1950 Israel MOZART CONCERT PROGRAM Conductor KLEMPERER Jewish HEBREW Judaica VR

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Seller: Top-Rated Seller judaica-bookstore (1,998) 100%, Location: TEL AVIV, Ships to: Worldwide, Item: 283284896306 DESCRIPTION : As strange as it may sound , OTTO KLEMPERER , The acclaimed conductor of Jewish descent , Never conducted the ERETZ ISRAEL - PALESTINE ORCHESTRA , However , In 1950 He paid a visit to Israel , Commissioned by a private impressario named PARNASSUS and gave an ALL MOZART CONCERT with the Kol Israel ( The official Israeli broadcast authority ) orchestra ( Later to become the Jerusalem Symphony Orchestra ). The soloist was the acclaimed Jewish - Israeli pianist and harpsichordist to name only a few of his talents FRANK PELLEG. Up for sale is the 65 years old 1950 Judaica CONCERT PROGRAM of these two renowned JEWISH MUSICIANS , The pianist and composer FRANK PELLEG and the conductor - composer OTTO KLEMPERER . One text page in Hebrew and English regarding "OTTO KLEMPERER CONDUCTS MOZART" . Hebrew & English. One folded sheet. ( 4 pp ). Around 5 x 7.5 " while folded. Twice as wide while opened .Good condition . Used. Somewhat stained and worn. ( 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 $ 18 . Will be sent inside a protective envelope . Handling within 3-5 days after payment. Estimated duration 14 days.MORE DETAILS : Otto Klemperer (14 May 1885 – 6 July 1973) was a German conductor and composer. He is widely regarded as one of the leading conductors of the 20th century Biography Otto Klemperer was born in Breslau, Silesia Province, then in Germany (now Wrocław, Poland), as a son of Nathan Klemperer, a native of Prague, Bohemia (today's Czech Republic). Klemperer studied music first at the Hoch Conservatory in Frankfurt, and later at the Stern Conservatory in Berlin under James Kwast and Hans Pfitzner. He followed Kwast to three institutions and credited him with the whole basis of his musical development.[2] In 1905 he met Gustav Mahler while conducting the off-stage brass at a performance of Mahler's Symphony No. 2, Resurrection. He also made a piano reduction of the second symphony.[3] The two men became friends, and Klemperer became conductor at the German Opera in Prague in 1907 on Mahler's recommendation.[4] Mahler wrote a short testimonial, recommending Klemperer, on a small card which Klemperer kept for the rest of his life. Later, in 1910, Klemperer assisted Mahler in the premiere of his Symphony No. 8, Symphony of a Thousand. Klemperer went on to hold a number of positions, in Hamburg (1910–1912); in Barmen (1912–1913); the Strasbourg Opera (1914–1917); the Cologne Opera (1917–1924); and the Wiesbaden Opera House (1924–1927). From 1927 to 1931, he was conductor at the Kroll Opera in Berlin. In this post he enhanced his reputation as a champion of new music, playing a number of new works, including Janáček's From the House of the Dead, Schoenberg's Erwartung, Stravinsky's Oedipus rex, and Hindemith's Cardillac. In 1933, once the Nazi Party had reached power, Klemperer, who was Jewish, left Germany and moved to the United States. Klemperer had previously converted to Catholicism,[5] but returned to Judaism at the end of his life. In the U.S. he was appointed Music Director of the Los Angeles Philharmonic. He took United States citizenship in 1937. In Los Angeles, he began to concentrate more on the standard works of the Germanic repertoire that would later bring him greatest acclaim, particularly the works of Beethoven, Brahms and Mahler, though he gave the Los Angeles premieres of some of fellow Los Angeles resident Arnold Schoenberg's works with the Philharmonic. He also visited other countries, including England and Australia. While the orchestra responded well to his leadership, Klemperer had a difficult time adjusting to Southern California, a situation exacerbated by repeated manic-depressive episodes, reportedly as a result of severe cyclothymic bipolar disorder. He also found that the dominant musical culture and leading music critics in the United States were largely out of sympathy with his Weimar modernism and he felt he was not properly valued.