JEWISH Violinist IDA HAENDEL Hand SP SIGNED REAL PHOTO Violin AUTOGRAPH Polish

Description: DESCRIPTION : Up for auction is an ORIGINAL hand signed AUTOGRAPH SENTIMENT - AUTOGRAMME ( With a black pen ) of the renowned beloved deceased JEWISH VIOLINIST of POLISH descent , The CHILD PROGIDY - IDA HAENDEL . The SP SIGNED PHOTO is an ORIGINAL REAL PHOTO ( Silver gelatine ) . The INSCRIPTION - DEDICATION is in English . The size of ORIGINAL REAL PHOTO is around 6 x 4 " .Very good condition ( Pls look at scan for accurate AS IS images ) Authenticity guaranteed. Will be sent inside a protective rigid packaging . PAYMENTS : Payment method accepted : Paypal . SHIPPMENT :SHIPP worldwide via registered airmail is $ 25 . Will be sent inside a protective packaging. Handling around 5-10 days after payment. Ida Haendel, CBE (15 December 1928 – 1 July 2020)[a][2][3] was a Polish-British-Canadian violinist. Haendel was a child prodigy, her career spanning over seven decades. She also became an influential teacher. Contents 1 Early career 2 Performing career 3 Recordings 4 Teaching 5 Death 6 Honours and awards 7 Bibliography 8 Television 9 Notes 10 References 11 External links Early career[edit] Born in 1928 to a Polish Jewish family in Chełm, Poland, her talents were evident when she picked up her sister's violin at the age of three. Major competition wins paved the way for success. Performing the Beethoven Violin Concerto, she won the Warsaw Conservatory's[4] Gold Medal and the first Huberman Prize in 1933, at 5 years old. At the age of seven she competed against towering virtuosos such as David Oistrakh and Ginette Neveu to become a laureate of the first Henryk Wieniawski Violin Competition in 1935.[5] These accolades enabled her to study with the esteemed pedagogues Carl Flesch in London and George Enescu in Paris. During World War II she played in factories and for British and American troops and performed in Myra Hess's National Gallery concerts.[6] In 1937 her London debut under the baton of Sir Henry Wood brought her worldwide critical acclaim, while the conductor linked her playing to his memories of Eugène Ysa e.[7] Her lifelong association with the Proms resulted in 68 appearances.[8] Performing career[edit] After performing the Sibelius concerto in Helsinki in 1949, she received a letter from the composer. "You played it masterfully in every respect," Sibelius wrote, adding: "I congratulate myself that my concerto has found an interpreter of your rare standard."[9] Haendel made annual tours of Europe, and also appeared regularly in South America and Asia. Living in Montreal, Canada from 1952 to 1989, her collaborations with Canadian orchestras made her a key celebrity of Canadian musical life. As a British subject resident in Canada, she acquired Canadian citizenship. Performing with the London Philharmonic in 1973, she was the first Western soloist invited to China following the Cultural Revolution.[10] Although she worked particularly with Sergiu Celibidache, she was also associated with Sir Thomas Beecham, Sir Adrian Boult, Sir Eugene Goossens, Sir Malcolm Sargent, Charles Munch, Otto Klemperer, Sir Georg Solti, Vladimir Ashkenazy, Bernard Haitink, Rafael Kubelík, Lorin Maazel, Zubin Mehta and Simon Rattle, with whom she recorded the Elgar and Sibelius violin concertos. In 1993, she made her concert début with the Berliner Philharmoniker. In 2006 she performed for Pope Benedict XVI at the former Nazi concentration camp Auschwitz-Birkenau.[11] Later engagements include a tribute concert at London's National Gallery in honour of Dame Myra Hess's War Memorial Concerts[12] and an appearance at the Sagra Musicale Malatestiana Festival in 2010.[13] Haendel's violin was a Stradivarius of 1699.[6] Haendel had lived in Miami, Florida, for many years and was actively involved in the Miami International Piano Festival.[14] Recordings[edit] Haendel's major label recordings have earned critical praise. The Sibelius Society awarded her the Sibelius Medal in 1982. She said she always had a passion for German music.[15] Her recording career began on 10 September 1940 for Decca, initially of short solo pieces and chamber works. In April 1945, she recorded both the Tchaikovsky and Mendelssohn concertos followed in 1947 by the Dvořák concerto. Her recording career spanned nearly 70 years for major labels including EMI and Harmonia Mundi. In 1948–49 she recorded Beethoven's Violin Concerto, with Rafael Kubelik conducting the Philharmonia Orchestra. In 2014, Supraphon issued a 5-CD set of her live and studio recordings made in Prague between 1957 and 1965. Other acclaimed recordings are her renditions of the Brahms Violin Concerto (including one with the London Symphony Orchestra conducted by Sergiu Celibidache, his last studio recording, and Tchaikovsky's with the National Symphony Orchestra conducted by Basil Cameron.