1967 Israel CONCERT RECITAL PROGRAM Jewish RUBINSTEIN Stern TORTELIER Barenboim

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1967 Israel CONCERT RECITAL PROGRAM Jewish RUBINSTEIN Stern TORTELIER Barenboim :
$115.00

DESCRIPTION : Up for sale is a rare and greatly sought after RECITALS & CONCERTS PROGRAM of a cycle of concerts which took place in 1967 in Tel Aviv Israel , Celebrating the 10th anniversary of the Fredric Mann Auditorium ( Hechal Hatarbut ) . It was a SUMMIT MEETING of quite a few MUSICAL GIANTS : Arthur Rubinstein , Isaac Stern , Paul Tortelier , Daniel Barenboim and others. The cycle of recitals and concerts consisted of a CHOPIN RECITAL of RUBINSTEIN , A concert with RUBINSTEIN ( Piano - Pianist ) , STERN ( Violin - Violinist ) and TORTELIER ( Cello - Celist ) as soloists, a concert with BARENBOIM ( Piano - Pianist - conductor ) conducting and RUBINSTEIN soloist and a CHAMBER MUSIC TRIOS evening withRUBINSTEIN , STERN and TORTELIER .The PHOTOGRAPHED program is in ENGLISH and HEBREW , Consists of ARTICLES regarding the SOLOISTS , CONDUCTORS , The IPO and the played pieces . PHOTOS ofBARENBOIM ,RUBINSTEIN , STERN and TORTELIER.Illustrated wrappers. 12.5 x 7 \" . 32pp ( Except the illustratedcovers ) . Hebrew & English. Very goodcondition. ( 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 . Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 14 days.
The Palestine Symphony Orchestra was founded in 1936 under the leadership of Bronislaw Huberman. Huberman, a violinist, at first envisioned an international center for the arts, but instead focused on developing a critically acclaimed symphony orchestra. Conditions in Europe had become such that the orchestra could serve as a haven for persecuted Jewish musicians. Many immigration certificates became available, as the orchestra could provide employment for the refugees. The new immigrants themselves provided fresh talent and energy for cultural pursuits in the yishuv. While Huberman continued to work on behalf of the orchestra, Arturo Toscanini agreed to become its first conductor. He was quick to help establish the orchestra\'s reputation. In addition to drawing talented musicians to the orchestra itself, many other chamber orchestras and groups formed throughout the yishuv. In 1948, the orchestra changed its name to the Israel Philharmonic Orchestra.****** The Israel Philharmonic Orchestra The internationally renowned musicians who began their careers with the Israel Philharmonic Orchestra (IPO) loyally returned home for its 60th anniversary celebrations in December 1996. The artists included Yitzhak Perlman, Daniel Barenboim, Pinchas Zuckerman, Yefim Bronfman, Shlomo Mintz and the young virtuoso Gil Shaham. Coincidentally, or perhaps not so because their fates have been so intertwined, the ]PO celebrated its 60th birthday together with conductor and Music Director for life, Zubin Mehta, the Indian-born maestro who took charge of the IPO in 1968, and who also turned 60 last year. It was Arturo Toscanini, the greatest conductor of his time, who presided over the orchestra\'s first performance in 1936. Italian-born Toscanini, who was not Jewish, despised Nazism and saw the formation of a Jewish orchestra as an act of defiance against Hitler. Most of the original members of the orchestra, then called the Palestine Philharmonic Orchestra, were assembled by the Polish Jewish violinist Bronislaw Huberman, and were fortunate enough to get out of Europe before the Holocaust began. Re-named the IPO after the establishment of Israel in 1948, the orchestra has always acted as the country\'s foremost cultural ambassador, carrying the joy of music and the message of peace from Israel to music lovers around the world. Zubin Mehta recalls that one of his most moving moments was when the IPO agreed to play in Germany in 1971 and he was able to conduct \"Hatikvah,\" Israel\'s national anthem, in the country that had unintentionally caused the establishment of the IPO through its persecution of Jews. In the late 1980s, the IPO visited Auschwitz on a concert tour of Poland, Hungary and the former Soviet Union. And in 1994 Mehta was able to lead the IPO to China and his native India, shortly after Israel established diplomatic relations with the two Asian powers. The sell-out success of the 12 celebration concerts around Israel characterizes the local popularity of the IPO, which has the largest subscription public per capita in the world. In its 60th year the IPO recruited 6,200 new subscribers, a world record for a symphony orchestra. In fact, the IPO has always managed to break even without the need for government subsidies. With plentiful local talent, the IPO has never needed to offer fabulous salaries to entice musicians from overseas. About half of the orchestra\'s 110 musicians are native-born Israelis, 35% were born in the former Soviet Union and Eastern Europe, and 15% hail from North America. In addition, the IPO\'s many worldwide friends, such as the late Leonard Bernstein, conductors Kurt Masur and Lorin Maazel, and violinists Isaac Stern and Yehudi Menuhin, have been frequent guest players. The IPO also regularly records for leading companies such as Sony Classical, Teldec, EMI and Deutsche Grammophon. Recent recordings include the best of the IPO\'s concert repertoire such as Brahms\' four symphonies, Prokofiev\'s Piano Concertos and Mahler\'s symphonies. Based in Tel Aviv at the Mann Auditorium, the challenge facing the IPO over the next 60 years is to maintain and enhance the high standards that have been established. The Young Israel Philharmonic Orchestra, supported by scholarship funds, should ensure that the next generation of musicians is no less talented than the present. ******* The Israel Philharmonic Orchestra (abbreviation IPO; Hebrew: התזמורת הפילהרמונית הישראלית, ha-Tizmoret ha-Filharmonit ha-Yisre\'elit) is the leading symphony orchestra in Israel. History The IPO was founded by violinist Bronisław Huberman in 1936, at a time when many Jewish musicians were being fired from European orchestras. Its inaugural concert took place in Tel Aviv on December 26, 1936, and was conducted by Arturo Toscanini. In 1958, the IPO was awarded the Israel Prize, in music, being the first year in which the Prize was awarded to an organization.[1] The IPO enjoys frequent international tours, and has performed under some of the world\'s greatest conductors, including Leonard Bernstein and Zubin Mehta, both of whom are prominent in the orchestra\'s history. Bernstein maintained close ties with the orchestra from 1947, and in 1988, the IPO bestowed on him the title of Laureate Conductor, which he retained until his death in 1990. Mehta has served as the IPO\'s Music Advisor since 1968. The IPO did not have a formal music director, but instead \"music advisors\", until 1977, when Mehta was appointed the IPO\'s first Music Director. In 1981, his title was elevated to Music Director for Life.