[6] Klemperer hoped for a permanent position as lead conductor in New York or Philadelphia. But in 1936 he was passed over in both - first in Philadelphia, where Eugene Ormandy succeeded Leopold Stokowski at the Philadelphia Orchestra, and then in New York, where Arturo Toscanini's departure left a vacancy at the New York Philharmonic but John Barbirolli and Artur Rodzinski were engaged in preference to Klemperer. The New York decision was particularly galling, as Klemperer had been engaged to conduct the first fourteen weeks of the New York Philharmonic's 1935-6 season. Klemperer's bitterness at this decision was voiced in a letter he wrote to Arthur Judson, who ran the orchestra: "that the society did not reengage me is the strongest offense, the sharpest insult to me as artist, which I can imagine. You see, I am no youngster. I have a name and a good name. One could not use me in a most difficult season and then expell me. This non-reengagement will have very bad results not only for me in New York but in the whole world... This non-reengagement is an absolutely unjustified wrong done to me by the Philharmonic Society."[6][7] Then, after completing the 1939 Los Angeles Philharmonic summer season at the Hollywood Bowl, Klemperer was visiting Boston and was diagnosed with a brain tumor; the subsequent brain surgery to remove "a tumour the size of a small orange" left him partially paralyzed. He went into a depressive state and was placed in institution; when he escaped, The New York Times ran a cover story declaring him missing, and after being found in New Jersey, a picture of him behind bars was printed in the Herald Tribune. Though he would occasionally conduct the Philharmonic after that, he lost the post of Music Director.[8] Furthermore, his erratic behavior during manic episodes made him an undesirable guest to US orchestras, and the late flowering of his career centered in other countries. Klemperer (l.) with members of the Cologne Radio Symphony Orchestra, 1954 After World War II, Klemperer returned to Europe to work at the Budapest Opera (1947–1950). Finding Communist rule in Hungary increasingly irksome, he became an itinerant conductor, guest conducting the Royal Danish Orchestra, Montreal Symphony Orchestra, Cologne Radio Symphony Orchestra, Concertgebouw Orchestra, and the Philharmonia of London. In the early 1950s Klemperer experienced difficulties arising from his U.S. citizenship. American union policies made it difficult for him to record in Europe, while his left wing views made him increasingly unpopular with the State Department and FBI: in 1952 the United States refused to renew his passport. In 1954 Klemperer again returned to Europe, and acquired a German passport.[6][9] His career was turned around in 1954 by the London-based producer Walter Legge, who recorded Klemperer in Beethoven, Brahms and much else with his hand-picked orchestra, the Philharmonia, for the EMI label. He became the first principal conductor of the Philharmonia in 1959. He settled in Switzerland. Klemperer also worked at the Royal Opera House Covent Garden, sometimes stage-directing as well as conducting, as in a 1963 production of Richard Wagner's Lohengrin. He also conducted Mozart's The Magic Flute there in 1962. A severe fall during a visit to Montreal in 1951 forced Klemperer subsequently to conduct seated in a chair. A severe burning accident further paralyzed him, which resulted from his smoking in bed and trying to douse the flames with the contents of a bottle of spirits of camphor nearby. Through Klemperer's problems with his health, the tireless and unwavering support and assistance of Klemperer's daughter Lotte was crucial to his success. One of his last concert tours was to Jerusalem. Klemperer had performed in Palestine before the state of Israel declared its independence, and returned to Jerusalem only in 1970 to conduct the Israeli Broadcasting Authority Symphonic Orchestra in two concerts, performing the six Brandenburg Concerti of Bach, and Mozart's symphonies 39, 40 and 41. During this tour he took Israeli citizenship. He retired from conducting in 1971. Klemperer died in Zürich, Switzerland in 1973, aged 88, and was buried in Zürich's Israelitischer Friedhof-Oberer Friesenberg. Yet, in his later years, he had become increasingly worried about the influence of Jewish fundamentalism in Israel, and about Israel's foreign policies. He was an Honorary Member (HonRAM) of the Royal Academy of Music. His son, Werner Klemperer, was an actor and became known for his portrayal of Colonel Klink on the US television show Hogan's Heroes. The diarist Victor Klemperer was a cousin; so were Georg Klemperer and Felix Klemperer, who were famous physicians. Composer Klemperer is less well known as a composer, but he wrote a number of pieces, including six symphonies, a Mass, nine string quartets, many lieder and the opera Das Ziel. He seldom performed any of these himself and they have generally fallen into neglect since his death, although his works have received the occasional commercial recording.