DESCRIPTION : Up for auction is an extremely rare , 55 years old, CONCERT POSTER advertising the upcoming VIOLIN performance of the renowned JEWISH VIOLINIST of POLISH descent - IDA HAENDEL. The VIOLIN CONCERT took place in 1969 in ISRAEL. HAENDEL was a guest of the IPO. She played pieces by MOZART , MAHLER , and FRANK MARTIN ( 1st IPO Performance ) . The Jewish conductor of POLISH descent  was the somewhat forgotten and neglected conductor and composer PAUL KLECKI ( Also KLETZKI ) . The acclaimed Israeli SOPRANO - NETANIA DAVRATH also took part in this concert.  Size around  27 x 19 " . Hebrew & English.  Very good condition . ( Pls look at scan for accurate AS IS images )  Will be sent inside a protective rigid sealed tube  .
 
PAYMENTS : Payment method accepted : Paypal & All credit cards.

SHIPPMENT :SHIPP worldwide via  registered airmail is $ 35  . Will be sent inside a protective rigid sealed tube   . Will be sent  around 10-15 days after payment .  

Paul Kletzki (born Paweł Klecki on 21 March 1900 in Łódź, Poland – died on 5 March 1973 in Liverpool, United Kingdom) was a Polish conductor and composer.[1] Contents 1 Biography 2 Work 3 References 4 External links Biography[edit] Paul Kletzki joined the Łódź Philharmonic at the age of fifteen as a violonist.[1] After serving in the First World War, he studied philosophy at the University of Warsaw before moving to Berlin in 1921 to continue his studies. During the 1920s his compositions were championed by Arturo Toscanini; and Wilhelm Furtwängler, who permitted Kletzki to conduct the Berlin Philharmonic Orchestra in 1925. Because he was Jewish, he left Nazi Germany in 1933 and moved to Milan, Italy, where he taught composition.[1] Due to the anti-semitism of the Italian Fascist regime he moved to the Soviet Union in 1936. During the Holocaust a number of Kletzki's family were murdered by the Nazis including his parents and his sister. In 1946, he participated to the reopening of La Scala in Milan.[1] In 1949, he became a Swiss citizen.[1] In the post-war years Kletzki was a renowned conductor, especially of Gustav Mahler. In 1954 he was appointed chief conductor of the Liverpool Philharmonic Orchestra. In 1955, he conducted for the first recordings of the Israel Philharmonic Orchestra.[1] Between 1958 and 1961 he was principal conductor of the Dallas Symphony Orchestra. From 1967 until 1970 he was the General Music Director of the Orchestre de la Suisse Romande.[1] He died on 5 March 1973 at 72 years old after collapsing during a rehearsal at the Liverpool Philharmonic Orchestra.[1] Work[edit] Most of Paul Kletzki's compositions were thought to be destroyed during World War II.[1] However, during excavations in Milan in 1965, a chest was found containing the scores he had left in the basement of the Hotel Metropole in 1941. Kletzki, fearing his scores had turned to dust did not open the chest. Upon his death in 1973 his wife, Yvonne, opened the chest finding his scores well-preserved.[2] Kletzki's most notable work is his Third Symphony, completed in October 1939, with the subtitle 'In memoriam'. It is an elegiac work interpreted as a moving monument to the victims of Nazism.[3] Other works include three string quartets,[4] a Sinfonietta for strings, a Fantasy for piano, and a sonata for violin and piano. From 1942 onwards Kletzki wrote no more compositions; he argued that Nazism had destroyed his spirit and his will to compose. List of Compositions by Paul Kletzki Genre Opus Date Title Scoring Notes Orchestral 1921 Ouverture to A Florentine Tragedy by Oscar Wilde Orchestra Won first prize in a composition competition sponsored by the Warsaw Philharmonic[5], lost. Chamber 1 1923 String Quartet in A minor String Quartet Vocal 2 Four Songs Voice and Piano Vocal 3 Three Night Songs Voice and Piano Piano 4 1923 Three Preludes Piano Orchestral 7 1923 Sinfonietta String Orchestra Piano 9 1924 Fantasie in C minor Piano Chamber 12 1925 Violin Sonata in D major Violin and Piano Chamber 13 1925 String Quartet No. 2 in C minor String Quartet Orchestral 14 1926 Vorspiel zu einer Tragödie Orchestra Chamber 16 1924 Trio in D major Piano, Violin and Cello Orchestral 17 1927 Symphony No. 1 Orchestra Orchestral 18 1928 Symphony No. 2 Baritone and Orchestra 4th movement setting of a poem by Karl Stamm "Sleep, Sleep, O World" Concertante 19 1928 Violin Concerto in G Violin and Orchestra Orchestral 20 1929 Orchestervariationen Orchestra Chamber 21 1930 Introduction and Rondo Violin and Piano Concertante 22 1930 Piano Concerto in D minor Piano and Orchestra Published in 2 