[2] Kurt Masur is the IPO\'s Honorary Guest Conductor, a title granted to him in 1992. Gianandrea Noseda is Principal Guest Conductor, a role previously occupied by Yoel Levi. With Mehta, the IPO has made a number of recordings for Decca. Under the baton of Bernstein, the IPO also recorded his works and those of Igor Stravinsky. The IPO has also collaborated with Japanese composer Yoko Kanno in the soundtrack of the anime Macross Plus. As of 2006, the composers whose works have been most frequently performed by the IPO were Beethoven, Mozart, Brahms, Mendelssohn and Dvořák. The initial concerts of the Palestine Orchestra in December 1936, conducted by Toscanini, featured the music of Richard Wagner.[3] However, after the Kristallnacht pogroms in November 1938, the orchestra has maintained a de facto ban on Wagner\'s work, due to that composer\'s antisemitism and the association of his music with Nazi Germany.[4] The Secretary-General of the orchestra is Avi Shoshani. The IPO has a subscriber base numbering 26,000.[5] Commentators have noted the musically conservative tastes of the subscriber base.[6] Musical Advisors/Music Directors Zubin Mehta (1968–) (Musical Advisor 1968–77; Music Director thereafter) Jean Martinon (1957–59)Bernardino Molinari Paul Paray (1949–51) Leonard Bernstein (1947–49; Laureate Conductor 1947–90) William Steinberg (1936–38) ***** Bronisław Huberman (19 December 1882 – 16 June 1947) was a Jewish Polish violinist. He was known for his individualistic and personal interpretations and was praised for his tone color, expressiveness, and flexibility. The Gibson ex-Huberman Stradivarius violin which bears his name was stolen and recovered twice during the period in which he owned the instrumen Biography Huberman was born in Częstochowa, Poland. In his youth he was a pupil of Mieczyslaw Michalowicz and Maurycy Rosen at the Warsaw Conservatory, and of Isidor Lotto in Paris. In 1892 he studied under Joseph Joachim in Berlin. Despite being only ten years old, he dazzled Joachim with performances of Louis Spohr, Henri Vieuxtemps, and the transcription of a Frederic Chopin nocturne. However, the two did not get along well, and after Huberman\'s fourteenth birthday he took no more lessons. In 1893 he toured Holland and Belgium as a virtuoso performer. Around this time, the six year old Arthur Rubinstein attended one of Huberman\'s concerts. Rubinstein\'s parents invited Huberman back to their house and the two boys struck up what would become a lifetime friendship. In 1894 Adelina Patti invited Huberman to participate in her farewell gala in London, which he did, and in the following year he actually eclipsed her in appearances in Vienna. In 1896 he performed the violin concerto of Johannes Brahms in the presence of the composer, who was stunned by the quality of his playing. In the twenties and early thirties, Huberman toured around Europe and North America with the pianist Siegfried Schultze and performed on the most famous stage (Carnegie in New York, Scala in Milan, Musikverein in Vienna, Konzerthaus in Berlin....). During many years, the duet Huberman-Schultze were regularly invited in private by European Royal Families. Countless recordings of these artists were done during that period at the \"Berliner Rundfunk\" and unfortunately destroyed during the second war. In 1937, a year before the Anschluss, Huberman left Vienna and took refuge in Switzerland. The following year, his career nearly ended as a result of an airplane accident in Sumatra in which his wrist and two fingers of his left hand were broken. After intensive and painful retraining he was able to resume performing. At the onset of the Second World War, Huberman was touring South Africa and was unable to return to his home in Switzerland until after the war. Shortly thereafter he fell ill from exhaustion and never regained his strength. He died in Corsier-sur-Vevey, Switzerland, on June 16, 1947, at age 64. Palestine Philharmonic Orchestra In 1929 Huberman first visited Palestine and developed his vision of establishing classical music in the Promised Land. In 1933, during the Nazis\' rise to power, Huberman declined invitations from Wilhelm Furtwängler to return to preach a \"musical peace\", but wrote instead an open letter to German intellectuals inviting them to remember their essential values. In 1936 he founded the Palestine Philharmonic Orchestra, which gave its first performance on 26 December with Arturo Toscanini conducting. Upon the establishment of the State of Israel in 1948 the orchesra was renamed as the Israel Philharmonic Orchestra. Stradivarius theft Before 1936, Huberman\'s principal instrument for his concerts was the 1713-vintage Stradivarius \"Gibson\", which was named after one of its early owners, the English violinist George Alfred Gibson. It was stolen twice. In 1919, it was stolen from Huberman\'s Vienna hotel room, but recovered by the police within 3 days. The second time was in New York City. On February 28, 1936, while giving a concert at Carnegie Hall, Huberman switched the Stradivarius \"Gibson\" with his newly acquired Guarnerius violin, leaving the Stradivarius in his dressing room during intermission. It was stolen by a New York nightclub musician, Julian Altman, who kept it for the next half century. Huberman\'s insurance company, Lloyd\'s of London, paid him $US30,000 for the loss in 1936. Altman went on to become a violinist with the National Symphony Orchestra in Washington, D.C. and performed with the stolen Stradivarius for many years. In 1985, Altman made a deathbed confession to his wife, Marcelle Hall, that he had stolen the violin. Two years later, she returned it to Lloyd\'s and collected a finder\'s fee of $US263,000. The instrument underwent a 9-month restoration by J & A Beare Ltd., in London. In 1988, Lloyd\'s sold it for $USD 1.2 million to British violinist Norbert Brainin. In October 2001, the American violinist, Joshua Bell, purchased it for just under $4,000,000. The price, or the value, had more than tripled in 13 years - a 340% appreciation. Recordings Huberman made several commercial recordings of large-scale works, among which are: Beethoven: Violin Concerto (w. Vienna Philharmonic Orchestra, cond. George Szell) (Columbia Records, LX 509-13) (18–20 June 1934). Beethoven: Kreutzer Sonata (no 9) (w. Ignaz Friedman, pno) (Columbia Records, C-67954/7D) Lalo: Symphonie Espagnole (omits 3rd movt.) (w. Vienna Philharmonic, cond. George Szell) (Columbia Records, C-68288/90D) Tchaikovsky: Violin Concerto (w. Berlin State Opera Orchestra, cond William Steinberg) (Columbia Records, C-67726/9D) (December 1928; originally for Odeon) Mendelssohn: Violin Concerto (2nd & 3rd movts) (w. Siegfried Schulze, pno) (Brunswick Records, PD-27242: acoustic) Also Bach Concerti 1 & 2, and Mozart Concerto 3. Several other large works exist in off-air broadcast recordings, including the Brahms concerto. ******* (1882–1947), violinist. Bronisław Huberman was born in Częstochowa, Poland and was a child prodigy who began to take violin lessons at the age of six. He appeared in public for the first time a year later, playing at a benefit concert for the poor. Huberman studied violin in Warsaw, with, among others, Isidor Lotto at the Warsaw Conservatory. He began to study with Joseph Joachim in Berlin in 1892, and also took lessons briefly with Hugo Heermann in Frankfurt and Martin Marsick in Paris. As a youth, Huberman combined study with frequent public appearances throughout Germany, Austria, Holland, and Belgium. At his concerts in Vienna in 1896, the audience included Antonin Dvorak, Gustav Mahler, Anton Bruckner, Johann Strauss, and Johannes Brahms. In 1896, he made his debut at Carnegie Hall in New York City. After returning to Europe, he produced his first recordings in 1900. In 1903 and again in 1908, he was invited to play Paganini’s violin in Genoa. In 1912, Huberman published Aus der Werkstatt des Virtuosen (In the Workshop of the Virtuoso), in which he discussed the role of a performer of his caliber. The bloodshed of World War I triggered Huberman’s interest in politics. Convinced that peace could only be achieved through European unification (modeled on the economic and political integration of the United States), he became involved in the Pan-European movement. He toured the United States repeatedly in the 1920s, explaining his political ideas in Mein Weg zu Paneuropa (My Road to Pan-Europa; 1924). In 1929, Huberman visited Palestine for the first time, where he was enthusiastically received. With Hitler’s rise to power, Huberman decided not to return to Germany and rejected an offer of employment by conductor Wilhelm Furtwängler. In September 1933, Huberman published a letter in German, French, and English, explaining his motives in defense of universal European culture and freedom. In 1936, he also published an “Open Letter to German Intellectuals” denouncing Nazism. In the early 1930s, Huberman took on the responsibilty of creating a symphony orchestra in Palestine. To that end, he organized the American Association of Friends of the Palestine Orchestra, with Albert Einstein as its chair, and in 1936 founded the Palestine Philharmonic Orchestra in Tel Aviv with refugees from Europe. The orchestra made its debut under Huberman’s leadership. Huberman left for America in 1940. He returned to tour Europe after the war and died at Nant-sur-Corsier in Switzerland. His archives were placed in the Central Music Library in Tel Aviv. \"****Arthur Rubinstein(Polish:Artur Rubinstein; January 28, 1887– December 20, 1982) was aPolish Americanclassicalpianist. He received international acclaim for his performances of the music written by a variety of composers and many regard him as the greatestChopininterpreter of his time.[1][2]He was described byThe New York Timesas one of the greatest pianists of the twentieth century.[1]He played in public for eight decades.[3]Contents[hide]1 Early life2 Music and career3 Personal life3.1 Marriage and family3.2 Jewish identity3.3 Polish identity3.4 Charitable contributions3.5 On practice3.6 Pupils4 Death and legacy5 Recordings6 Honors7 Filmography8 Bibliography9 See also10 References11 External linksEarly life[edit]Rubinstein grew up on Piotrkowska Street,Łódź,PolandRubinstein was born inŁódź,Congress Poland(part of theRussian Empirefor the entire time Rubinstein resided there) on January 28, 1887, to a Jewish family. He was the youngest of seven children of Felicja Blima Fajga (née Heiman) and Izaak Rubinstein. His father owned a small textile factory.[4][5]Rubinstein\'s birth name was to beLeo, but his eight-year-old brother claimed that \"His name must be Artur. Since Artur X (a neighbor\'s son) plays the violin so nicely, the baby may also become a great musician!\"[6]And so he was called Artur, although in English-speaking countries, he preferred to be known asArthur Rubinstein. His United States impresarioSol Hurok, however, insisted he be billed asArtur, and records were released in the West under both versions of his name.[7]At age two, Rubinstein demonstratedperfect pitchand a fascination with the piano, watching his elder sister\'s piano lessons. By the age of four, he was recognised as achild prodigy. His father had a predilection for the violin and offered Rubinstein a violin; but Rubinstein rejected it because he thought his instinct was for harmony and polyphony. The Hungarian violinistJoseph Joachim, on hearing the four-year-old child play, was greatly impressed, telling Arthur\'s family, \"This boy may become a very great musician—he certainly has the talent for it... When the time comes for serious study, bring him to me, and I shall be glad to supervise his artistic education.\" On December 14, 1894, seven-year-old Arthur Rubinstein had his debut with pieces he became ten years of age, Rubinstein moved toBerlinto continue his studies, and gave his first performance with theBerlin Philharmonicin 1900, at the age of 13.[1]Joseph Joachim recommendedKarl Heinrich Barthas the boy\'s piano teacher. As a student of Barth, Rubinstein inherited a renowned pedagogical lineage: Barth was himself a pupil ofLiszt, who had been taught byCzerny, who had in turn been a pupil ofBeethoven.[1]Music and career[edit]In 1904, Rubinstein moved toParisto launch his career in earnest, where he met the composersMaurice RavelandPaul Dukasand the violinistJacques Thibaud. He also playedCamille Saint-Saëns\'Piano Concerto No. 2in the presence of the composer. Through the family ofJuliusz Wertheim(to whose understanding of Chopin\'s genius Rubinstein attributed his own inspiration in the works of that composer) he formed friendships with the violinistPaul Kochanskiand composerKarol Szymanowski.[8]Rubinstein in 1906Rubinstein made his New York debut atCarnegie Hallin 1906, and thereafter toured the United States, Austria, Italy, and Russia. According to his own testimony and that of his son inFrançois Reichenbach\'s filmL\'Amour de la vie(1969), he was not well received in the United States. By 1908, Rubinstein, destitute and desperate, hounded by creditors, and threatened with being evicted from his Berlin hotel room, made a failed attempt to hang himself. Subsequently, he said that he felt \"reborn\" and endowed with an unconditional love of life. In 1912, he made his London debut, and found a home there in the Edith Grove,Chelsea, musical salon of Paul and Muriel Draper, in company with Kochanski,Igor Stravinsky,Jacques Thibaud,Pablo Casals,Pierre Monteuxand others.