[10] Klemperer's recordings Many listeners associate Klemperer with slow tempos, but recorded evidence now available on compact disc shows that in earlier years his tempi could be quite a bit faster; the late recordings give a misleading impression. For example, one of Klemperer's most noted performances was of Beethoven's Symphony No. 3, Eroica. Eric Grunin's Eroica Project contains tempo data on 363 recordings of the work from 1924–2007, and includes 10 by Klemperer - some recorded in the studio, most from broadcasts of live concerts. The earliest Klemperer performance on tape was recorded in concert in Köln in 1954 (when he was 69 years old); the last was in London with the New Philharmonia Orchestra in 1970 (when he was 85). The passing years show a clear trend with respect to tempo: as Klemperer aged, he took slower tempi. In 1954, his first movement lasts 15:18 from beginning to end; in 1970 it lasts 18:41. In 1954 the main tempo of the first movement was about 135 beats per minute, in 1970 it had slowed to about 110 beats per minute. In 1954, the Eroica second movement, "Funeral March", had a timing of 14:35; in 1970, it had slowed to 18:51. Similar slowings took place in the other movements. Around 1954, Herbert von Karajan flew especially to hear Klemperer conduct a performance of the Eroica, and later he said to him: "I have come only to thank you, and say that I hope I shall live to conduct the Funeral March as well as you have done". Similar, if less extreme, reductions in tempi can be noted in many other works for which Klemperer left multiple recordings, at least in recordings from when he was in his late 70s and his 80s. For example: (a) Mozart's Symphony No. 38 Prague, another Klemperer specialty. In his concert recording from December 1950 (when he was 65 years old) with the RIAS Berlin Orchestra the timings are I. 9:45 (with repeat timing omitted; the performance actually does take the repeat); II. 7:45; and III. 5.24. In his studio March, 1962 recording of the same work with the Philharmonia (recorded when he was 77 years old), the timings are notably slower: I. 10:53 (no repeat was taken); II. 8.58; III. 6:01. Unlike the late Eroica, the 1962 Prague is not notably slow; rather, the 1950 recording is much faster than most recordings of the work, even by "historically informed" conductors. (b) Symphony No. 4 Romantic by Anton Bruckner (Haas edition with emendations). A 1947 concert recording with Concertgebouw Orchestra has timings of I. 14:03; II. 12:58; III. 10:11; and IV. 17.48. The EMI studio recording with the Philharmonia from 1963 has timings of I. 16:09; II; 14:00; III. 11.48; IV. 19:01. Again, the 1963 is not a notably slow performance, but the 1947 was quick. The March 1951 recording with the Vienna Symphony Orchestra was even quicker: I. 13:26; II. 11:56; III. 9:22; IV. 16:30. (c) Symphony No. 7, Nachtlied (Song of the Night) by Gustav Mahler recorded for EMI in 1968. I. 27:43; II. 22:06; III. 10:27; IV. 15:41; V. 24:15. Klemperer's finale is particularly slow-paced at 24:15, where the average timing is aprox. 17:30. Compare Klemperer's tempi with Sir Georg Solti for Decca (1971) at 16:29; James Levine for RCA (1982) at 17:45; Claudio Abbado for DG (2002) also at 17:45 and the Michael Tilson Thomas 2005 performance with the San Francisco SO at 18:05. "Thus, as you listen to this performance, it seems... to enclose you within its own world of evocative sound, a world that echoes... the world we may know, but remains a world transformed by imagination, remote, and complete within itself."[11] Regardless of tempo, Klemperer's performances often maintain great intensity, and are richly detailed. Eric Grunin, in a commentary on the "opinions" page of his Eroica Project, notes: "....The massiveness of the first movement of the Eroica is real, but is not its main claim on our attention. That honor goes to its astonishing story (structure), and what is to me most unique about Klemperer is that his understanding of the structure remains unchanged no matter what his tempo... " Discography Klemperer made many recordings, and many have become classics. Among those worthy of note are: Bach: St Matthew Passion with Dietrich Fischer-Dieskau, Peter Pears, Elisabeth Schwarzkopf, Christa Ludwig, and Walter Berry Bach: Mass in B minor Bach: Brandenburg Concertos with the Philharmonia Orchestra on ΕΜΙ Bartók: Viola Concerto (with William Primrose, and the Concertgebouw Orchestra, live version on Archiphon) Beethoven: Symphony cycles (notably the one from the mid-1950s on EMI) Beethoven: Symphony No. 9 (recorded live, November 1957, 