[16] Geoffrey Norris, music critic for The Telegraph, praised her 1993 recording of the Sibelius concerto, later released by Testament Records, as "simply mind-blowing."[9] Among her later recordings were the Sonatas and partitas for solo violin, BWV1001-1006 by J. S. Bach, recorded at Studio 1 Abbey Road, London, in 1995 recorded in analogue and issued by Testament.[17] She was equally passionate about the music of the 20th century, including Béla Bartók, Benjamin Britten and William Walton. Among her premiere performances were Luigi Dallapiccola's Tartiniana Seconda, and Allan Pettersson's Violin Concerto No. 2, which was dedicated to her. Paying tribute to her teacher George Enescu, her Decca recording of his Violin Sonata with Vladimir Ashkenazy in 2000 earned her a Diapason d'Or.[11] Teaching[edit] Haendel's emotive performances have inspired a generation of new violinists, including Anne-Sophie Mutter, David Garrett and Maxim Vengerov.[18][19] In August 2012 she was honorary artist at the Cambridge International String Festival. She was a regular adjudicator for violin competitions, including the Sibelius, the Carl Flesch, the Benjamin Britten, and the International Violin Competition. She returned to her native Poland to judge the Henryk Wieniawski Violin Competition in Poznań on a number of occasions, and was honorary chairwoman in 2011.[20][21] Death[edit] Haendel died at a nursing home in Pembroke Park, Florida on 1 July 2020, aged 91. According to her nephew, she had been suffering from kidney cancer at the time of her death.[22][23] Honours and awards[edit] In 1991 she was appointed Commander of the Order of the British Empire (CBE) by Queen Elizabeth II.[24] She received honorary doctorates from the Royal College of Music, London, in 2000 and from McGill University in 2006.[25][11] Bibliography[edit] Haendel published her autobiography, Woman With Violin, in 1970 (Gollancz; ISBN 978-0-575-00473-3). Television[edit] Her life has been the subject of several television documentaries, including Ida Haendel: A Voyage of Music (1988), I Am The Violin (2004), and Ida Haendel: This Is My Heritage (2011). In June 2009, she appeared on a Channel 4 television programme, The World's Greatest Musical Prodigies, in which she advised the then 16-year-old British composer Alex Prior on which children to choose to play his composition.[26][27] **** Ida Haendel obituary Polish-born violinist renowned for an intense lyricism combined with classical rigour Ida Haendel in Boston, 2002. Her security in octaves and perfectly judged use of the expressive slide, the portamento, were features of a highly characteristic sound. Photograph: Boston Globe/Getty Images Robert White Wed 1 Jul 2020 18.19 BST 9 The Polish-born violinist Ida Haendel, who has died aged 96, enthralled audiences around the world with a combination of classical rigour and romantic warmth – the mix of “ice and fire … simply mind-blowing” that one reviewer found in a recording of the Sibelius concerto. It was taken from her penultimate Promenade concert at the Royal Albert Hall, London, in 1993; the last of her 68 Proms came the following year, with the concerto by Britten. When Haendel started at the Proms, with the Beethoven concerto (1937) and the Brahms (1938), the concerts were still held at the Queen’s Hall, off Regent Street, and their conductor, Henry Wood, was one of her early champions. She went on to give Proms performances of works from Mozart to Stravinsky, with televised accounts of Shostakovich’s First Concerto (1976) and, in the season’s last night, Saint-Saëns’s Third (1989). In Haendel’s recording of the Britten (1977), she restored octaves added by its first performer, Antonio Brosa, but dropped by the composer in a later revision: Haendel’s security in octaves and perfectly judged use of the expressive slide, the portamento, were features of a highly characteristic sound that combined great accuracy with intense lyricism. Coupled with the Britten was the concerto by Walton, who praised the recording. Endorsement from another composer, Sibelius, came after a 1948 Finnish radio broadcast of his concerto: “You played it masterfully in every respect ... I congratulate myself that my concerto has found an interpreter of your rare standard.” Ida Haendel performs Saint-Saens’s Third at the last night of the Proms, 1989 The Testament label reissued her early concerto recordings, and set the Sibelius from 1993 alongside a concert account of the Elgar, both with the City of Birmingham Symphony Orchestra under Simon Rattle. The Hänssler label released six performances from the 1960s on CD, including the Dvořák, Khachaturian and Bartók