1967 Jackie DU PRE Cello CONCERT PROGRAM Photo ISRAEL IPO Beethoven SAINT-SAENS
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1967 Jackie DU PRE Cello CONCERT PROGRAM Photo ISRAEL IPO Beethoven SAINT-SAENS:
$175.00
DESCRIPTION: Up for sale is theoriginalEXTREMELY RARE VintageCONCERTPOSTERof the renownedJEWISHCELLISTJacqueline( Jackie ) DU PRE.TheCELLOCONCERT took place in June 11th 1967 in ISRAE, Right after the great victory of Israel in the SIX DAYS WAR ( Actualy one day after the war which ended on June 10th ). It was a \"FESTIVE CONCERT in HONOUR of the ISRAEL DEFENCE FORCES ( IDF ) \" . Very youngDUPREwas then only 22 years of age. Under the baton of ZUBIN MEHTA, YoungJACKIE with theIPO andDANIEL BARENBOIMplayed pieces byBEETHOVEN andSAINT-SAENS . Around 27x19 \" . Hebrew & English. Illustrated SC. Around6.5x9.5 \" . 8 pp except the covers. Hebrew &English. PHOTOS. Excellent - Pristine condition. ( Pls look at scan foraccurate AS IS images )Will be sent inside a protectiverigidpackaging .
PAYMENTS: Payment method accepted : Paypal .SHIPPMENT:SHIPP worldwide via registered airmail is $ 18 .Will be sent insidea protective envelope . Willbe sent within3-5 days after payment .Kindly note that duration of Int\'l registered airmail is around 14 days.
MORE DETAILS :Jacqueline Mary du Pré OBE (26 January 1945– 19 October 1987) was a British cellist. She is particularly associated with Elgar\'s Cello Concerto in E Minor; her interpretation has been described as \"definitive\" and \"legendary.\"[1] Her career was cut short by multiple sclerosis, which forced her to stop performing at 28 and led to her premature death. Posthumously, she was also the subject of a cinematic film Hilary and Jackie (based on her siblings\' memoir, A Genius in the Family) that was factually controversial and criticized for sensationalising her private life Early years Du Pré was born in Oxford, England, the second child of Derek and Iris du Pré. Derek was born in Jersey, where his family had lived for generations. After working as an accountant at Lloyds Bank in St Helier and London, he became assistant editor and later editor of The Accountant. Iris Greep du Pré was a talented concert pianist who taught at the Royal Academy of Music.[2] At the age of four du Pré is said to have heard the sound of the cello on the radio and asked her mother for \"one of those.\" She began with lessons from her mother, who composed little pieces accompanied by illustrations, before beginning study at the London Violoncello School at age five. Her first teacher was Alison Dalrymple. She attended Croydon High School, an independent day school for girls in South Croydon. From an early age, du Pré was entering and winning local music competitions alongside her sister, flautist Hilary du Pré. Her main teacher from 1955 to 1961, both privately and at the Guildhall School of Music in London, was the celebrated cellist William Pleeth. In 1960 she won the Gold Medal of the Guildhall School of Music and Drama and the same year participated in a Pablo Casals masterclass in Zermatt, Switzerland. In 1962 she undertook short-term studies with Paul Tortelier in Paris, and in 1966 with Mstislav Rostropovich in Russia. Rostropovich was so impressed with his young pupil that at the end of his tutorship he declared her \"the only cellist of the younger generation that could equal and overtake [his] own achievement.\"[3]Career In March 1961, at age 16, du Pré made her formal début, at Wigmore Hall, London. She was accompanied by Ernest Lush, and played sonatas by Handel, Brahms, Debussy and de Falla, and a solo cello suite by Bach. She made her concerto début on 21 March 1962 at the Royal Festival Hall playing the Elgar Cello Concerto with the BBC Symphony Orchestra under Rudolf Schwarz. She performed at the Proms in 1963, playing the Elgar Concerto with Sir Malcolm Sargent. Her performance of the concerto proved so popular that she returned three years in succession to perform the work. At her 3 September 1964 Prom Concert, she performed the Elgar concerto as well as the world premiere of Priaulx Rainier\'s Cello Concerto. Du Pré became a favourite at the Proms, performing every year until 1969. In 1965, at age 20, du Pré recorded the Elgar Concerto for EMI with the London