piano 4-hand version, orchestrated by John Norine Jr. Chamber 23 1931 String Quartet No. 3 in D minor String Quartet Orchestral 24 1931 Capriccio Large Orchestra Orchestral 25 1932 Konzertmusik Solo winds, strings and timpani Violin 26 1933 Sonata for Violin Solo Solo Violin Chamber 28 1932 Octet Orchestral 30 1938 Lyric Suite Orchestra Orchestral 31 1939 Symphony No. 3 ("In memoriam") Orchestra Chamber 32 Trio Flute, violin and viola Orchestral 33 1940 Variations sur un thème de Émile Jaques-Dalcroze String Orchestra Concertante 34 1940 Flute Concertino Flute and Orchestra Piano 1940/41 Three Unpublished Piano Pieces Piano Chamber 1943 String Quartet No. 4 [6] String Quartet Rediscovered, premiered by Merel String Quartet[7] **** Paul Kletzki was a highly respected conductor in the middle years of the 1900s. He was a composition student at the Warsaw Conservatory and the Berlin Academy. He had taken violin as a boy and continued his studies on that instrument in Warsaw with Emil Mlynarski. His first professional job was as a member of the Lodz Philharmonic Orchestra. Meanwhile, he was composing. When he debuted as a conductor in Berlin in 1923 it was in a concert of his own compositions. He settled in Berlin, where he conducted and composed actively. He left Germany in 1933 when he went to Venice and Milan and received an invitation to teach composition and orchestra at the Milan Scola Superiore di Musica. From 1937 to 1938 he was the musical director of the Kharkov Philharmonic Orchestra in the U.S.S.R. At the end of that term he left for Switzerland, where he remained. He took Swiss citizenship in 1947. Kletzki conducted widely after the War. He came into demand for his qualities of lucidity and power, together with fresh conceptions of the music. He was particularly in demand as a guest conductor in South and Central America, and had a close association with the Israel Philharmonic. He was music director of the Dallas Symphony Orchestra (1958 - 1962), the Bern Symphony Orchestra (1964 - 1966), and the Orchestra of Suisse Romande (1968 - 1970). He had received considerable praise for his compositions, particularly before World War II, when he had more time to write. However, most of his output was lost in the destruction of World War II. ****   PAUL KLETZKI   (1900 - 1973) Born in 1900 in Łódž as Pavel Klecki, Paul Kletzki (the Germanicized form of his name) became famous after the Second World War as a distinguished conductor. From about 1921 to about 1942, however, Kletzki was primarily active as a composer—although he did conduct his own music—and, within this approximately twenty-year period, created a remarkable series of works of just over thirty opus numbers. After about 1942 he fell silent as a composer, somewhat like Sibelius, and in Kletzki’s case, as in Sibelius’s, it is difficult to ascertain the reasons for his silence. He later explained that his post-war cessation from composition emanated from “The shock of all that Hitlerism meant [which] destroyed also in me the spirit and will to compose”. But there may have been other contributing factors. Perhaps he perceived a “disconnect” between his compositional development and the larger evolution of art-music after the war. It is noteworthy that he did little to advertise or conduct his own music after 1942; indeed, he acted as if his music had totally ceased to exist, although major libraries had preserved the published scores of at least some of his works. Coming from an upper middle-class Polish-Jewish family in Łódž, at nine, Kletzki received his first lessons in violin from a Madame Schindler-Suess, a student of Joseph Joachim. An infant prodigy as a violinist, in 1915 he became the youngest member of the Łódž symphony orchestra. In 1919 he left Łódž to study philosophy at the University of Warsaw, and, at the same time became a composition student of Jules de Wertheim (Julius von Wertheim) and joined the conducting class of Emil Mlynarski. From 1920 to 1921 Kletzki fought in the war between Poland and the Soviets. During this conflict he was almost killed by a bullet which grazed his skull, while many of the soldiers in his unit perished. Resuming his studies in Warsaw, in 1921 he won first prize in a composition competition sponsored by the Warsaw Philharmonic for his Ouverture to the Florentine Tragedy by Oscar Wilde. With the proceeds from this award he went to Berlin to complete his studies at the Hochschule für Musik, where he studied composition with Friedrich Koch. By 1925 Kletzki had begun conducting his own music; between 1925 and 