[8]DuringWorld War I, Rubinstein stayed in London, giving recitals and accompanying the violinistEugène Ysaÿe. In 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed a lifelong enthusiasm for the music ofEnrique Granados,Isaac Albéniz,Manuel de Falla, andHeitor Villa-Lobos. He was the dedicatee of Manuel de Falla\'sFantasía Bética, Villa-Lobos\'sRudepoêmaand Stravinsky\'sTrois mouvements de Petrouchka.Rubinstein was disgusted by Germany\'s conduct during the war and never played there again. His last performance in Germany was in 1914.[8]In the autumn of 1919 Rubinstein toured the British provinces with sopranoEmma Calvéand tenorVladimir Rosing.[9]In 1921 Rubinstein gave two American tours, travelling toNew Yorkwith Karol Szymanowski and his close friend Paul Kochanski.[8]In 1934, the pianist, who stated he neglected his technique in his early years, relying instead on natural talent, withdrew from concert life for several months of intensive study and practice.Rubinstein toured the United States again in 1937, his career becoming centered there during theWorld War IIyears when he lived inBrentwood, California. He became a naturalized US citizen in 1946.[10]A cast of the pianist\'s hands, at theŁódźmuseumDuring his time in California, Rubinstein provided the piano soundtrack for several films, includingSong of LovewithKatharine Hepburn. He appeared, as himself, in the filmsCarnegie HallandOf Men and Music.Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries asHenryk Szeryng,Jascha Heifetz,Pablo Casals,Gregor Piatigorskyand theGuarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of theRomanticcomposers. At the time of his death,The New York Timesin describing him wrote, \"Chopinwas his specialty ... it was [as] a Chopinist that he was considered by many without peer.\"[1]With the exception of theÉtudes, he recorded most of the works of Chopin. In 1964, at the height of theCold War, he gave a legendary concert inMoscow, with a pure Chopin program.[11]He was one of the earliest champions of Spanish and South American composers, as well asFrench composersof the early 20th century (such asDebussyandRavel). In addition, Rubinstein promoted the music of his compatriotKarol Szymanowski. Rubinstein, in conversation withAlexander Scriabin, namedBrahmsas his favorite composer, a response that enraged Scriabin.[12]Oscar Award statuette granted in 1969 for the film \"L\'Amour de la Vie\" with Arthur Rubinstein. The statuette is exhibited in Izrael Poznanski Castle (Museum of City of Lodz).In 1969Arthur Rubinstein – The Love of Lifewas released; it won theAcademy Awardfor Best Documentary Feature. A TV special,Rubinstein at 90, represented that he had been playing for people for eight decades.By the mid-1970s, Rubinstein\'s eyesight had begun to deteriorate. He retired from the stage at age 89 in May 1976, giving his last concert at London\'sWigmore Hall, where he had first played nearly 70 years before.Rubinstein, who was fluent in eight languages,[10]held much of the repertoire, not simply that of the piano, in his formidable memory.[10]According to his memoirs, he learnedCésar Franck\'sSymphonic Variationswhile on a train en route to the concert, without the benefit of a piano, practicing passages in his lap. Rubinstein described his memory asphotographic, to the extent that he would visualize an errant coffee stain while recalling a score.[13]Rubinstein also had exceptionally developedauralabilities, which allowed him to play whole symphonies in his mind. \"At breakfast, I might pass a Brahms symphony in my head,\" he said. \"Then I am called to the phone, and half an hour later I find it\'s been going on all the time and I\'m in the third movement.\" This ability was often tested by Rubinstein\'s friends, who would randomly pick extracts from opera and symphonic scores and ask him to play them from memory.[1]Rubinstein\'s autobiography contained two volumes:My Young Years(1973); andMy Many Years(1980). Many were displeased by their emphasis on personal anecdotes over music. PianistEmanuel Ax, one of Rubinstein\'s greatest admirers, was profoundly disappointed by readingMy Many Years: \"Until then,\" he told Sachs, \"I had idolized Rubinstein—I had wanted to have a life like his, the book changed all that.\"[3]In a reflective muse, Rubinstein once noted \"It is simply my life, music. I live it, breathe it, talk with it. I am almost unconscious of it. No, I do not mean I take it for granted--one should never take for granted any of the gifts of God. But it is like an arm, a leg, part of me. On the other hand, books and paintings and languages and people are passions with me, always to be cultivated. Travel too. I am a lucky man to have a business which allows me to be on the road so much. On the train, the plane, I have time to read. There again, I am a lucky man to be a pianist. A splendid instrument, the piano, just the right size so that you cannot take it with you. Instead of practicing, I can read. A fortunate fellow, am I not?\"[14]Personal life[edit]Rubinstein in 1963Marriage and family[edit]Of his youth, Rubinstein once said: \"It is said of me that when I was young I divided my time impartially among wine, women and song. I deny this categorically. Ninety percent of my interests were women.\"[1]At the age of 45, in 1932, Rubinstein married Nela Młynarska, a 24-year-old Polishballerina(who had studied withMary Wigman). Nela was the daughter of the Polish conductorEmil Młynarskiand his wife Anna Talko-Hryncewicz, who was from aPolisharistocraticheraldic familyof Iłgowski coat of arms. Nela had first fallen in love with Rubinstein when she was 18, but marriedMieczysław Munzafter Rubinstein began an affair with an Italian princess.[15][16]Nela subsequently divorced Munz and three years later married Rubinstein.[16]They had five children (one died in infancy), including photographerEva Rubinstein, who marriedWilliam Sloane Coffin, and sonJohn Rubinstein, aTony Award-winning actor and father of actorMichael Weston.[17]Nela subsequently authoredNela\'s Cookbook, which included the dishes she prepared for the couple\'s legendary parties.[18]Both before and during his marriage, Rubinstein carried on a series of affairs with women, including Lesley Jowitt, the wife of the politicianWilliam Jowitt, andIrene Curzon.[19]In addition to fathering a daughter (South American pianist Luli Oswald) with his mistress Paola Medici del Vascello, who was an Italian marchioness (née Princess Paola di Viggiano), he may have been the father of American decorator and artistMuriel Draper\'s sonSanders Draper, who died in World War II.[8]Though he and Nela never divorced, in 1977, at age 90, he left her forAnnabelle Whitestone, then 33 years old.Jewish identity[edit]While he was anagnostic, Rubinstein was nevertheless proud of hisJewishheritage.