1961)Beethoven: Fidelio (both the live recording from Covent Garden on Testament, and the studio EMI recording)Beethoven: Missa SolemnisBeethoven: Piano Concertos Nos. 3-5, (with Claudio Arrau, live versions issued on Testament)Brahms: Symphony cyclesBrahms: Violin concerto, with David OistrakhBrahms: Ein deutsches Requiem, with Elisabeth Schwarzkopf and Dietrich Fischer-DieskauBruckner: Symphony No. 4 in E-flat MajorBruckner: Symphony No. 6 in A MajorFranck: Symphony in D-minorChopin: Piano Concerto No. 1 with Claudio Arrau, live version issued on Music & ArtsHandel: Messiah, with Elisabeth Schwarzkopf, Grace Hoffman, Nicolai Gedda, and Jerome HinesHaydn: Symphonies 88, 92, 95, 98, 100, 101, 102, 104Hindemith: Nobilissima Visione Suite (Kölner Rundfunkorchester, a 1954 version issued on Andante)Janáček: Sinfonietta (a 1951 Concertgebouw Orchestra live version, released by Archiphon)Mahler: Das Lied von der Erde, with Christa Ludwig and Fritz WunderlichMahler: Symphony No. 2 in C Minor, "Resurrection", (1)- 1951 with Kathleen Ferrier & Jo Vincent; (2) - 1963 with Elisabeth Schwarzkopf & Hilde Rössel-MajdanMahler: Symphony No. 4 with Elisabeth SchwarzkopfMahler: Symphony No. 7, 1968Mahler: Symphony No. 9Mendelssohn-Bartholdy: Symphonies Nos.3-4Mozart: Piano Concerto no. 25 (with Daniel Barenboim)Mozart: Symphonies Nos. 25, 29, 31, 34, 38, 39, 40 and 41Mozart: Don Giovanni (live version issued on Testament)Mozart: Die Zauberflöte (The Magic Flute), with Nicolai Gedda, Walter Berry, Gundula Janowitz, Lucia Popp, Elisabeth Schwarzkopf as the First LadySchönberg: Verklärte Nacht (a 1955 live version with the Concertgebouw Orchestra, on Archiphon)Schubert: Symphonies 5, 7 and 9. Philharmonia Orchestra (EMI)Schumann: Symphonies 1-4, with the Philharmonia Orchestra. Klemperer was the first to record them integrallySchumann: Piano Concerto (with Annie Fischer)Stravinsky: PetrushkaStravinsky: PulcinellaStravinsky: Symphony in Three MovementsTchaikovsky: Symphony No. 5 with the Philharmonia Orchestra on EMIWagner: Der fliegende Holländer (The Flying Dutchman) (with Anja Silja)Wagner: Siegfried Idyll in the original chamber version with members of the Philharmonia OrchestraWeill: Kleine Dreigroschenmusik, 1931, 196 A list of historical recordings of the Los Angeles Philharmonic with Klemperer conducting (including parts of the George Gershwin Memorial Concert at the Hollywood Bowl) can be found here: Otto Klemperer conducting the Los Angeles Philharmonic Klemperer's last recording was Mozart's Serenade in E-Flat, K.375, recorded September 28, 1971. That recording session was the last time he ever led an orchestra. Born: September 24, 1910 - Prague, Austria-Hungary (now Prague, Czech Republic) Died: September 20, 1968 - Haifa, Israel The Czech-born Israeli harpsichordist, pianist, conductor, composer and pedagogue, Frank Pelleg [Peleg; born Pollak], studied music in Prague at National Academy of Music (piano, composition, conducting) and musicology at the Prague University. He was a student of Vítčzslav Novak and Alexander Zemlinsky, among others. Frank Pelleg began appearing in recitals when still very young, performing mostly pre-classical music on the harpsichord and contemporary repertoire on the piano. One of his own early compositions, The Sailor's Ballad for choir and orchestra (to a text by Jiří Wolker) had been performed by the Czech Philharmonic Orchestra under Václav Talich. During that period he also wrote Three Songs (texts by Horace, Nietzsche, Tagore), Piano Concerto, String Quartet and Piano Quartet. In 1936 Frank Pelleg immigrated to Eretz-Israel (Palestine). When he came to Israel he changed his name from Pollak to Pelleg, the Hebrew word for Bach, to specify his deep appreciation for the German composer. He won 1st prize at the International Contest of Performing Musicians in Geneva, Switzerland, in 1939. Soon after, his professional life took a wholly new direction. He became extremely active in every aspect of music life in Israel. He travelled and performed all over the country: in provincial towns, rural settlements (kibbutzim) and he carried his harpsichord with him wherever he went. Pelleg appeared with the then Palestine Philharmonic Orchestra, with the Radio Orchestra and with the Haifa Symphony Orchestra both in Israel and on their tours abroad. As a soloist he gained quite a reputation as interpreter of Bach's music. Harpsichord Player Frank Pelleg deeply admired Wanda Landowska and the affinity he felt with her approach determined his own attitude to the harpsichord. He was optimistic as to the future of the instrument and believed that its