1933 he conducted his orchestral pieces with the Berlin Philharmonic, the Berlin Radio Symphony, and the orchestras of Bremen, Dresden, Essen, Dortmund, Duisberg, Lübeck, Kiel, Heidelberg, and Gothenburg in Sweden. From 1925 he began teaching at the Stern Conservatory in Berlin, and from 1929 to 1930 he served on the council of the Bund deutscher Komponisten. ***** Paul Kletzki (Paweł Klecki) 21 Mars 1900, Lodz, Pologne - 5 Mars 1973, Liverpool, Royaume-Uni Chef d'orchestre et Compositeur Polonais, naturalisé Suisse Il intègre l'Orchestre de la Philharmonie de Lodz, à l'âge de quinze ans. Il se rend ensuite à Varsovie, où il étudie le violon avec Emil Mlynarski au Conservatoire National. Là, il suit également des cours de philosophie. Il rejoint Berlin en 1921 pour parachever sa formation. Ses talents de compositeur vont être encouragés et soutenus par Toscanini, puis par Furtwängler qui lui permettra même de diriger le fameux Orchestre philharmonique de Berlin en 1925. Mais la politique antisémite des dirigeants nationaux-socialistes allemands le contraindront à quitter Berlin. Débute pour lui une période d'émigrations successives : en Italie, il enseigne la composition à Milan, mais le régime mussolinien d'obédience fasciste provoque, à nouveau, son départ vers l'Union soviétique. Là aussi, il ne peut y vivre sans crainte, compte tenu de la politique de Grande Terreur déclenchée par Staline dès 1936. Kletzki s'installera, en définitive, en Suisse. Paul Kletzki possédait de réels dons de compositeur : son émouvante Troisième Symphonie « In Memoriam », achevée en octobre 1939, en est un parfait exemple. Cette œuvre rend hommage aux victimes de l'Holocauste. Kletzki, comme nombre de ses compatriotes, a perdu une grande partie de sa famille dans les camps d'extermination nazis. À partir de 1942, il cesse de composer, arguant que le nazisme avait annihilé ses facultés spirituelles et son pouvoir créatif. Après-guerre, il atteindra, toutefois, la renommée grâce à ses capacités de chef d'orchestre. Il dirigera l'Orchestre symphonique de Dallas entre 1958 et 1961, puis l'Orchestre de la Suisse romande, fondé par Ansermet, de 1967 à 1970. ****LIVERPOOL, England, March 6—Paul Kletzki, the Polish‐born conductor, died in a hospital here last night after collapsing during a rehearsal with the Liverpool Philharmonic Orchestra for a concert that was to have been played tonight. He was 72 years old. Mr. Kletzki, who was music director of the Dallas Symphony from 1958 to 1961 and of the Orchestre Suisse Romande of Switzerland from 1967 to 1970, was best known in this country for his recordings. He made his American debut in 1958 with the Cincinnati Symphony and appeared in New York for the first time that year with the Philadelphia Orchestra. Although he made guest appearances with several other American orchestras, the last of which were in Houston, Mineapolis and Detroit last November and December, Mr. Kletzki's only concerts in New York following his debut were a pair with the American Symphony Orchestra in 1967. In the summer of 1965, he had appeared with the New Philharmonia Orchestra of London in a Long Island Festival concert at C. W. Post College in Brookville. Born in Lodz, Poland, on March 21, 1900, Mr. Kletzki began his musical career in 1914 as a violinist with the Lodz Philharmonic. From 1921 to 1933, he lived in Berlin where he studied, composed music and began to conduct. From 1935 to 1938, he taught composition in Milan. Most of his compositions were destroyed during World War II. When the La Scala Opera of Milan was reopened in 1946, Mr. Kletzki participated at the invitation of Arturo Toscanini. Thanks for reading The Times. Subscribe to The Times In 1949, Mr. Kletzki became a citizen of Switzerland but continued to travel widely as a conductor. He worked a great deal with the Israel Philharmonic Orchestra, and the first recordings of it released here (in 1955) were conducted by him. In May, 1955, he led the orchestra in a concert played at the Vatican to express the gratitude of. Israel to Pope Pius XII for the many Jewish lives he had helped save during World War II. ****Ida Haendel, CBE (15 December 1923 – 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, 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. 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 96. 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 9780575004733). 