[20]He was a great friend ofIsrael,[21]which he visited several times with his wife and children, giving concerts with theIsrael Philharmonic Orchestra, recitals, and master classes at theJerusalem Music Centre. In 1949, Rubinstein—who lost family members inthe Holocaust—along with other prominent musicians (includingHorowitzandHeifetz) announced that he would not appear with theChicago Symphonyif it engaged the conductorWilhelm Furtwängler, who had remained in Germany during the war.[3]Polish identity[edit]Throughout his life, Rubinstein was deeply attached toPoland. At the inauguration of theUnited Nationsin 1945, Rubinstein showed his Polish patriotism at a concert for the delegates. He began the concert by stating his deep disappointment that the conference did not have a delegation from Poland. Rubinstein later described becoming overwhelmed by a blind fury and angrily pointing out to the public the absence of the Polish Flag. He then sat down at the piano and played thePolish national anthemloudly and slowly, repeating the final part in a great thunderousforte. When he had finished, the public rose to their feet and gave him a great ovation.[10][22]Charitable contributions[edit]Rubinstein pictured in 1970Rubinstein was active in supporting charities throughout his life. He performed charity concerts to raise donations for numerous organizations which interested him. In 1961, he performed ten recitals in Carnegie Hall to raise roughly $100,000 for charities includingBig Brothers,United Jewish Appeal,Polish Assistance, Musicians Emergency fund, theNational Association for Mental Health, and theLegal Defense Fund of the National Advancement of Colored People.[23]On practice[edit]In his youth, as a natural pianist with a big technique, Rubinstein practiced as little as possible, learning new pieces quickly and without sufficient attention to textual details, relying on his personal charm to conceal the lack of finish in his playing. But his attitude toward his playing changed after his marriage. He stated that he did not want his children to take him as a has-been, so he began in the summer of 1934 to restudy his entire repertoire. \"I buckled down back to work—six hours, eight hours, nine hours a day.\" he recalled in 1958. \"And a strange thing happened... I began to discover new meaning, new qualities, new possibilities in music that I have been regularly playing for more than 30 years.\" In general, however, Rubinstein believed that a foremost danger for young pianists is to practice too much. Rubinstein regularly advised that young pianists should practice no more than three hours a day. \"I was born very, very lazy and I don\'t always practice very long,\" he said, \"but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of \'Oh, I know this,\' you play without that little drop of fresh blood that is necessary—and the audience feels it.\" Of his own practice methods, he said, \"At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It\'s like making love. The act is always the same, but each time it\'s different.\"[1][24]Pupils[edit]For Rubinstein\'s notable students, seeList of music students by teacher: R to S §Arthur Rubinstein.Rubinstein was reluctant to teach in his earlier life, refusing to acceptWilliam Kapell\'s request for lessons. It was not until the late 1950s that he accepted his first pupil,Dubravka Tomšič Srebotnjak. Other pupils of Rubinstein includeFrançois-René Duchâble,Avi Schönfeld,Ann Schein Carlyss,Eugen Indjic,Janina Fialkowska,Dean Kramerand Marc Laforêt. Rubinstein also gave master classes towards the end of his life.[21]***** Paul Tortelier(21 March 1914 – 18 December 1990) was aFrenchcellistand composer.Sketch byReginald GrayParis, 1970s.Contents[hide]1 Life and work2 Recordings3 Quotes4 References5 Further reading6 External linksLife and work[edit]Tortelier was born inParis, the son of a cabinet maker withBretonroots. He was encouraged to play the cello by his father Joseph and mother Marguerite (Boura), andgiftedat 12 he entered theParis Conservatoire. He studied the cello there withLouis Feuillardand thenGérard Hekking. He won the first prize in cello at the conservatoire when he was 16, playing theElgarcello concerto, and then he studiedharmonyunderJean Gallon. His debut was with theOrchestre Lamoureuxin 1931 at the age of 17. He performedLalo\'sCello Concerto.In 1935 Tortelier joined theMonte-Carlo Philharmonic Orchestraas first cellist and played with them until 1937. He gave performances underBruno WalterandArturo Toscanini, and he also played the solo part inRichard Strauss\'Don Quixoteunder the composer. This is a piece which became closely associated with Tortelier, as he gave many performances and recorded it.In 1937 he joined theBoston Symphony OrchestraunderSerge Koussevitsky, performing as first cellist through 1940. In 1938 he began a solo career at Boston\'s Town Hall, accompanied byLeonard Shure. He was first cellist of theOrchestre de la Société des Concerts du Conservatoire, Paris, 1946–47. In 1947 he gave his British debut underBeecham, again performingDon Quixoteat the Festival ofRichard Straussin London. \"My boy\" Beecham said \"you will be successful in England because you have temperament\". In 1950 Tortelier was selected byPablo Casalsto play as the principal cellist in the Prades Festival Orchestra. Tortelier believed that of all the cellists, it was Casals who influenced him the most. A French critic wrote of him: \"If Casals is Jupiter, then Tortelier is Apollo.\" Tortelier performed for thePeabody Mason Concertseries in Boston in 1952.[1]He was a music professor at theConservatoire National Supérieur de la Musique, Paris(1956–69);Folkwang HochschuleinEssen(1969–1975); and theConservatoire National de Region, Nice(1978–80). He was also an honorary professor at the Central Conservatoire in Beijing, China. Despite being French, he advised his students to avoid French music and concentrate on Beethoven and Mozart - music the public more likely wanted to hear.Although he was a Catholic, Tortelier was inspired by the ideals of the founders of the newly formed state of Israel in 1948, and in the years 1955–1956 spent some time living with his wife and two children in the kibbutzMaabarot, nearNetanya.His compositions include a concerto for two cellos and orchestra (1950), a solo cello suite in D, and two sonatas for cello and piano. He also wrote a set of variations for cello and orchestra (\'May Music Save Peace\'). He also wrote a symphony, theIsrael Symphony, after his experience of living in the kibbutz. His edition of theBachCello Suiteswas published by Galliard in 1966.He taughtJacqueline du Préwhen she briefly attended his classes at the Paris Conservatoire, though he was not her main teacher (that wasWilliam Pleeth). Other students includedArto Noras,Nathan WaksandRaphaël Sommer. In the 1970s he gave a series ofmaster classeswhich were recorded and broadcast on TV by theBBC, which demonstrate his very dynamic style of playing.Interests included bicycling and playing the flute. Besides performing on the cello, he made appearances as a conductor when he grew older (similar toMstislav Rostropovich). Although it is sometimes mistakenly thought to beRostropovich, Tortelier is the inventor of the angled cello spike, enabling the instrument to lie more horizontally than vertically.