Symphony Orchestra and Sir John Barbirolli, which brought her international recognition. This recording has become the benchmark reference for the work, and one which has never been out of print since its release. Du Pré also performed the Elgar with the BBC Symphony Orchestra under Antal Doráti for her United States début, at Carnegie Hall on 14 May 1965. Du Pré performed with several prestigious orchestras, including the Berlin Philharmonic Orchestra, London Symphony, London Philharmonic, New Philharmonia Orchestra, BBC Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, Israel Philharmonic, and the Los Angeles Philharmonic Orchestra. She regularly performed with such famous conductors as Barbirolli, Sargent, Sir Adrian Boult, Daniel Barenboim, Zubin Mehta and Leonard Bernstein. Du Pré primarily played on two Stradivarius cellos, one from 1673 and the so-called Davidov Stradivarius of 1712. Both instruments were gifts from her godmother, Ismena Holland. She performed with the 1673 Stradivarius from 1961 until 1964, when she acquired the Davidov. Many of her most famous recordings were made on this instrument, including the Elgar Concerto with Barbirolli, the Robert Schumann Cello Concerto with Barenboim and the two Brahms cello sonatas. From 1969 to 1970 she (like Casals before her) played on a Francesco Goffriller cello, and in 1970 acquired a modern instrument from the Philadelphia violin maker Sergio Peresson. It was the Peresson cello that du Pré played for the remainder of her career until 1973, using it for a second, live, recording of the Elgar Concerto, and her last studio recording, of Frédéric Chopin\'s Cello Sonata in G minor and César Franck\'s Violin Sonata in A arranged for cello, in December 1971. Her friendship with musicians Yehudi Menuhin, Itzhak Perlman, Zubin Mehta and Pinchas Zukerman, and her marriage to Daniel Barenboim, led to many memorable chamber-music performances. In a book review for two biographies about the cellist, the former wife of Zukerman judged du Pré \"one of the most stunningly gifted musicians of our time\".[4] The 1969 performance at the Queen Elizabeth Hall in London of the Schubert Piano Quintet in A major, \"The Trout\", was the basis of a film, The Trout, by Christopher Nupen. Nupen made other films featuring du Pré, including Jacqueline du Pré and the Elgar Cello Concerto, a documentary featuring a live performance of the Elgar; and The Ghost, with Barenboim and Zukerman in a performance of the \"Ghost\" Piano Trio in D major, by Beethoven. Multiple sclerosis In 1971, du Pré’s playing began to decline irreversibly as she started to lose sensitivity in her fingers and other parts of her body. She was diagnosed with multiple sclerosis in October 1973. Her last recording, of sonatas by Chopin and Franck (the latter originally for violin) was made in December 1971. She went on sabbatical from 1971 to 1972, and performed only rarely. She started performing again in 1973, but by then her condition had become severe. For her January tour of North America, some of the less-than-complimentary reviews were an indication that her condition had worsened except for brief moments when her playing was without noticeable problems. Her last London concerts were in February 1973, including the Elgar Concerto with Zubin Mehta and the New Philharmonia Orchestra. Her last public concerts took place in New York in February 1973: four performances of the Brahms Double Concerto with Pinchas Zukerman and Leonard Bernstein conducting the New York Philharmonic were scheduled. Du Pré recalled that she had problems judging the weight of the bow, and just opening the cello case had become difficult. As she had lost sensation in her fingers, she had to coordinate her fingering visually. She played only three of the four concerts, cancelling the last, in which Isaac Stern took her place on the program with Felix Mendelssohn\'s Violin Concerto. Du Pré died in London on 19 October 1987 at 42, and is buried in Golders Green Jewish Cemetery. The Vuitton Foundation purchased her Davidov Stradivarius for just over £1million, and made it available on loan to Yo-Yo Ma. Russian cellist Nina Kotova now owns the 1673 Stradivarius, named by Lynn Harrell the du Pré Stradivarius in tribute.