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] Notes[edit] ^ The Strad magazine dated March 1937 gives her birth date as 15 January 1923; her precise age is in doubt. It has been reported that, in consultation with her father, the English impresario Harold Holt adjusted her birth year from 1928 to 1923 to make it appear she was five years older than she really was. This was done in order to circumvent Covent Garden's rule prohibiting anyone aged under 14 appearing on stage.[1] The incorrect birth year of 1923 has since appeared in many reference works. ****  Ida Haendel, Violin Virtuoso With ‘Fire and Ice’ in Her Playing, Dies A link to the early-20th-century school of violin playing, Ms. Haendel was a noted champion of the concertos of Britten, Walton and Sibelius. Ida Haendel in performance at Symphony Hall in Boston in 2002. She was one of the great violin virtuosi of the mid-20th century. Credit... David L Ryan/The Boston Globe via Getty Images By Corinna da Fonseca-Wollheim Published July 8, 2020 Updated July 9, 2020 Ida Haendel, the Polish-born prodigy with a fiery sound and unassailable technique who became one of the foremost violinists of her generation, died on July 1 in Pembroke Park, Fla. Her nephew Richard Grunberg, who confirmed the death, in a nursing home, said she had had kidney cancer. Ms. Haendel’s age was a matter of debate. According to her British passport, she was 91; her nephew said she was 96. He said she had a birth certificate that her father had produced in London to prove that she was 14 at the time — older than she actually was — to circumvent a minimum-age rule for performers in paid concerts. Promotional materials on other occasions gave different ages to make her appear younger. A student of the noted pedagogue Carl Flesch and the composer, pianist and violinist George Enescu, Ms. Haendel (pronounced HAN-del) was a living link to an early-20th-century school of violin playing centered on simmering sound and dramatic phrasing. In lyrical passages, her ardent vibrato and swooping portamento lent her playing a strong vocal character, while her articulation in virtuosic passagework could be crisp to the point of percussive. An example is her 1955 recording of the Brahms concerto with Sergiu Celibidache, a conductor with whom she had a close and sometimes tumultuous working relationship. Her signature piece was the Sibelius Violin Concerto, which she played with a contained urgency that the critic Geoffrey Norris once described in The Telegraph of London as “fire and ice” and “mind-blowing.” After a 1949 performance in Helsinki, Sibelius wrote her a letter and congratulated himself “for having found a performer of your standard.” Until the 1980s, Ms. Haendel was virtually the only woman among the top tier of concert violinists. In later decades she complained about being sidelined by younger players in a market that prized attractive new faces. But well into her 80s she embraced any opportunity to play. In a 2004 documentary by the Dutch director Paul Cohen, she declared matter-of-factly, “I am the violin.” Thanks for reading The Times. Subscribe to The Times The cellist Steven Isserlis, who played Beethoven’s Triple Concerto with Ms. Haendel and the pianist Martha Argerich, said Ms. Haendel’s music making had always conveyed passion. “It was strong, vibrant, focused and came from right deep inside her,” he said in a phone interview. “She really was the violin — there was no separation.” Editors’ Picks Help! My Boss Is a Conspiracy Theorist It’s a Banana. It’s Art. And Now It’s the Guggenheim’s Problem. A Danish Children’s TV Show Has This Message: ‘Normal Bodies Look Like This’ Continue reading the main story Image Ms. Haendel wrote that she picked a violin at the age of 3½ and was able to reproduce a melody she had heard her mother sing. Credit... Alamy Ida Hendel was born in Chelm, in eastern Poland, on Dec. 15, probably in either 1923 or 1928, to Nathan and Faigie (Goldgevicht) Hendel. Her father was a portrait painter. (Ida later added an “a” to her last name in homage to the Baroque composer.) According to her autobiography, “Woman with Violin” (1970), she was 3½ when she picked up her older sister’s violin and reproduced a melody she had heard her mother sing. Her father rented an apartment in Warsaw so that she could take lessons there, and in 1935 she won the Warsaw Conservatory’s gold medal for virtuosity. She never attended school. Ms. Haendel moved to Paris on the invitation of the great Hungarian virtuoso Joseph Szigeti, who had offered to teach her but was frequently away on tour. Instead, she began to study with Flesch, whom she later followed to London, as well as Enescu. While living in London, Ms. Haendel gave her first