uniqueness as a plucking instrument in the keyboard family will stand it in good stead. In his opinion the harpsichord would eventually attain an independent role and will not remain merely an early stage in the development of the piano. However, the so-called "authentic approach" to pre-classical music was utterly foreign to him. I doubt - he wrote - if we could ever come near the ideal of the virginalists if we reverted to non-tempered instrument just as I do not think we shall do justice to Couperin if we cease to use the little finger and the thumb. Moreover, Pelleg was an enthusiastic believer in honest exploitation of all inherent technical possibilities of the instrument, including the latest innovations, to the full extent of its limitations which held good at a certain period. Pelleg considered the timbre and tone-muting the focal point of interpretation by a harpsichordist and called to exploit every potential of the modern harpsichord so as to satisfy today's aesthetic standards. His views found strong expression in his playing. A.U. Boskovich the composer who was music critic for Ha'aretz daily wrote of Pelleg's performance: Pelleg's interpretation of Bach was remarkable for his total mastery of the instrument, i.e. in letting both keyboards sound to the full and in the perfect dynamics of the instrument [...) as well the rich "orchestration" [...] Frank Pelleg's art is both great and truly genuine as indeed was his well deserved success. The aspect of registration in Pelleg's playing may appear somewhat over demonstrative today. However, listening to his playing shows clearly that the excessive use of the registers was invariably put at the service of clarifying the musical structure. He did not use them to express moods but to present the musical idea behind the piece. This shows most clearly in his registration for the harpsichord part in Sergiu Natra's Music for harpsichord and six instruments (1964) which Pelleg annotated in preparation for the premiere. In his Concerto for harpsichord and electronics (1964) Josef Tal did not indicate any registers and in his explanatory notes to the piece, he says: The player's perception and imagination must guide his choice of registers which he deems capable of maintaining and enriching the dialogue with the electronic music. Tal also notes: I knew in advance that I can rely on Pelleg's talent, the quickness of his reactions and on his willingness to identify fully with the content of the composition and its technical demands, in short - on the ideal qualities he possessed. In the recordings of Pelleg's performance of pieces from the Baroque repertoire one often finds original ornamentation, untrammelled and witty. In general his performances show a bubbling temperament which causes the music to flow yet never draws the rhythmic or articulative features along at the cost of clarity of these latter. Quite to the contrary: the flow builds upon them, as on an occasional dam, which Pelleg executes with a precision rare among harpsichordists, and thus they make the flow possible. As a harpsichord player Frank Pelleg was the first to bring to the Israeli public the marvels of music by Bach and by the Baroque composers who wrote for the instrument. Pelleg played the Goldberg Variations (BWV 988) numerous times. In the canonic variations he preferred, at times, to illuminate the bass with all the contrapuntal wonders it contains (a typical Glenn Gould gimmick!); in variations in the minor key he elicited all the warmth and deep emotions by his use of rubato; in the rhythmic parts he succeeded in rendering perfectly their piquancy and humour. Another great event he had organised (rather typical for the early 1940's) was a premiere in Israel of the Musical Offering (BWV 1079) which he performed with Oedoen Partos, violin, Uri Toeplitz, flute, and Theo Salzman, violoncello. He also performed the two books of The Well Tempered Clavier in four concerts (another splendid undertaking which he repeated several times during his career), playing some of the preludes and fugues on the harpsichord and the others on the piano. Pianist As a pianist Frank Pelleg was an extraordinary interpreter of Mozart. He succeeded in rendering the essential simplicity and purity of the music without surrendering any of the drama, the tragedy, or humour it contains. He often performed the concerti amongst which his interpretation of the Coronation and of the D minor Concerto K.466 was particularly brilliant as heard at a concert conducted by Otto Klemperer in 1950. Pelleg loved Schubert and seemed to know and understand him as one does an old