[5] Her 1970 Peresson cello is currently on loan to cellist Kyril Zlotnikov of the Jerusalem Quartet.[6]Personal life Jacqueline du Pré met pianist Daniel Barenboim on New Year\'s Eve 1966. Shortly after the end of the Six-Day War, she cancelled all her existing engagements (antagonizing promoters)[7] and they flew to Jerusalem. She converted to Judaism, and they were married on 15 June 1967[8] at the Western Wall.[9] Du Pré’s sister Hilary married conductor Christopher \"Kiffer\" Finzi, and the couple had four children. The posthumous memoir A Genius in the Family by Jacqueline\'s siblings Hilary and Piers (later renamed Hilary and Jackie), published well after her death, alleges that she had an extramarital affair with \"Kiffer\" Finzi, her own sister\'s husband, from 1971 to 1972 when she was visiting Hilary\'s family. Hilary\'s claims about the event are, however, rejected as factually faulty by Clare Finzi, the daughter of \"Kiffer\" and Hilary. The memoir\'s content in general remains factually unsupported and disputed, and contains significant omissions.[10] The memoir\'s actual description of events is extremely ambiguous, and describes Jacqueline\'s sudden request for sexual \'therapy sessions\' as occurring within a period of extreme mental depression. The unusual depression (deemed an early symptom of multiple sclerosis[11]) also coincided with a long period in which \"Kiffer\" Finzi took the initiative in verbally comforting Jacqueline. Hilary claims that she was helping her sister though her mental depression. She also argues, however, that she was victimized by her sister\'s demands, and concludes that her sister had a desire for her husband.[12] The memoir\'s claims are rejected by Hilary\'s daughter, Clare Finzi, who alleges that her father was a serial adulterer who had seduced her emotionally vulnerable aunt in a time of great need to gratify his own ego. The memoir disseminated the general claim of an extramarital affair despite ambiguity over its possible psychological basis. The posthumous allegation of an \"affair\", combined with Hilary\'s claim to be victimized, inevitably generated a controversy over Jacqueline du Pré\'s personal life.[13] The film dramatization Hilary and Jackie, supported by Hilary Finzi, changes the story line of the memoir on several key factual points,[14] and has been criticized by some for imposing a scandal on Jacqueline\'s personal life.[15]Controversial book and film The posthumous memoir A Genius in the Family by Hilary and Piers du Pré later became the subject of the 1998 film adaptation Hilary and Jackie, directed by Anand Tucker, that in turn promoted the popularity of the memoir. Both the book and film adaptation have been variously criticized for imposing a scandal on Jacqueline du Pré\'s personal life on insufficient grounds, although the general claim of an affair was subsequently disseminated by secondary sources. Clare Finzi, Hilary\'s daughter, charged that the film was a \"gross misinterpretation which I cannot let go unchallenged.\"[15] The film adaptation portrays Jacqueline from Hilary\'s hostile point of view before moving to a fictional, conjured-up point of view from her own perspective. The film adaptation is factually incorrect and also diverges from the book\'s account of events, portraying Jacqueline as being predatory and actively planning to seduce her sister\'s husband.[16] The director of the film, Anand Tucker, defends the film\'s public exposure of an alleged affair by arguing that extant alternatives amount to canonization or hagiography, and that he was \"deeply moved [by] Hilary\'s sacrifice\". The film and book were widely defended holistically, in terms of how deeply moving the entire story was despite fictional content regarding aspects of Jacqueline\'s personality and how events actually transpired.[17]The scope of both film and memoir were compromised by the facts that Hilary didn\'t maintain continuous contact with Jacqueline after childhood, and that Jacqueline chose to surround herself with friends rather than siblings as death approached. Writing in The Guardian, however, Hilary defended the film\'s depiction of events and her sister\'s personality, arguing that it accurately portrayed her darker side, the \"MS side\"; and in The New Yorker she argued that detractors simply \"want to look only at the pieces of Jackie\'s life they [are ready to] accept\".