Proms concert in 1937 at the Queens Hall, playing the Beethoven concerto under the direction of Henry Wood. Her family was Jewish, and her father, who was in London with her and sensed that war with Nazi Germany was imminent, arranged for Ida’s mother and sister to join them in Britain. They became British citizens. During the war, Ms. Haendel performed for British and American troops and was featured in the morale-boosting concerts at the National Gallery put on by the pianist Myra Hess. Ms. Haendel ntered into a fruitful artistic collaboration with the conductor Rafael Kubelik, with whom she recorded Bruch’s first violin concerto in 1948 and Beethoven’s in 1951. She also worked with the conductors Thomas Beecham, Charles Munch, Vladimir Ashkenazy and Simon Rattle, among others. Her advocacy for the concertos written by Britten and Walton helped bring them into the mainstream. She also performed the premiere of Allan Pettersson’s second violin concerto in 1980 and was the dedicatee of Luigi Dallapiccola’s “Tartiniana Seconda” in 1957. She was one of the first Western soloists to be invited to perform in China, part of a 1973 tour with the London Philharmonic. Ms. Haendel moved to Montreal in 1952 and several decades later settled in Miami Beach. She lived in a house that she had bought for her father so that he could be near the writer Isaac Bashevis Singer, a close friend. Image Ms. Haendel in 1954. Asked whether she had sacrificed her private life for music, she replied, “Nobody ever told me, ‘Put down the violin, let’s get married, you will be my wife and that’s that.’” Credit... ANL/Shutterstock She never married. She spoke of feeling unattractive and invisible to men. “Not only my father thought of me as an instrument only,” she said in one interview. In an interview for “The Haendel Variations,” a documentary released in 2018, Ms. Haendel, when asked whether she had sacrificed her private life for music, replied, “Nobody ever told me, ‘Put down the violin, let’s get married, you will be my wife and that’s that.’” No immediate family members survive. In her later years, Ms. Haendel, whose wardrobe was dominated by flouncy sleeves and Fauvist colors, doted on a succession of dogs that were all named Decca, after her longtime record company. She took several to the taxidermist and put at least one on display in her Miami Beach home. Asked in the 2004 documentary what it had been like to be a child prodigy, she said, “I was old,” adding, “I’m more of a child now.” Mr. Isserlis recalled an impromptu performance that Ms. Haendel gave around 1 a.m. in a late-night diner in Westchester County that he described as filled with bikers. The conversation had turned to Schumann’s Violin Sonata in D minor, and Mr. Isserlis offered that he didn’t know the piece well. “Do you want to know how it goes?” she asked. “Before I could stop her she took out her violin and played Schumann, with all the bikers watching,” Mr. Isserlis said. “When she was done everyone erupted in applause.” Ms. Haendel traveled in 2006 to Auschwitz, where she played the Prayer from the “Dettingen Te Deum” by Handel for a delegation that included Pope Benedict XVI. Her recorded performance of the simple melody is impassioned, her tone anguished yet irrepressibly vibrant. Mark Samberg, a cousin who grew close to her in later years, said in a phone interview that Ms. Haendel had once told him, “It is the emotional content of the sound that moves the spirit.” He said she often returned to a memory from early childhood. “When she was a little girl practicing, her father would be listening in the other room, and he would say, ‘I hear what you’re playing, but what does it mean?’ That question stayed with her, her entire life.” **** Netania Davrath (Нетания Доврат) (12 August 1931 – 11 April 1987) was a Ukrainian-born Israeli soprano opera and concert singer. Contents 1 Early life and study 2 Career 3 References 4 External links Early life and study[edit] In 1948, Davrath moved to Israel with her family. There, she studied in Jerusalem with Edith Boroschek. She subsequently studied in Düsseldorf and later at the Juilliard School in New York with Jennie Tourel, as well as in Italy. Career[edit] Davrath's repertoire included both opera and concert pieces. She collaborated with conductors Leonard Bernstein, John Barbirolli, Leopold Stokowski and Zubin Mehta and several orchestras: the New York Philharmonic, Chicago Symphony Orchestra, London Philharmonic, Israel Philharmonic, Lyric Opera of Chicago, and Opera Boston among others. She recorded ten discs under the Vanguard Classics label. Davrath was fluent in eight languages.