friend. Fifty years ago Schubert was not really fashionable and his sonatas were only rarely heard. Pelleg's masterly performance of his works, in particular of his two A major Sonatas, D.664 and D.959, contributed much to the revival of interest in his music both in the audiences and among performing artists. Listening to Pelleg playing Ravel was rather like sipping vintage champagne - it combined the coquetishness of Couperin with that of Ravel (Le tombeau de Couperin) observed through Pelleg's own prism of elegance. He succeeded, in his performance of the Pavane pour une infante defunte, in achieving what best is expressed in his own words: ...a magical blend of charm and sweetness of motion with bitter despondency of the occasion (from his book Know the Music). Another great composer indebted to Pelleg for promoting and interpreting his music is Prokofiev. Pelleg was the first to perform in Israel most of his piano sonatas. The most brilliant among them, Nos. 6. 7 and 8 written between 1939 and 1944, Pelleg performed only a short while after they had been composed. His interpretation of Prokofiev might lack, on the one hand, the steely power of tone and the motoric parts may not always be as fast as they should but, on the other hand, his stunningly profound reading of the dramatic message contaiin the sonatas of World War II, was superb. Chamber Musician and Accompanist Frank Pelleg was a chamber music performer par excellence and played with all possible combinations of instrumental ensembles. Many works he played were actually heard in Israel for the first time (such as the Trio and the Violin Sonata by Ravel; the Violoncello Sonata, Op.40 and the Piano Quintet, Op.57 by Dmitri Shostakovich). As an accompanist Pelleg was in the class of Gerald Moore. The Lieder literature was for him the area where his inherent romanticism and his intellect met in splendid celebration. Conductor Frank Pelleg's manifold activities also included conducting. In 1946-1947 a chamber orchestra, The Histadrut (General Federation of Labour) Orchestra, was quite popular. Most of its members were later with the Israel Philharmonic Orchestra. Under Pelleg's baton and direction this chamber group fulfilled the function which the Israel Chamber Ensemble under Gary Bertini continued: that of making a particular point of performing 20th century and Israeli music. I can still remember a concert given by the Histadrut Orchestra conducted by Pelleg early in 1947 in which the group tackled with great success Benjamin Britten's Serenade for tenor, horn and strings, a most demanding piece of music. Composer Frank Pelleg also tried his hand at composition. In the early 1940's he published a concertino for piano which he never bothered to have performed or published. He was much better known for the music he had written for the stage in Israel. Pedagogue From 1941 on Frank Pelleg taught at a studio in Tel Aviv. There were at least 20 students in his class and they met once a fortnight. At every session some pupils played their compositions while the others offered their criticism. Contrary to the manner in which master-classes are conducted today in which the master from his seat on the Olympus, passes his messages of eternal truths through the performing pupil to... the notebooks of the teachers in the audience - Pelleg preferred to let the students express themselves and reduced his part to that of a broker. His authority as pedagogue depended not only on his high professionality as a musician but also on the excellent education and his wide cultural heritage. For his own pleasure and to our delight, Pelleg was familiar - not as an amateur but almost as an expert - with the civilisation of ancient Greece, with world theatre, with all plastic arts, with poetry and literature. Pelleg was a born educator. Amongst his pupils were Yahli Wagman, Alexis Weissenberg, Arie Vardi, Israela Margalit and Naomi Shemer. He organised workshops; lectured both in Israel and in the US where he was offered guest professorship at the Brandeis University. His broadcast talks were extremely popular, as were the three books he published: Know the Music, Talks about Music and an illustrated Encyclopedia of musical instruments. Contribution to the Music Life in Israel In the field of promoting and performing music by Israeli composers Frank Pelleg had no equal. He deliberately put his enormous talent, his professional knowledge in the field of contemporary music as well as his phenomenal gift for learning new pieces, at the service of Israeli music. He did that both for the works which he believed to have true