[18][19] According to Hilary, \"[t]he ravages of MS changed Jackie\'s personality. The Jackie I knew and loved died years before her actual death in 1987, but to be truthful I had to show the MS side of her\", thus directly contradicting the testimony of others such as Christopher Nupen, who hold that Jacqueline\'s struggle with multiple sclerosis was more complex, with long periods of sustained normality even to the very end.[20]Honours and awards Du Pré received several fellowships from music academies and honorary doctorate degrees universities for her outstanding contributions to music in general and her instrument in particular. In 1956, at age 11, she was the second recipient (after Rohan de Saram in 1955) of the prestigious Guilhermina Suggia Award, and remains the youngest recipient. In 1960, she won the Gold Medal of the Guildhall School of Music in London and the Queen\'s Prize for British musicians. She was appointed an Officer of the Order of the British Empire in the 1976 New Year Honours.[21] At the 1977 BRIT Awards, she won the award for the best classical soloist album of the past 25 years for Elgar\'s Cello Concerto.[citation needed] After her death, a rose cultivar named after her received the Award of Garden Merit from the Royal Horticultural Society.[22] She was made an honorary fellow of St Hilda\'s College, Oxford, whose music building bears her name. In 2012, she was voted into the first Gramophone Hall of Fame Selected discography Elgar: Cello Concerto / Sea Pictures / Cockaigne (In London Town) Overture. Janet Baker. London Symphony Orchestra/Sir John Barbirolli (EMI 0724356288720) Brahms: Cello Sonatas. Daniel Barenboim (EMI 0724356275829) Haydn: Cello Concertos Nos. 1 & 2/ Boccherini: Cello Concerto in B flat (arr. Grützmacher). English Chamber Orchestra/Daniel Barenboim. London Symphony Orchestra/Sir John Barbirolli (EMI 0724356694828) Beethoven: Piano Trios Opp. 1 & 97 / Variations and Allegrettos. Daniel Barenboim, Pinchas Zukerman (EMI 0094635079821) Beethoven: Piano Trio Op. 70/Cello Sonatas Nos. 3 & 5. Daniel Barenboim, Pinchas Zukerman (Trio), Stephen Kovacevich (sonatas) (EMI 0094635080728) Jacqueline du Pré– The Early BBC Recordings (EMI 0724358623628) Beethoven: Cello Sonatas. Daniel Barenboim (EMI 0724358624229) Beethoven Cello Sonatas, No. 3 in A, Op. 69; No. 5 in D, Op. 102; No. 2 (Angel 36384) Brahms/Chopin/Franck:Cello Sonatas. Daniel Barenboim (EMI 0724358623321) Dvořák: Cello Concerto in B minor/Schumann:Cello Concerto in A Minor; New Philharmonia Orchestra[disambiguation needed], Chicago Symphony Orchestra/Daniel Barenboim (EMI 0724356280526) The Complete EMI Recordings (17 discs). Various co-performers (EMI 5099950416721) On DVD Remembering Jacqueline du Pré (1994), directed by Christopher Nupen Jacqueline du Pré in Portrait (2004), directed by Christopher Nupen The Trout (1970 documentary released on DVD in 2005), directed by Christopher Nupen Jacqueline du Pré: A Celebration of Her Unique and Enduring Gift (2007), directed by Christopher Nupen Hilary and Jackie (1998), dramatised portrait directed by Anand TuckerBibliography Wilson, Elizabeth A. M. (1999). Jacqueline du Pré: Her Life, Her Music, Her Legend. London: Faber and Faber. ISBN0-571-20017-6. Easton, Carol (2000). Jacqueline du Pré: A Biography. Cambridge: Da Capo Press. ISBN0-306-80976-1. Du Pré, Piers; du Pré, Hilary (1997). A Genius in the Family: Intimate Memoir of Jacqueline du Pré. London: Sinclair-Stevenson. ISBN1-85619-753-0. ****** Daniel Barenboim, KBE (born 15 November 1942) is an Israeli Argentine-born pianist and conductor. He has served as music director of several major symphonic and operatic orchestras and made numerous recordings. Currently, he is general music director of La Scala in Milan,[1] the Berlin State Opera, and the Staatskapelle Berlin; he previously served as Music Director of the Chicago Symphony Orchestra and the Orchestre de Paris. Barenboim is also known for his work with the West-Eastern Divan Orchestra, a Seville-based orchestra of young Arab and Israeli musicians, and as an outspoken critic of the Israeli occupation of Palestinian territories. Barenboim has received many awards and prizes, including an honorary Knight Commander of the Order of the British Empire,[2] France\'s Légion d\'honneur both as a Commander and Grand Officier, the German Großes Bundesverdienstkreuz and Willy Brandt Award,[3] and, together with the Palestinian-American scholar Edward Said, Spain\'s Prince of Asturias Concord Award. He has won seven Grammy awards for his work and discography Biography Daniel Barenboim was born in Buenos Aires, Argentina, to parents of Russian Jewish descent. 