Second, with the Stuttgart Radio Symphony Orchestra. While her playing was quite unsentimental, she knew exactly how to make it tell. A native of Chełm, in the centre of interwar Poland, Haendel told her story in her autobiography Woman With Violin (1970). At the age of three and a half she amazed her mother, Fela, by reproducing a song on the violin. Her portrait-painter father, Nathan Hendel, denied the chance to become a violinist himself by his rabbi father, invested all his energies and hopes in her progress. Ida Haendel as a girl. At the age of three and a half she amazed her mother by reproducing a song on the violin. Photograph: Alamy Following their move to Warsaw to further Ida’s studies, her father discovered that the renowned Polish violinist Bronisław Huberman was to be at a reception. The little girl started playing while Huberman was absorbed in conversation; when he heard her, he broke off and said: “I have in my time heard a great many talents, but this is the greatest of them all.” The visiting Joseph Szigeti responded similarly, and agreed to teach her free of charge – provided she travelled to Paris with her father first. When they arrived, Szigeti was leaving for a tour of the US, but they found a teacher in Carl Flesch, whom they eventually followed to London. Haendel’s debut there came in a Queen’s Hall recital in December 1936. To satisfy the London County council that she would be 14 for a Sunday performance of the Brahms concerto with Wood in January 1937, her father came up with a certificate showing a birthdate in 1923, according to a profile-writer for the Strad magazine. The impresario Harold Holt advertised Haendel’s “phenomenal success” when Wood asked her back that March for the Beethoven, which was then programmed for the Proms the following September. Haendel greatly admired the stars of the silver screen and emulated many of them in trimming a few years off her age in her autobiography. But even with a birth year of 1923 rather than 1928, her early achievement was astonishing: she won the Huberman prize for young Polish performers with the Beethoven in 1933, and came seventh in the inaugural Wieniawski competition in Warsaw in 1935. First and second places went to Ginette Neveu and David Oistrakh; the death of Neveu in an aeroplane crash in 1949 left Haendel as the sole woman among the great violin soloists in the years following the second world war, and a role model to many. Any later mention of her age saw an affronted Haendel gleefully blaming the LCC and berating enquirers with a certificate giving 1928 as the year of her birth. In much the same spirit, she embellished her family name so that it shared a spelling with that of the Saxon composer born Georg Friedrich Haendel. As she was quick to point out, they could have been related. During the second world war, she performed in factories, in Myra Hess’s National Gallery concerts and for British and US troops. From 1940 to 1947, she recorded a wide range of works for violin and piano for Decca, some of which were reissued in 2000 as a companion to a new recording of works by Szymanowski, Bartók and George Enescu – his Third Sonata. Ida Haendel with her father, Nathan Hendel, in 1938, by which time they were living in London. Photograph: Central Press/Getty Images Haendel’s initial concerto recordings – of Bruch’s First (1948) and the Beethoven (1951) – were made possible by Walter Legge, the medium’s great impresario, who brought her together with Rafael Kubelík and the Philharmonia Orchestra. Kubelík, thoughtful and undemonstrative, was a conductor to whom she warmed; with Sergiu Celibidache she had a closer and more tempestuous friendship, which resulted in an acclaimed recording of the Brahms concerto (1955). The Brahms and Sibelius became her signature works and she was dismissive of thoughtless performing habits such as slowing up in the final bars of the former. When, with the Bournemouth Symphony Orchestra, the conductor Paavo Berglund teased her by doing so very pointedly, she advanced towards the podium, wagging her finger reproachfully. Before the war she had appeared in the Netherlands and France: as soon as it was over, she was keen to tour further afield, including the US, even if travel then had to be by sea. She enjoyed a notable success in the Soviet Union (1966), went with the London Philharmonic Orchestra to the first Hong Kong arts festival (1973), and with the BBC Symphony Orchestra to China (1981), the first western soloist to appear there after the Cultural Revolution. In 1952 she moved to Montreal, and in 1979 to Miami, but continued to use London as a base, and in 1991 was appointed CBE. Her utter dependability in the standard repertory overshadowed her readiness to explore less familiar works, though in one European Broadcasting Union concert she coupled two relatively neglected concertos, the Schumann and the Szymanowski Second. The composer Sibelius wrote to Ida Haendel saying, ‘I congratulate myself that my concerto has found an interpreter of your rare standard.’ She also played works by Wieniawski, Glazunov, Reger, Bloch, Prokofiev, Vaughan Williams, Allan Pettersson (his long, uncompromising Second Concerto, dedicated to her, which she premiered in 1980 and recorded), Alfredo Casella and Luigi Dallapiccola (his Tartiniana Seconda, which she premiered in 1957). The one thing that her career lacked was a sustained series of new recordings in the 1960s and 70s, leaving her feeling that she never had the recognition she deserved. The Dutch director Paul Cohen’s documentary I Am the Violin (2004) pointed to other preoccupations that lasted all her life: “I was never a child!” she declares; when visited by her elder sister Alice, her piano accompanist on some early recordings, she noted ruefully that if she had had Alice’s looks, she “could have conquered the world”. None of this was of the least concern to concert audiences, for whom the sight of her slight figure bustling purposefully to the front of the orchestra promised a display of commitment none the less intense for being carefully controlled. Christine Jezior’s Polish TV documentary Ida Haendel: This Is My Heritage, 2011, which starts from the invitation to return to her birthplace of Chełm to give a concert in 2006 As she assured an aspiring young soloist in Christine Jezior’s Polish TV documentary Ida Haendel: This Is My Heritage (2011), the point of the exercise was to make people fall off their chairs. She adored the whole business of being on stage and when presented with a post-concerto bouquet for the thousandth time displayed the wide-eyed gratitude that she might have as a girl. Playing concertos was her overriding concern, and in recitals a limited range of sonatas tended to recur – those by Mozart in B flat, Beethoven in C minor, Brahms in D minor and the Franck – along with Chausson’s Poème and Bach’s Chaconne; her recording of Bach’s complete works for unaccompanied violin was released in 1996. It took till 2000, and again in 2001, for her to appear in recitals at the Wigmore Hall in London; in 2006 she returned to Chełm for a concert, captured on a CD; and in 2010 she gave a National Gallery recital to commemorate the wartime musicmaking there. The release by Sony of Chaconne (2013), a recital recorded in 2008, saw her back in London for a week of activities including some playing. A force of nature throughout, as a girl she could not wait to get started; many decades later, she had no wish to stop. Haendel is survived by two nephews. Ida Haendel (Hendel), violinist, born 15 December 1923; died 1 July 2020 **** Ida Haendel, Polish-born musician known as ‘grande dame of the violin,’ dies at 96 By Harrison Smith July 2, 2020 at 9:24 p.m. EDT Violinist Ida Haendel at her home in Miami Beach in 2010. (Wilfredo Lee/AP) Comment Gift Article Share Ida Haendel, a Polish-born violin prodigy who became a sought-after soloist after moving to Britain, where she drew acclaim for her interpretations of concertos by Jean Sibelius and William Walton, died July 1 at an assisted-living center in Pembroke Park, Fla. She was 96. Her nephew Richard Grunberg said she had been hospitalized in March with respiratory problems, though he did not believe she had tested positive for the novel She was later treated for kidney cancer. In Ms. Haendel’s telling, she was just 3 when she began performing, picking up her older sister’s violin and amazing her mother by reproducing a song that she had just heard. She went on to perform professionally for some eight decades, playing morale-boosting concerts in London during World War II before touring the world and acquiring a reputation as “the grand dame of the violin.” Ms. Haendel during a 1958 visit to Prague. (Leos Nebor/CTK/AP) “When she plays the Beethoven concerto, you can imagine Beethoven wanted it that way,” Zubin Mehta, the former conductor of the New York and Los Angeles philharmonics, told the Associated Press in 2010. “She has been a violinist for violinists.” Ms. Haendel epitomized what Washington Post arts critic Philip Kennicott once called “a gracious yet wild style of playing,” popular in the early 20th century but now “extremely rare.” Trained by Romanian musician George Enescu and Hungarian violinist Carl Flesch, she stood completely still during recitals while dazzling audiences with works by Beethoven, Brahms, Walton and Sibelius, whose Violin Concerto became a signature piece. After performing the concerto in Helsinki in 1949, she received a letter from the