artistic quality and a potential for future success as well as for those about whose musical and artistic values he had serious doubts. He played the piano and the harpsichord - alone, in chamber ensembles, as soloist with orchestra - works that have been composed especially for him by Israeli composers (Artur Gelbrun, Roman Haubenstock-Ramati, Joseph Kaminski, Sergiu Natra, Yitzhak Sadai and Josef Tal) and by others from abroad (Mario Castelnuovo-Tedesco, Luigi Dallapiccola, Roberto Gerhard, Goffredo Petrassi). What is beyond all doubt is that Pelleg's contribution to the fostering of musical culture in Israel played a dominant role in its development and touched upon an extremely rich variety of subjects, notwithstanding the I objective and specific difficulties he may have encountered. Pelleg was the first music director of the Israel Festival, Chairman of the Jury of the first International Harp Contest and Chairman of the Committee of the Pablo Casals Violoncello Competition. In the years 1949-1953 he served as Chairman (he was the first to hold the position) of the Department of Music in the Ministry of Education and Culture and following the appointment hebraized his name from Pollak to Pelleg. He retained this position under four different ministers (of one of them Pelleg told a rather amusing story: when the staff was presented to the minister the latter remarked: 'Ah, so you are the head of the music department. Tell me, do you by chance play any instrument...?') During his years of office he established the Central Library for Music and Dance in Tel Aviv and the Phonogramme Archives of Jewish Music in Jerusalem. Pelleg was also a member of several important public bodies such as the National Council for Culture and Art, the Israel Branch of the America-Israel Cultural Foundation, the Council for Higher Education and of the Public Council of the Radio Orchestra. From 1951 he lived in Haifa and was music director of Haifa Symphony Orchestra. He was also music director of the Beit Rothschild Cultural Centre; lectured at the Technion (Haifa Technical College) and was music director of the Haifa Municipal Theatre for many of whose productions he wrote original scores as well as arrangements of some existing ones. He also wrote scores for radio plays and for films. His initiative and enthusiasm made it possible for Haifa to host the 28th World Music Days - a first event of this sort for Israel. Frank Pelleg (* 24. September 1910 in Prag als Frank Pollak; † 20. Dezember 1968 in Haifa) war ein israelischer Komponist tschechischer Herkunft. Er war zunächst Opernkapellmeister in Prag, emigrierte 1936 nach Palästina und gründete dort ein Institut für Musikforschung. Bis 1952 war er Direktor der Abteilung Musik im Kultusministerium, war Professor an der Musik-Akademie Tel Aviv und Vorsitzender der Internationalen Gesellschaft für Neue Musik in Tel Aviv. Er komponierte Theater- und Filmmusik, war auch ein bedeutender Cembalist und Pianist. Schriften Da et ha-Muzikah, 1946Kelei ha-Neginah, 1965 Frank Pelleg, (Born Frank Pollak, Prague, September 24, 1910 - Haifa, September 20, 1968) a pianist, harpsichordist, composer, musicologist, conductor, philosopher and a teacher - is clearly one of the most illustrious musicians of the 20th century. He studied musicology and philosophy at the Prague University (1929-1931) and was a Prize Winner at the 1939 International Competition in Geneva. Pelleg soon became known as a piano soloist working with such conductors as Otto Klemperer, Antal Dorati, Jascha Horenstein, Paul Paray, Václav Talich, Sergiu Celibidache, Bernardino Molinari, Igor Stravinsky, Sergiu Comissiona, Charles Bruck, Otto Ackermann, Walter Goehr, Nicolai Malko, Otto Selberg. George Singer, Michael Taube, Erich Schmid, Gary Bertini, Mendy Rodan, Heinz Freudenthal, André Jouve and Heinrich Jacob and such performers as Zino Francescatti, Szymon Goldberg, Max Rostal, Peter Rybar, Oeden Partos, Daniel Barenboim, Yona Ettlinger, Joachim Stutschevsky, Jennie Tourel and Alfred Deller. Following his immigration to Israel in 1936, he became a frequent guest of the Israel Philharmonic Orchestra. He toured and played in all the European capitals, USA (including the Boston Symphony Orchestra), South America, and Japan. As a musicologist he published many articles and a book. He was a commentator on the Israeli Radio, taught at the Academy of Music of Tel-Aviv and Haifa Universities and at the Technion in Haifa. He became a resident of Haifa in 1951 by invitation of the city Mayor, and was appointed as the music director of the Haifa Symphony Orchestra. With the establishment