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.[4]In 1952, Barenboim moved to Israel with his family. Two years later, in the summer of 1954, his parents took him to Salzburg to take part in Igor Markevitch\'s conducting classes. During that summer he also met and played for Wilhelm Furtwängler, who has remained a central musical influence and ideal for Barenboim.[5] Furtwängler called the young Barenboim a \"phenomenon\" and invited him to perform the Beethoven First Piano Concerto with the Berlin Philharmonic, but Barenboim\'s father considered it too soon after the Second World War for a child of Jewish parents to be performing in Berlin.[6] In 1955 Barenboim studied harmony and composition with Nadia Boulanger in Paris.[4]On 15 June 1967, Barenboim and British cellist Jacqueline du Pré were married in Israel at a Western Wall ceremony, du Pré having converted to Judaism.[7] Acting as one of the witnesses was the conductor Zubin 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.[8] Du Pré retired from music in 1973, after being diagnosed with multiple sclerosis (MS). The marriage lasted until du Pré\'s death in 1987. In the early 1980s, Barenboim began a relationship with the Russian pianist Elena Bashkirova, with whom he has two sons born in Paris prior to du Pré\'s death: David Arthur, born 1983, and Michael, born 1985. Barenboim tried to keep his relationship with Bashkirova hidden from du Pré and believed he had succeeded. He and Bashkirova married in 1988. Their son David is a manager-writer for the German hip-hop band Level 8, and Michael is a classical violinist.[9]Barenboim holds citizenship of Argentina, Israel, Palestine[10] and Spain. He lives in Berlin.[11]Career After performing in Buenos Aires, Barenboim made his international debut as a pianist in 1952 in Vienna and Rome. In 1955 he performed in Paris, in 1956 in London, and in 1957 in New York under the baton of Leopold 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 in Jerusalem, Tel Aviv, Haifa and Beer Sheva before and during the Six Day War.[12]His friendship with musicians Itzhak Perlman, Zubin Mehta, and Pinchas Zukerman, and marriage to du Pré led to the 1969 film by Christopher Nupen of their Schubert \"Trout\" Quintet.[13]Following his debut as a conductor with the English Chamber Orchestra in Abbey 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 the Orchestre de Paris, where he conducted much contemporary music. Barenboim made his opera conducting debut in 1973 with a performance of Mozart\'s Don Giovanni at the Edinburgh Festival. He made his debut at Bayreuth in 1981, conducting there regularly until 1999. In 1988 he was appointed artistic and musical director of the Opera-Bastille in Paris, scheduled to open in 1990, but was fired in January 1989 by the opera\'s chairman Pierre Bergé.[14] Barenboim was then appointed music director of the Chicago Symphony Orchestra, a post he held until 17 June 2006. 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.[9]Since 1992 he has been music director of the Staatsoper Unter den Linden (Berlin State Opera) and the Berlin Staatskapelle, succeeding in maintaining the independent status of the Staatsoper. He has tried to maintain the orchestra\'s traditional sound and style.[15] In autumn 2000 he was made conductor for life of the Berlin Staatskapelle.[16] On 15 May 2006 Barenboim was named principal guest conductor of La Scala opera house, in Milan, after Riccardo Muti\'s resignation.[17] In October 2011 he took over as music director,[1] lining up a starry opening cast in Mozart\'s Don Giovanni.[18]In 2006, Barenboim was the BBC Reith Lecturer, giving five lectures called \'In the Beginning was Sound\' from London, Chicago, Berlin, and twice from Jerusalem in which he meditated on music.