumphed over nature to become a superb technician and a musician of exalted stature, held in awe by colleagues and idolized by audiences.He joined the international elite while still a teen-ager and by incessant, tireless practice held ranking for more than half a century as an artist of the highest type. He was an eminent 20th-century representative of a Viennese tradition that mingled the classical and romantic styles of pianism. Onstage a Piano TamerMr. Serkin, coming onstage for a recital, approached the piano on the bias, like a lion tamer approaching a dangerous animal. He walked with short, almost running steps to the instrument, smiling nervously and throwing quick glances at floor and ceiling as if looking for a way to escape. His eyes bugged behind thick glasses, and with his astonished look and halo of thin gray hair he could have been taken for a piano-playing Dr. Seuss.Thanks for reading The Times.Subscribe to The TimesOnce he was planted in place at the keyboard, his struggles became obvious to the eye, and often audible. Both at his recitals and in his recordings his seemingly anguished voice could be heard moaning and grunting out the melodies. He rocked perilously on the bench and sometimes flung both feet wildly in the air as he pawed for the pedals. He glowered. He smiled beatifically. He bounced. He smote the recalcitrant keys, sometimes producing ugly tones.And yet, Mr. Serkin overcame. His technique could be dazzling, thanks to his lifetime of monastic labor. Even in late years, when his interpretations grew mellower and more introspective, his daily regime remained rigorous: he used to say that only after five hours did he warm up and really begin to practice. His hands were large and heavy, with a tremendous spread between fingers. His fingers were extraordinarily thick, which caused difficulties when they had to play in the thin spaces between black keys. So he practiced scales and arpeggios endlessly, contending it was impossible to overemphasize technique. He disdained an older German romantic approach, which he felt stressed \"feeling\" at the expense of clean fingerwork.Oddly, Mr. Serkin came to be regarded by some critics as a titan of the emotional school, while by others as a sternly Olympian, cerebral artist. He could be, in fact, both. Abram Chasins, in \"Speaking of Pianists,\" summed up the Serkin enigma thus: \"Just as you conclude that here is an artist who makes his appeal to the mind rather than to the heart, that his forte is the classic rather than the romantic literature, Serkin will play Schumann\'s \'Abegg Variations\' or the Mendelssohn G minor Concerto with a glowing tenderness and springtime ardency that convince you that this is the very first time you have ever really heard these works.\" Intensity and DedicationMr. Serkin could indeed play with a warm, sonorous tone at one moment, then suddenly grow excited and begin to bang. Intensity and dedication were his trademarks. The New York Times critic Harold C. Schonberg, reviewing a Serkin performance of Brahms\'s \"Variation on a Theme of Handel\" in 1963, heard in it \"piano playing of sheer grandeur, the kind that sets the standard to which all must aspire.\"Editors’ PicksThe U.K. Spy Agency MI5 Joined Instagram. It Wasn’t for the Likes.My Boyfriend Has Two Partners. Should I Be His Third?He Said He Loved Her. Then He Went to the F.B.I.Continue reading the main storyMr. Serkin, at least in his American years, was not a particularly enterprising program maker. His recitals tended to cleave to the verities: Beethoven, Mozart, Brahms, Schubert, Schumann -- or more rarely, Mendelssohn, Chopin, Reger, Bartok.Among the dozens of recordings he made, those in which he teamed as a chamber-music partner with Adolf Busch, the German violinist, are especially prized by collectors. It was Mr. Busch who promoted the young pianist\'s European career, presenting him as a soloist in Bach\'s Brandenburg Concerto No. 5 at Mr. Serkin\'s Berlin debut in 1921.Mr. Serkin, recalling this in the magazine Clavier, said: \"I was 17 years old. At tne end of the concert, because it had been a great success, Busch pushed me out, saying I should play an encore. \'What shall I play?\' I asked. \'The Goldberg Variations,\' he replied, as a joke. (Without repeats, the Bach work takes half an hour to perform.) And I took him seriously. When I finished there were only four people left: Adolf Busch, Arthur Schnabel, Alfred Einstein [ the musicologist ] and me.\"Mr. Serkin regarded Busch as one of the three musicians who most deeply influenced him. The others were his onetime composition teacher, Arnold Schoenberg, and the conductor Arturo Toscanini. In 1935, Mr. Serkin married Irene Busch, the violinist\'s daughter, herself an accomplished violinist who was then 18 years old. First Music, Then WordsMr. Serkin was born on March 28, 1903, the fifth of eight children, in the Bohemian town of Eger, Austria, now called Cheb and situated in Czechoslovakia near the north Bavarian German border. His father, Mordko Serkin, had been a Russian basso and taught Rudolf to read music before he could read words. The boy chose piano over the violin, the one alternative offered, because he disliked having the violin sound so close to his ear.He first played in public at age 5 or 6, he recalled, at the spa of Franzenbad, where his program included the Schubert Impromptu in E flat (Op. 90, No. 2). Later, in Vienna, the boy played for the pianist Alfred Grunfeld, who invited him to move to Vienna and study with his friend Richard Roberts. Rudolf was then 9 years old. One of his fellow pupils, with whom he formed a lifelong friendship, was George Szell, the late conductor.Mr. Serkin studied