of the State of Israel, as a result of his fame as an educator, he was invited to head the Music Department of the Ministry of Education. In this role he directed musical activities in Israel, and organized among others, the yearly Israel Music Festival. In addition to his expertise in the performance of Bach and the Baroque era, he was equally a brilliant performer of the classical period and a champion of new music, particularly of Israeli composers. He was a remarkable, delightful and a charismatic person, an original with a great sense of humor, superb communication ability and had an amazing memory (he could perform most of Mozart's piano concertos on a moment's notice from memory). Always active with relentless enthusiasm, his untimely death at the age of 57 was a sad event to all who knew him and the entire musical world. The Jerusalem Symphony Orchestra, IBA was founded as the Palestine Broadcasting Service Orchestra in the late 1930s. In 1948 it became the national radio orchestra and was known as the “Kol Israel Orchestra”. In the 1970s, the orchestra was expanded into the Jerusalem Symphony Orchestra, Israel Broadcasting Authority. As a radio symphony orchestra, the majority of the concerts which the orchestra holds at its resident hall – the Henry Crown Auditorium - are being recorded and broadcasted over IBA’s Kol Ha’musika station. The current Music Director of the JSO is Maestro Frédéric Chaslin. The orchestra has had seven musical directors hitherto: Mendi Rodan, Lukas Foss, Gary Bertini, Lawrence Foster and David Shallon. At the end of the 2009-2010 Season Maestro Leon Botstein stepped down after seven years of service as Music Director. Maestro Botstein presently continues his work with the JSO as a Laureate Conductor. The orchestra maintains a varied repertoire which ranges from the Baroque and the Classical periods through the Romantic period, extending to contemporary composers, many of whom have received their Israeli premières with the JSO. The orchestra was the first Israeli Orchestra to perform the works of renowned composers such as Sofia Gubaidolina, Henry Dutilleux, Alfred Schnittke and others. Since its inception the Jerusalem Symphony Orchestra has consistently encouraged Israeli composers by commissioning and performing their works. Over the decades, some of the music world’s legendary musicians have performed with the JSO, with memorable performances by Igor Stravinsky, Otto Klemperer, Arthur Rubinstein, Yehudi Menuhin, Mstislav Rostropovich, Isaac Stern, Pablo Casals, Igor Markevitch, Henryk Szeryng, Yo Yo Ma, Pierre Boulez, Neville Mariner, Christa Ludwig, Tabea Zimmermann, Martha Argerich, Radu Lupu, Jose Carreras, Jean Pierre Rampal, Maxim Vengerov and Yefim Bronfman. Among the most notable premières performed by the orchestra: the opera David by Milhaud (1954); the cantata Abraham and Isaac by Stravinsky, conducted by Robert Craft (1964); and The Seven Gates of Jerusalem by Krzysztof Penderecki conducted by Maestro Lorin Maazel, which was commissioned as the conclusion for the Jerusalem 3000 celebrations (1999). In the past, the orchestra took particular pride in the Liturgical Festival, founded by Maestro Gary Bertini, which presented music of worship from the three major religions. The festival has now been incorporated into the concert season as a series of vocal and liturgical concerts. The orchestra performs annually at the Israel Festival. In 2008 the JSO presented the Israeli première of Das Klagende Lied (Mahler) with conductor Uri Segal and the Warsaw Philharmonic Choir. The JSO often conducts tours in Europe and in the United States, and has played in some of the most prestigious venues. Recently, the orchestra toured South America with Maestro Yeruham Scharovsky. In 2008 the JSO led a US tour, performing a special program of composers from the American Diaspora. In June 2009 the orchestra performed the oratorio Elijah (Mendelssohn) at the closing event of the annual Bachfest in Leipzig. In May 2001 the orchestra toured in Europe and has played in prestigious venues such as the Musikvereine in Vienna, the Philharmonie in Cologne and major halls in Düsseldorf, Frankfurt and Lucerne. In 2003 the JSO-IBA played at Carnegie Hall in New-York during an especially successful tour in Spain and the United States. The orchestra is supported by the Israeli Broadcasting Authority, the Ministry of Culture and Sport and the Jerusalem City municipality. ebay3336 Condition: Good condition . Used. Somewhat stained and worn. ( Pls look at scan for accurate AS IS images )

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