[19] In the autumn of 2006, Barenboim gave the Charles Eliot Norton Lectures at Harvard University entitled \'Sound and Thought\'.[20]In November 2006, Lorin Maazel submitted Barenboim\'s name as his nominee to succeed him as the NYP\'s music director.[21] 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\",[22] repeating his lack of interest in the New York Philharmonic\'s music directorship or their newly created principal conductor position in April 2007.[23] Barenboim made his conducting debut at the Metropolitan Opera in New York for the House\'s 450th performance of Wagner\'s Tristan und Isolde on 28 November 2008. In 2009, he conducted the New Year Concert of the Vienna Philharmonic.[24] In his New Year message, he expressed the hope that 2009 will be a year for peace and for human justice in the Middle East.[25] Musical style Barenboim has rejected musical fashions based on current musicological research, such as the authentic performance movement. An example is his recording of Beethoven\'s symphonies showing his preference for some conventional practices, rather than fully adhering to Bärenreiter\'s new edition (edited by Jonathan Del Mar).[26] Barenboim has opposed the practice of choosing the tempo of a piece based on historical evidence, such as composer metronome marks. He argues instead for finding the tempo from within the music, especially from its harmony and harmonic rhythm. The general tempi chosen in his recording of Beethoven\'s symphonies, reflecting this belief, usually adhere to early-twentieth-century practices, and are not influenced by faster tempos chosen by other conductors such as David Zinman and authentic movement advocate Roger Norrington. In Barenboim\'s recording of the Well-Tempered Clavier he makes frequent use of the right-foot sustaining pedal, a device absent from the keyboard instruments of Bach\'s time (although the harpsichord was highly resonant), producing a sonority very different from the \"dry\" and often staccato sound favored by pianist Glenn Gould. Moreover, in the fugues, one voice is often played considerably louder than the others, a practice impossible on a harpsichord, which according to some scholarship, began in Beethoven\'s time (see, for example, Matthew Dirst\'s book The Iconic 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 that existed 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...[27]Barenboim\'s performances have been criticized. Among musicians, he has a reputation for arrogance and aloofness. Reviews of his work often cite inconsistencies in interpretation and tempo.[28] Recordings In the beginning of his career, Barenboim concentrated on music of the classical era, as well as some romantic composers. He made his first recording in 1954. Notable classical recordings include the complete cycles of Mozart\'s and Beethoven\'s piano sonatas, and Mozart\'s piano concertos (in the latter, taking part as both soloist and conductor). Romantic recordings include Brahms\'s piano concertos (with John Barbirolli), Mendelssohn\'s Lieder ohne Worte, and Chopin\'s nocturnes. Barenboim also recorded many chamber works, especially in collaboration with his first wife, Jacqueline du Pré, the violinist Itzhak Perlman, and the violinist and violist Pinchas 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 and Tchaikovsky\'s piano trios (with du Pré and Zukerman), and Schubert\'s Trout Quintet (with du Pré, Perlman, Zukerman, and Zubin Mehta). Notable recordings as a conductor include: the complete symphonies of Beethoven, Brahms, Bruckner, Schubert and Schumann, the Da Ponte operas of Mozart, numerous operas by Wagner, including the complete Ring Cycle, and various concertos. Barenboim has written about his changing attitude to the music of Gustav Mahler;[29] he has recorded Mahler\'s Fifth, Seventh and Ninth Symphonies and Das Lied von der Erde. He has also performed and recorded the Concierto de Aranjuez by Joaquín Rodrigo and Heitor Villa-Lobos guitar concerto with John Williams as the guitar soloist. By the late 1990s, Barenboim had widened his concert repertoire, performing works by baroque as well as twentieth-century classical composers. Examples include: Bach\'s Well-Tempered Clavier (which he has played since childhood) and Goldberg Variations, Albeniz\'s Iberia, and Debussy\'s preludes. In addition, he turned to other musical genres, such as jazz,[30] and the folk music of his birthplace, Argentina. He conducted the 2006 New Year\'s Eve concert in Buenos Aires, in which tangos were played.