[1] Her childhood years may have influenced her attraction to folk music – first in her native country Ukraine (then part of the Soviet Union), then later in Israel. These influences are reflected in her performance style; a delicate tone, clarity of enunciation, and agility. Her early recording of Joseph Canteloube's Chants d'Auvergne is considered by many to be unsurpassed. Her voice is tender, strong, nasal, arch, shy, abandoned, free from vibrato, pure and clean and distinctly un-operatic. She has that platinum quality of voice that is unsophisticated and girlishly innocent. Going by track record this is not something that can be taught. You either have it or you don't. Davrath's facility in eight languages undoubtedly aids her interpretations which are always intelligent and which do not give the impression of being phonetically acquired. — Rob Barnett, music critic[2] ***** NETANIA DAVRATH (1931-87) sings RUSSIAN, YIDDISH, ISRAELI FOLKSONGS 42 songs in orchestral arrangements  VANGUARD CLASSICS OVC 8058/9 [70.02+66.08] This is somewhat outside my usual field. I was tempted into this material by Davrath's lissom voice. She is of course the singer the prime and unmissable collection of Canteloube songs (available in a two disc set from Vanguard). Her voice is tender, strong, nasal, arch, shy, abandoned, free from vibrato, pure and clean and distinctly un-operatic. She has that platinum quality of voice that is unsophisticated and girlishly innocent. Going by track record this is not something that can be taught. You either have it or you don't. Davrath's facility in eight languages undoubtedly aids her interpretations which are always intelligent and which do not give the impression of being phonetically acquired. There are 13 Russian songs, 15 Yiddish and 14 Israeli. The origins tie in with the singer's life travels: born in Ukraine, moved to Caucasus, the to Israel. There is too much territory to cover so let me single out The Birch Tree (the theme used in Tchaikovsky 4), Moscow Nights (Dr Zhivago), Chassidic Melody with its catchy refrain, Es Brent, a lament for scorched earth, touching in Reizele and Viglied. Robert deCormier is the conductor and arranger of the Russian and Yiddish folksongs. There are various arrangers for the Israeli songs and a single conductor Josef Leo Gruber. Some of the arrangements are less than sensitive but then again you encounter poetic and far from obvious treatment as in the Hinach Yafa as prepared by Y Admon. The smile in Davrath's voice is in heart-warming evidence in Ad Shefayu'ach Yom. The Russian songs are arranged with accordion and balalaika to the fore. The Yiddish songs make fuller use of the orchestra which as in the case of the peerless Canteloube set remains anonymous - presumably a pick-up band. Perhaps someone can throw some light on the musicians involved in the NYC and Vienna sessions? The tracks were recorded between Nov 1959 and May 1962 in New York City and Vienna. Davrath is intimately balanced as against the instrumentalists. Her voice can stand this very easily. A splendid and generous collection or all admirers of Davrath's art and the crystal stream of folk music. Hearing these songs one is struck again by the tragedy that Davrath did not go on to record Canteloube's voluminous settings of folksongs from all over the world. Maria Bayo has a touch of the Davrath in her voice and I hope that she might be tempted to filling the aching void left by Davrath. ****Netania Davrath (1931-1987) grew up with Russian and then Israeli folksong in her artistic veins. This may well account for her avoidance in this context of operatic convention which in other throats so often suffocates these green-fresh songs. There was a time when every operatic diva, actual or presumptive, of the seventies seemed to grasp a selection of the Auvergne songs and stamp their identity into and on them. While de Los Angeles, von Stade, Bayo and Gomez have their moments Davrath stands supreme in any company. The Auvergne songs, first performed in 1924 at the Concerts Colonne in Paris, are in local dialect. Davrath, fluent in eight languages, had six months of study with a language coach to secure an authentic approach to pronunciation. The New Songs are in straightforward French. Sung texts and translations appear side by side in the Vanguard booklet. Davrath was not the first to record these Songs. She was preceded by the great Madeleine Grey and the eleven she recorded in 1930 with Elie Cohen are to be had on