[2]Paul Tortelier was married twice. His first marriage, to Madeleine Gaston, ended in divorce in 1944. His second marriage was to Maud Monique Martin (also a cellist). His son,Yan Pascal Tortelier, is an internationally known conductor, and his daughterMaria de la Pauis a pianist. He died at the age of 76 inVillarceaux Yvelines, near Paris.Tortelier withdrew his children from formal education so that they could concentrate on music. He was asked about this during an interview with Huw Wheldon on British television, and when Wheldon asked if there were not authorities in France that make you send your children to school, he replied, \"I don\'t want to know anything about any authorities. I am a soloist and they will be soloists.\" Wheldon queried, \"but what happens if they don\'t become soloists?\" and, in some surprise, Tortelier said, \"Well, if you start thinking about what will happen if you don\'t succeed, you won\'t.\"Recordings[edit]Major recordings include theBachCello Suitesin 1960 (Paris) and 1982 (London),Elgar\'sCello Concertowith theLondon Philharmonic Orchestra,Adrian Boultconducting in 1972, andStrauss’sDon Quixotewith theRoyal Philharmonic Orchestra,Thomas Beechamconducting in 1947/48 and theStaatskapelle Dresden,Rudolf Kempeconducting in 1973 (all forEMIfor whom he was under exclusive contract). ***** Daniel Barenboim,KBE(German:[baːrənboim], Hebrew: דניאל ברנבוים; born 15 November 1942) is an Argentine-Israelipianistandconductorwho is also a citizen of Palestine and Spain.He is general music director of theBerlin State Opera, and theStaatskapelle Berlin; he previously served as Music Director of theChicago Symphony Orchestra, theOrchestre de ParisandLa ScalainMilan.[2]Barenboim is known for his work with theWest–Eastern Divan Orchestra, aSeville-based orchestra of youngAraband Israeli musicians, and as a resolute critic of theIsraeli occupation of Palestinian territories.Barenboim has received many awards and prizes, including an honorary Knight Commander of theOrder of the British Empire,[3]France\'sLégion d\'honneurboth as a Commander and Grand Officier, and the GermanGroßes Bundesverdienstkreuzand Willy Brandt Award.[4]Together with the Palestinian-American scholarEdward Said, he was given Spain\'sPrince of Asturias Concord Award. He has won sevenGrammy awardsfor his work and discography. Barenboim is apolyglot, fluent in Spanish, Hebrew, English, French, Italian, and German.Contents[hide]1 Biography1.1 Citizenship2 Career3 Musical style3.1 Recordings3.2 Conducting Wagner in Israel4 Political views4.1 West–Eastern Divan4.2 Wolf Prize4.3 Performing in the West Bank and Gaza Strip5 Personal life6 Awards and recognition7 See also8 References9 External linksBiography[edit]Daniel Barenboim, age 11, withcomposerEithan Lustig and theGadnaYouth orchestra (1953)Daniel Barenboim was born in 1942 inBuenos Aires, Argentina, to Argentinian-Jewish parents Aida (née Schuster) and Enrique Barenboim.[5]He started piano lessons at the age of five with his mother, continuing to study with his father, who remained his only teacher. On 19 August 1950, at the age of seven, he gave his first formal concert in his hometown, Buenos Aires.In 1952, Barenboim\'s family moved to Israel. Two years later, in the summer of 1954, his parents took him toSalzburgto take part inIgor Markevitch\'s conducting classes. During that summer he also met and played forWilhelm Furtwängler, who has remained a central musical influence and ideal for Barenboim.[6]Furtwängler called the young Barenboim a \"phenomenon\" and invited him to perform theBeethovenFirst Piano Concertowith theBerlin Philharmonic, but Barenboim\'s father considered it too soon after theSecond World Warfor a child of Jewish parents to be performing in Berlin.[7]In 1955 Barenboim studiedharmonyandcompositionwithNadia BoulangerinParis.On 15 June 1967, Barenboim and British cellistJacqueline du Préwere married in Jerusalem at aWestern Wallceremony, Du Pré having converted to Judaism.[8]Acting as one of the witnesses was the conductorZubin Mehta, a long-time friend of Barenboim. Since \"I was not Jewish I had to temporarily be renamed Moshe Cohen, which made me a \'kosher witness\',\" Mehta recalled.[9]Du Pré retired from music in 1973, after being diagnosed withmultiple sclerosis(MS). The marriage lasted until du Pré\'s death in 1987.In the early 1980s, Barenboim began an affair with the Russian pianistElena Bashkirova, with whom he has two sons born in Paris before du Pré\'s death: David Arthur, born 1983, and Michael, born 1985. Barenboim worked to keep his relationship with Bashkirova hidden from du Pré, and believed he had succeeded. He and Bashkirova married in 1988. Both sons are part of the music world: David is a manager-writer for the German hip-hop band Level 8, and Michael Barenboim is a classical holds citizenship in Argentina, Israel,[11]Palestine,[12]and Spain. He lives in Berlin.[13]Career[edit]U.S. concert performance at age 15 (January 1958)After performing in Buenos Aires, Barenboim made his international debut as a pianist at the age of 10 in 1952 inViennaand Rome. In 1955 he performed in Paris, in 1956 in London, and in 1957 in New York under the baton ofLeopold Stokowski. Regular concert tours of Europe, the United States, South America, Australia and the Far East followed thereafter.In June 1967, Barenboim and his then fiancée Du Pré gave concerts inJerusalem,Tel Aviv,HaifaandBeershebabefore and during theSix-Day War.[14]His friendship with musiciansItzhak Perlman,Zubin Mehta, andPinchas Zukerman, and marriage to du Pré led to the 1969 film byChristopher Nupenof their performance of theSchubert \"Trout\" Quintet.[15]Following his debut as a conductor with theEnglish Chamber OrchestrainAbbey Road Studios, London, in 1966, Barenboim was invited to conduct by many European and American symphony orchestras. Between 1975 and 1989, he was music director of theOrchestre de Paris, where he conducted muchcontemporary music.Barenboim made his opera conducting debut in 1973 with a performance of Mozart\'sDon Giovanniat theEdinburgh Festival. He made his debut atBayreuthin 1981, conducting there regularly until 1999. In 1988, he was appointed artistic and musical director of theOpera-Bastillein Paris, scheduled to open in 1990, but was fired in January 1989 by the opera\'s chairmanPierre Bergé.[16]Barenboim was namedmusic directordesignate of theChicago Symphony Orchestrain 1989, and succeeded SirGeorg Soltias its music director in 1991, a post he held until 17 June 2006.[17]He expressed frustration with the need for fund-raising duties in the United States as part of being a music director of an American orchestra.