[31]Barenboim has continued to perform and record chamber music, sometimes with members of the orchestras he has led. Some examples include the Quartet for the End of Time by Messiaen with members of the Orchestre de Paris during his tenure there, Richard Strauss with members of the Chicago Symphony Orchestra during his tenure there, and the Clarinet Trio of Mozart with members of the Berlin Staatskapelle. Conducting Wagner in Israel The Israel Philharmonic Orchestra had performed Wagner\'s music in Palestine even during the early days of the Nazi era.[32] But after the Kristallnacht,[33] Jewish musicians avoided playing Wagner\'s music in Israel because of the use Nazi Germany made of the composer and because of Wagner\'s own anti-Semitic writings,[34] following an unofficial boycott. This informal ban continued when Israel was founded in 1948, but from time to time unsuccessful efforts were made to end it.[35] In 1974,[36] and again in 1981, Zubin Mehta planned to lead the Israel Philharmonic Orchestra in works of Wagner. During the latter occasion, fist fights broke out in the audience and the music was not played.[37]Barenboim, who had been selected to head the production of Wagner\'s operas at the 1988 Bayreuth Festival,[38] had since at least 1989 publicly opposed the Israeli ban. In that year, he had the Israel Philharmonic \"rehearse\" two of Wagner\'s works.[39] In a conversation with Edward Said, Barenboim said that \"Wagner, the person, is absolutely appalling, despicable, and, in a way, very difficult to put together with the music he wrote, which so often has exactly the opposite kind of feelings ... noble, generous, etc.\" He called Wagner\'s anti-Semitism obviously \"monstrous,\" and feels it must be faced, and argues that \"Wagner did not cause the Holocaust.\" In 1990, Barenboim conducted the Berlin Philharmonic Orchestra in its first appearance in Israel, but he excluded Wagner\'s works. \"Although Wagner died in 1883, he is not played [in Israel] because his music is too inextricably linked with Nazism, and so is too painful for those who suffered,\" Barenboim told a reporter. \"Why play what hurts people?\"[40] Not long afterwards, it was announced that Barenboim would lead the Israel Philharmonic in two Wagner overtures,[41] which took place on 27 December \"before a carefully screened audience.\"[42]In 2000, the Israel Supreme Court upheld the right of the Rishon LeZion Orchestra to perform Wagner\'s Siegfried Idyll.[43] At the Israel Festival in Jerusalem in July 2001, Barenboim had scheduled to perform the first act of Die Walküre with three singers, including tenor Plácido Domingo. However, strong protests by some Holocaust survivors, as well as the Israeli government, led the festival authorities to ask for an alternative program. (The Israel Festival\'s Public Advisory board, which included some Holocaust survivors, had originally approved the program.)[44] The controversy appeared to end in May, after the Israel Festival announced that a selection by Wagner would not be included at the 7 July concert.[45] Barenboim agreed to substitute music by Robert Schumann and Igor Stravinsky. However, at the end of the concert with the Berlin Staatskapelle, Barenboim announced that he would like to play Wagner as a second encore and invited those who objected to leave, saying, \"Despite what the Israel Festival believes, there are people sitting in the audience for whom Wagner does not spark Nazi associations. I respect those for whom these associations are oppressive. It will be democratic to play a Wagner encore for those who wish to hear it. I am turning to you now and asking whether I can play Wagner.\" A half-hour debate ensued, with some audience members calling Barenboim a \"fascist.\" In the end, a small number of attendees walked out and the overwhelming majority remained, applauding loudly after the performance of the Tristan und Isolde overture.