Pearl GEM0013. Grey is valuable and it was her 78s through which I came to know the songs when they were broadcast on BBC Radio 3 in the early 1970s. Grey only recorded a double handful while Davrath recorded all five series - 27 songs (and they are all here). She then added fifteen others which are here called New Songs of the Auvergne. These New Songs are largely from collections of folksongs from other French regions: Chants-paysans-Auvergne et Quercy; Chants paysans-Quercy; Chants Paysans-Bearn; Chants du Languedoc; Chants des Pays-Basques (part recorded on Naïve by Maria Bayo who comes closest to the Davrath approach). Canteloube showed a very sure hand when arranging and orchestrating these gems. His skill bears comparison with Grainger's without bring quite so oddball. Certainly when you compare Grainger's handle on Shallow Brown and Brigg Fair with Canteloube's dissections and reconstructions the same genius is at hand. The trick which both composers pull off while using classical apparatus is not to stifle the butterfly, birdsong, mist, escarpments, sun-dazzle, sheep calls and heat-haze of the originals. Canteloube works with an impressionistic palette, making the subtlest intensifying use of piano figures, flute, oboe and clarinet voicings. The lovely balance and touch of the instrumental gauze takes the lightest tincture from Ravel, d'Indy (Symphonie Cévennole), Roussel (Poème de la Forêt) and Bonnal. Who is Pierre de la Roche and why is the orchestra unnamed? Can anyone shed light on this? Davrath's voice has a lambent girlish quality which takes you to a land which has some parallels with the scenes of the novels of Marcel Pagnol (Manon des Sources). She is free from that modern and stultifying sine qua non of the 'great' soprano - vibrato. Her vocal production is pure but infused with warm feeling, endearment, affection, humour and sensuousness. She is elegant without gentility; folk-like, pristine and flamboyant. The tracks to sample are numerous. There is the trilling L'aïo dè rotso, Chut, Chut and the melting sweetness of Lo fiolaire. The heat haze shimmers in Obal, din lo coumbèlo, Pastorale, Baïlèro, Jou l'pount d'o Mirabel and Pastourello. Brilliance and glory in the sun thrill through L'Antouèno and Lou diziou bé. There is a knowing cheeky wink in Hé! Beyla-z-y d'au fé! (with its donkey brays), Pastrouletta, Lou Coucut (with a lubricious cuckoo that would have been unrecognised by Delius's First Cuckoo) and in Malurous qu'o uno fenno. Oï ayaï swoons in Delian sympathy before developing a Gascon swagger. A sing-song comfort reminisces its way through Quand z'eyro petitoune. The zip and vocal bravura of the dog calls in Tè l'co tè! are not to be missed. In the New Songs Davrath frequently darkens her voice and takes on a new persona - less the demoiselle bergère; more the diva; though always steering clear of grand opera suffocation that would flatten these blooms. These songs are not as fine as the five Auvergne sets though Moi j'ai un homme has some of that delightful coquettish playfulness. The Kingsley orchestrations are more treacly than those of Canteloube although Allons, beau rossignol is pretty close and the Delian awakening of Reveillez-vous, belle endormie makes for a lovely effect. Having bought the double LP set on VSD (gatefold sleeve) in circa 1978 I hurried, in the dawn of the CD, to buy a silver disc equivalent. My enthusiasm resulted in my buying two prohibitively expensive Japanese imports on King Vanguard CD K33Y 151 and 152 each sprinkled with Japanese characters and marked ¥3,300. They cost me in total £32.00 and that was in about 1986! I still have those discs. They are laid out differently than these two Vanguards with the fourth song-set split 3:3 across the two discs. The current Vanguard set (which can also be had in SACD format) is in AAD, ultra analog, 20 bit digital sound and sounds superb not once flinching under the stratospheric demands and pure searching poignancy of Davrath's irreplaceable voice. The original 30ips half inch master tapes were made on an Ampex 300 series vacuum tube (valve) tape recorder. Specially designed playback heads were used and greatest attention paid to alignment, signal to noise ratio and frequency response. The results are there for all to judge and revel in. Intriguingly the New Songs (which are miscalled as New Songs of the Auvergne - only one of them is from the Auvergne) sound different suggesting not only Gershon Kingsley's orchestrations rather than Canteloube's but also a different venue and/or microphone placement. ebay5099