composer. “You played it masterfully in every respect,” Sibelius wrote, adding: “I congratulate myself that my concerto has found an interpreter of your rare standard.” Ms. Haendel in 2010. (Wilfredo Lee/AP) Another admirer of her interpretation, Telegraph music critic Geoffrey Norris, wrote that she played the Sibelius concerto with “ice and fire,” resulting in a 1993 recording, later released by Testament Records, that was “simply mind-blowing.” Critics sometimes noted that Ms. Haendel’s exuberant performance style was matched by the flamboyant outfits she wore to recitals, including an electric-magenta sheath dress, turquoise pantaloons and snakeskin vest that complemented her snakeskin purse and five-inch snakeskin heels. “As long as you are onstage, you still have to present a nice view,” she once told the South Florida Sun-Sentinel. Ms. Haendel was a rare female fiddler when she started out, and for much of her career remained one of the few women playing marquee concert halls. She performed at Prince Charles’s 40th birthday celebration, premiered a violin concerto by Allan Pettersson, was among the first soloists to play with the Israel Philharmonic Orchestra in Tel Aviv and maintained a long association with the Proms, an annual summer concert series that has become one of London’s most beloved musical institutions. After making her Proms debut in 1937, she appeared another 67 times at the festival, notably playing Brahms’s Violin Concerto in 1938 under conductor Henry Wood. “I was using pure instinct, and that is exactly what you need to play his works,” she later told the Strad, a British music magazine. “It’s something you are born with. If you don’t feel it in your soul, on an emotional and intellectual level, then it can’t be taught. You can’t tell anyone how to do it if they don’t have the right capacity and instinct.” Ms. Haendel credited her natural talent to reincarnation, saying that she must have played the violin in an earlier life. But her upbringing in a musical household surely helped as well: Her portrait-painter father played the cello and violin, while her sister played the piano and her mother sang. The family was living in Chelm, a city in eastern Poland, when Ida was born on Dec. 15. According to Ms. Haendel’s older sister — and a birth certificate that her father presented to satisfy an age requirement for an early performance in London — she was born in 1923. Ms. Haendel later displayed a certificate giving 1928 as her birth year. “She once showed me three different birth certificates,” her friend Norman Lebrecht, creator of the classical music blog Slipped Disc, wrote in an obituary on Wednesday. “They were not very accurate in Poland, she said.” Ms. Haendel was born with the last name Hendel but later embellished the spelling as a tribute to the composer George Frideric Handel (sometimes spelled Haendel), whom she claimed was a relative. The family was Jewish, and because of Ms. Haendel’s musical training, they moved to England on the eve of World War II, escaping the Holocaust. She later traveled to the Auschwitz concentration camp complex to perform Handel’s “Dettingen Te Deum” for Pope Benedict XVI, during his 2006 tour through Poland. “Imagine a Jewish woman playing where it all happened,” she told the AP, “playing in front of the Holy Father.” After playing London concerts organized by pianist Myra Hess during the war, Ms. Haendel made her American debut at New York’s Carnegie Hall in 1946. She moved to Canada six years later and, beginning in the late 1970s, split her time between Montreal and Miami, where her father moved to be near his friend Isaac Bashevis Singer, the Nobel Prize-winning novelist. Ms. Haendel performed with leading conductors including Mehta, Sergiu Celibidache (her preference for Brahms) and Otto Klemperer (her preference for Beethoven), once explaining, “You cannot play with inspiration when the conductor is an imbecile.” She recorded for labels including Decca, which she used as the name for several of her dogs, and also led master classes and private lessons, including for German violinist David Garrett. She never married — “it was all about the music,” her nephew said — and has no immediate surviving family. Ms. Haendel was named a commander in the Order of the British Empire in 1991 and continued performing until just a few years ago. She said that she was still honing her interpretations of the concertos she had played for decades, trying to reach “that sublime quality” intended by Beethoven, Brahms or whoever else was on the program. “I am not there to please the audience,” she told Lebrecht in 2000. “I am not an entertainer. I am there to serve the composer.” ebay5772 folder 203

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