composition, first with Joseph Marx and later with Schoenberg, and published a string quartet. He made his concert debut with the Vienna Symphony at 12, playing the Mendelssohn G minor Concerto. Academically, he had no formal education but read hungrily in many subjects.At 17, Mr. Serkin met Busch, who was looking for a pianist to accompany him in a concert. They struck up a friendship and Busch took the younger musician along with him to Berlin on tour. Busch was then 30 years old and internationally established as a violinist. Soon Mr. Serkin was appearing in the great cities of Europe both as accompanist and as chamber-music performer with the Busch Chamber Players.Another of Mr. Serkin\'s idols at this time was Ferruccio Busoni. Hoping to study with the famous Italian composer and pianist, Mr. Serkin played for him only to be advised that 17 was too old to take piano lessons. Frequent concert appearances were advised instead. Brush With the NazisIn April 1933, with the Nazis in the ascendancy in Germany, Busch stirred a controversy by refusing to appear at a Brahms centennial celebration in Hamburg. Although not Jewish himself, he was offended because a young Jewish pianist had been denied permission to play. The pianist was Rudolf Serkin.Mr. Serkin had moved with the Busch family to Darmstadt in 1922. (Besides Adolf, the family included Fritz, the conductor, and Herman, the cellist.) In 1927 they all left Germany and settled near Basel, Switzerland. After Hitler\'s rise to power, they applied for Swiss citizenship, which they held until all became American citizens in 1950.Mr. Serkin first played in the United States in 1933, with Busch at a Coolidge Festival concert in the Library of Congress in Washington. He did not perform here again until his formal debut in New York on Feb. 20, 1936, when he appeared as soloist with the New York Philharmonic under Toscanini. His recital debut came on Jan. 11, 1937, at Carnegie Hall. The next year Mr. Serkin and Busch performed the complete cycle of Beethoven sonatas at Town Hall.In 1939, Mr. Serkin joined the piano faculty of the Curtis Institute in Philadelphia, where he taught for 36 years. From 1968 to 1975, he was director of the institute.Great though Mr. Serkin\'s success was as a concert pianist, perhaps his most lasting impact on musical life was as a teacher and inspirational force. In 1949, he helped found the Marlboro Festival in Vermont. Living in the same area at the time were Adolf and Herman Busch, Blanche Honegger Moyse, Louis Moyse and Marcel Moyse, all renowned musicians who had also left Europe. They merged their talents and quickly turned Marlboro into an American chamber-music mecca and a magnet for talent. Dedicated MusicianshipThe word Marlboro came to stand for musicianship of a special, ardent type. Each summer, Mr. Serkin and his circle were joined by like-minded artists, including Pablo Casals, Alexander Schneider, Felix Galimir, Mieczyslaw Horszowski, Jaime and Ruth Laredo, Eugene Istomin, Pina Carmirelli and Peter Serkin (Mr. Serkin\'s son, himself a world-class pianist).At Marlboro, Mr. Serkin made a point of being a musician among colleagues, as ready to turn pages for other players as to perform, and also perfectly willing to fire back with a wet paper napkin in an impromptu dinner-table duel. Friends of Mr. Serkin -- and he seemed to have no enemies -- spoke with incredulity of his unfailing good humor, his shy and sweet-tempered manner with everyone, the unknown as well as the famous. A longtime colleague, after giving the phenomenon some thought, remarked: \"It\'s impossible to talk about anybody\'s being saintly in this age, but Serkin is.\"Mr. Serkin performed twice at the White House, in 1966 and 1970. President John F. Kennedy awarded him the Presidential Medal of Freedom. He was a member of the American Academy of Arts and Sciences and of the National Council on the Arts, and held honorary doctorates from the Curtis Institute, Harvard University, Williams College, the University of Rochester, the New England Conservatory, Marlboro College, Temple University, Oberlin College and the University of Vermont. In 1972 he was named an honorary member of the New York Philharmonic and in 1986 celebrated his 50th anniversary as a guest artist with the orchestra. In 1984, the French Government named him a Chevalier in the Legion of Honor.Though Mr. Serkin\'s importance as a performer and catalyst tended to overshadow his role of teacher, the list of his students is illustrious. It includes his son Peter, who made his Carnegie Hall debut at 12 playing a Mozart double concerto with his father, and Eugene Istomin, Seymour Lipkin, Anton Kuerti, Lee Luvisi and Richard Goode.Besides his wife, who regularly joined the music-making at Marlboro, playing violin and viola, and his son Peter, he is survived by another son, John; four daughters, Ursula, Elizabeth, Judith and Marguerite, and 11 grandchildren. The Maestro on Compact DiskRudolf Serkin made dozens of recordings in the course of a long career. Those in this selective discography are available on compact disk. The Telarc and Deutsche Grammophon recordings were made during the 1980\'s; the EMI/Angel and CBS/Sony are earlier recordings that have recently been reissued on CD. Beethoven: Piano Concertos (with the Boston Symphony Orchestra; Seiji Ozawa, conductor; Telarc) Beethoven: Sonatas for Violin and Piano, Nos. 5 and 7 (with Adolf Busch; EMI/Angel) Beethoven: \"Pathetique,\" \"Moonlight\" and \"Appassionata\" Sonatas (Sony/CBS) Brahms: Sonatas for Cello and Piano (with Mstislav Rostropovich; Deutsche Grammophon) Brahms: Piano Concertos (with the Philadelphia Orchestra; Eugene Ormandy, conductor; Sony/CBS Odyssey) 5379