[10](l-r) Peter Kirchner[who?], President of GermanyRichard von Weizsäcker, and Barenboim visit Jewish cemetery inBerlin-Weissensee(1990)Since 1992, Barenboim has beenmusic directorof theBerlin State Operaand the Berlin Staatskapelle, succeeding in maintaining the independent status of the State Opera. He has tried to maintain the orchestra\'s traditional sound and style.[18]In autumn 2000 he was made conductor for life of the Berlin Staatskapelle.[19]On 15 May 2006 Barenboim was named principal guest conductor ofLa Scalaopera house, in Milan, afterRiccardo Muti\'s resignation.[20]He subsequently became music director of La Scala in 2011.[21]In 2006, Barenboim presented the BBCReith Lectures, presenting a series of five lectures titledIn the Beginning was Sound.The lectures on music were recorded in a range of cities, including London, Chicago, Berlin, and two in Jerusalem.[22]In the autumn of 2006, Barenboim gave theCharles Eliot NortonLecturesatHarvard University, entitling his talkSound and Thought.[23]In November 2006,Lorin Maazelsubmitted Barenboim\'s name as his nominee to succeed him as the New York Philharmonic\'s music director.[24]Barenboim said he was flattered but \"nothing could be further from my thoughts at the moment than the possibility of returning to the United States for a permanent position\",[25]repeating in April 2007 his lack of interest in the New York Philharmonic\'s music directorship or its newly created principal conductor position.[26]Barenboim made his conducting debut on 28 November 2008 at theMetropolitan Operain New York for the House\'s 450th performance ofWagner\'sTristan und Isolde.In 2009, he conducted theNew YearConcert of theVienna Philharmonic.[27]In his New Year message, he expressed the hope that 2009 would be a year for peace and for human justice in the Middle East.[28]He conducted the Vienna Philharmonic again for New Year\'s Day 2014. That year construction began on theBarenboim–Said Academyin Berlin. A joint project Barenboim developed with Palestinian-American scholarEdward Said, the academy was planned as a site for young music students from the Arab world and Israel to study music and humanities in Berlin.[29]It is scheduled to open its doors in late 2016.Musical style[edit]Barenboim has rejected musical fashions based on currentmusicologicalresearch, such as theauthentic performance movement. His recording of Beethoven\'s symphonies shows his preference for some conventional practices, rather than fully adhering toBärenreiter\'s new edition (edited byJonathan Del Mar).[30]Barenboim has opposed the practice of choosing thetempoof a piece based on historical evidence, such as composer metronome marks. He argues instead for finding the tempo from within the music, especially from itsharmonyandharmonic rhythm. He has reflected this in the general tempi chosen in his recording of Beethoven\'s symphonies, usually adhering to early-twentieth-century practices. He has not been influenced by the faster tempos chosen by other conductors such asDavid Zinmanand authentic movement advocateRoger Norrington.In Barenboim\'s recording ofThe Well-Tempered Clavier, he makes frequent use of the right-foot sustainingpedal, a device absent from thekeyboard instrumentsof Bach\'s time (although the harpsichord was highly resonant), producing a sonority very different from the \"dry\" and often staccato sound favoured by pianistGlenn Gould. Moreover, in thefugues, he often plays onevoiceconsiderably louder than the others, a practice impossible on aharpsichord. According to some scholarship, this practice began in Beethoven\'s time (see, for example, Matthew Dirst\'s bookEngaging Bach). When justifying his interpretation of Bach, Barenboim claims that he is interested in the long tradition of playing Bach that has existed for two and a half centuries, rather than in the exact style of performance in Bach\'s time:The study of old instruments and historic performance practice has taught us a great deal, but the main point, the impact of harmony, has been ignored. This is proved by the fact that tempo is described as an independent phenomenon. It is claimed that one of Bach\'s gavottes must be played fast and another one slowly. But tempo is not independent! … I think that concerning oneself purely with historic performance practice and the attempt to reproduce the sound of older styles of music-making is limiting and no indication of progress. Mendelssohn and Schumann tried to introduce Bach into their own period, as did Liszt with his transcriptions and Busoni with his arrangements. In America Leopold Stokowski also tried to do it with his arrangements for orchestra. This was always the result of \"progressive\" efforts to bring Bach closer to the particular period. I have no philosophical problem with someone playing Bach and making it sound like Boulez. My problem is more with someone who tries to imitate the sound of that time…[31]Recordings[edit]In the beginning of his career, Barenboim concentrated on music of theclassical era, as well as someromanticcomposers. He made his first recording in 1954. Notable classical recordings include the complete cycles ofMozart,BeethovenandSchubert\'s pianosonatas, and Mozart\'s pianoconcertos(in the latter, taking part as both soloist and conductor). Romantic recordings includeBrahms\'s piano concertos (withJohn Barbirolli),Mendelssohn\'sSongs Without Words, andChopin\'snocturnes. Barenboim also recorded manychamberworks, especially in collaboration with his first wife,Jacqueline du Pré, the violinistItzhak Perlman, and the violinist and violistPinchas Zukerman. Noted performances include: the complete Mozart violin sonatas (with Perlman), Brahms\'s violin sonatas (live concert with Perlman, previously in the studio with Zukerman), Beethoven\'s and Brahms\'s cello sonatas (with du Pré), Beethoven\'s andTchaikovsky\'s pianotrios(with du Pré and Zukerman), andSchubert\'sTrout Quintet(with du Pré, Perlman, Zukerman, andZubin Mehta).Notable recordings as a conductor include: the completesymphoniesof Beethoven, Brahms,Bruckner, Schubert andSchumann, theDa Ponteoperas of Mozart, numerous operas byWagner, including the completeRing Cycle, and various concertos. Barenboim has written about his changing attitude to the music ofMahler;[32]he has recorded Mahler\'s Fifth, Seventh and Ninth symphonies andDas Lied von der Erde.He has also performed and recorded theConcierto de AranjuezbyRodrigoandVilla-Lobosguitar concerto withJohn Williamsas the guitar soloist.By the late 1990s, Barenboim had widened his concert repertoire, performing works bybaroqueas well astwentieth-centuryclassical composers. Examples include:J.S. Bach\'sThe Well-Tempered Clavier(which he has played since childhood) andGoldberg In addition, he turned to other musical genres, such asjazz,[33]and thefolk musicof his birthplace, Argentina. He conducted the 2006 New Year\'s Eve concert in Buenos Aires, in which tangos were played.[34]Barenboim has continued to perform and record chamber music, sometimes with members of the orchestras he has led. Some examples include theQuartet for the End of TimebyMessiaenwith members of theOrchestre de Parisduring his tenure there,Richard Strausswith members of the Chicago Symphony Orchestra, and the Clarinet Trio of Mozart with members of the Berlin Staatskapelle. *****Isaac Stern(Russian:Исаа́к Соломо́нович Штерн;Isaak Solomonovich Shtern; 21 July 1920 – 22 September 2001) was a Ukrainian-born American violinist and conductor.[1]Contents[hide]1 Biography2 Music career3 Ties to Israel4 Instruments5 Awards and commemoration6 Discography7 References8 Further reading9 External linksBiography[edit]Isaac Stern in 1975The son of Solomon and Clara Stern,[2]Isaac Stern was born into aVolhynian-Jewishfamily inKremenets(Krzemieniec), then in the short-livedUkrainian People\'s Republic(present day Ukraine). He was 14 months old when his family moved to San Francisco in 1921. He received his first music lessons from his mother. In 1928, he enrolled at theSan Francisco Conservatory of Music, where he studied until 1931 before going on to study privately withLouis Persinger.[3]He returned to the San Francisco Conservatory to study for five years withNaoum Blinder, to whom he said he owed the most.[4]At his public début on 18 February 1936, aged 15, he playedSaint-Saëns\'Violin Concerto No. 3 in B minorwith theSan Francisco Symphonyunder the direction ofPierre Monteux. Reflecting on his background, Stern once memorably quipped that cultural exchanges between the U.S. and Soviet Russia were simple affairs:\"They send us their Jews fromOdessa, and we send them our Jews from Odessa.\"[5]Stern toured theSoviet Unionin 1951, the first American violinist to do so. In 1967, Stern stated his refusal to return to the USSR until the Soviet regime allowed artists to enter and leave the country freely. His only visit to Germany was in 1999, for a series of master classes, but he never performed publicly in Germany.[2]Stern was married three times. His first marriage, in 1948 to ballerinaNora Kaye, ended in divorce after 18 months, but the two of them subsequently remained friends.[6]On 17 August 1951, he married Vera Lindenblit. They had three children together, including conductorsMichaelandDavid Stern. Their marriage ended in divorce in 1994 after 43 years. In 1996, Stern married his third wife, Linda Reynolds. His third wife, his three children, and his five grandchildren survived him.[2]Music career[edit]In 1940, Stern began performing with Russian-born pianistAlexander Zakin, collaborating until 1977.[7]Within musical circles, Stern became renowned both for his recordings and for championing certain younger players. Among his discoveries were cellistsYo-Yo MaandJian Wang, and violinistsItzhak PerlmanandPinchas Zukerman. In the 1960s, he also played a major role in saving New York City\'sCarnegie Hallfrom demolition, by organising the Citizens\' Committee to Save Carnegie Hall. Following the purchase of Carnegie Hall by New York City, the Carnegie Hall Corporation was formed, and Stern was chosen as its first president, a title he held until his death.[2]Carnegie Hall later named its main auditorium in his honor.[8]Among Stern\'s many recordings are concertos andVivaldiand modern works andDutilleux. The Dutilleux concerto, entitledL\'arbre des songes[\"The Tree of Dreams\"] was a 1985 commission by Stern himself. He alsodubbedactors\' violin-playing in several films, such asFiddler on the Roof.Stern served as musical advisor for the 1946 film,Humoresque, about a rising violin star and his patron, played respectively byJohn GarfieldandJoan Crawford. He was also the featured violin soloist on the soundtrack for the 1971 film ofFiddler on the Roof.[9]In 1999, he appeared in the filmMusic of the Heart, along withItzhak Perlmanand several other famed violinists, with a youth orchestra led byMeryl Streep(the film was based on the true story of a gifted violin teacher inHarlemwho eventually took her musicians to play a concert in Carnegie Hall).In his autobiography, co-authored withChaim Potok,My First 79 Years, Stern citedNathan MilsteinandArthur Grumiauxas major influences on his style of playing.He won Grammys for his work withEugene IstominandLeonard Rosein their famous chamber music trio in the 1960s and \'70s, while also continuing his duo work with Alexander Zakin during this time. Stern recorded a series of piano quartets in the 1980s and 1990s withEmanuel Ax,Jaime Laredoand Yo-Yo Ma, including those ofMozart,Beethoven,SchumannandFauré, winning anotherGrammyin 1992 for theBrahmsquartets Opp. 25 and 26.In 1979, seven years afterRichard Nixonmade thefirst official visitby a US President to the country,the People\'s Republic of Chinaoffered Stern and pianistDavid Goluban unprecedented invitation to tour the country. While there, he collaborated with the China Central Symphony Society (now China National Symphony) under the direction of conductorLi Delun. Their visit was filmed and resulted in theOscar-winning documentary,From Mao to Mozart: Isaac Stern in China.Ties to Israel[edit]Stern maintained close ties withIsrael. Stern began performing in the country in 1949.[1]In 1973, he performed for wounded Israeli soldiers during theYom Kippur War. During the 1991Gulf Warand Iraq\'sScud missileattacks on Israel, he played in theJerusalem Theater. During his performance, an air raid siren sounded, causing the audience to panic. Stern then stepped onto the stage and began playing a movement ofBach. The audience then calmed down, donned gas masks, and sat throughout the rest of his performance.[10]Stern was a supporter of several educational projects in Israel, among them the America-Israel Foundation and theJerusalem Music Center.[1]Instruments[edit]Stern\'s favorite instrument was theYsaÿe Guarnerius, one of the violins produced by theCremoneseluthierGiuseppe Guarneri del Gesù.[11]It had previously been played by the violin virtuoso and composerEugène Ysaÿe.Among other instruments, Stern played the \"Kruse-Vormbaum\"Stradivarius(1728), the \"ex-Stern\" Bergonzi (1733), the \"Panette\" Guarneri del Gesù (1737), a Michele Angelo Bergonzi (1739–1757), the \"Arma Senkrah\" Guadagnini (1750), a Giovanni Guadagnini (1754), aJ. B. Vuillaumecopy of the \"Panette\" Guarneri del Gesu of 1737 (c.1850), and the \"ex-Nicolas I\" J.B. Vuillaume (1840). He also owned two contemporary instruments bySamuel Zygmuntowicz.In 2001, Stern\'s collection of instruments, bows and musical ephemera was sold throughTarisio sales. The May 2003 sale set a number of world records and was at the time the second highest grossing violin sale of all time, with total sales of over $3.3M.[12]