[46]In September 2001, a public relations associate for the Chicago Symphony Orchestra, where Barenboim was the Music Director, revealed that season ticket holders were about evenly divided about the wisdom of Barenboim\'s decision to play Wagner in Jerusalem.[47]Barenboim regarded the performance of Wagner at the 7 July concert as a political statement, and said he had decided to defy the ban on Wagner when a news conference he held the previous week was interrupted by the ringing of a mobile phone to the tune of Wagner\'s Ride of the Valkyries.[48] \"I thought if it can be heard on the ring of a telephone, why can\'t it be played in a concert hall?\" he said.[49]A Knesset committee subsequently called for Barenboim to be declared a persona non grata in Israel until he apologized for conducting Wagner\'s music.[50] The move was condemned by the musical director of the Israel Philharmonic Orchestra Zubin Mehta and members of Knesset.[51] Prior to receiving the $100,000 Wolf Prize, awarded annually in Israel, Barenboim said, \"If people were really hurt, of course I regret this, because I don’t want to harm anyone.\"[52]In 2005, Barenboim gave the inaugural Edward Said Memorial Lecture at Columbia University, entitled, \"Wagner, Israel and Palestine\".[53] During the two-hour speech, Barenboim \"compared Herzl\'s ideas to Wagner\'s; criticized Palestinian terrorist attacks but also justified them; and said Israeli actions contributed to the rise of international anti-Semitism.\"[54]In 2010, before conducting Wagner\'s Die Walküre for the gala premiere of La Scala\'s season in Milan, he said that the perception of Wagner was unjustly influenced by the fact that he was Hitler\'s favorite composer: \"I think a bit of the problem with Wagner isn\'t what we all know in Israel, anti-Semitism, etc... It is how the Nazis and Hitler saw Wagner as his own prophet... This perception of Hitler colors for many people the perception of Wagner... We need one day to liberate Wagner of all this weight.\"[55]Over the years observers of the Wagner battle have weighed in on both sides of the issue.[56] Barenboim, a supporter of Palestinian rights, is an outspoken critic of Israel\'s conservative governments and the Israeli occupation of the Palestinian territories. In an interview with the British music critic Norman Lebrecht in 2003, Barenboim accused Israel of behaving in a manner which was, \"morally abhorrent and strategically wrong\", and, \"putting in danger the very existence of the state of Israel.\"[57] In 1967, at the start of the Six-Day War, Barenboim and du Pré had performed for the Israeli troops on the front lines, as well as during the Yom Kippur war in 1973. During the Gulf War, he and an orchestra performed in Israel in gas masks.[58]West-Eastern Divan In 1999, Barenboim and Palestinian-American intellectual Edward Said jointly founded the West-Eastern Divan orchestra.[59][60] It is an initiative to bring together, every summer, a group of young classical musicians from Israel, the Palestinian territories and Arab countries to promote mutual reflection and understanding.[61][62][63] Barenboim and Said were recipients of the 2002 Prince of Asturias Awards for their work in \"improving understanding between nations.\" Together they wrote the book Parallels and Paradoxes, based on a series of public discussions held at New York\'s Carnegie Hall.[64]In September 2005, presenting the book written with Said, Barenboim refused to be interviewed by uniformed Israel Defense Forces Radio reporter Dafna Arad, considering the wearing of the uniform insensitive for the occasion. In response, Israeli Education Minister Limor Livnat of the Likud party called him \"a real Jew hater\" and \"a real anti-Semite\".[65]After being invited for the fourth time to the Doha Festival for Music and Dialogue with the West-Eastern Divan Orchestra in 2012, Barenboim\'s invitation was cancelled by the authorities because of “Sensitivity to the developments in the Arab world” after a campaign in the media against him,[66] accusing him of “being a Zionist”.[67]In July 2012, Barenboim and the orchestra played a pivotal role at the BBC Proms, performing a cycle of Beethoven\'s nine symphonies, the ninth timed to coincide with the opening of the London 2012 Olympic Games.[68] In addition he was an Olympic Flag carrier at the opening ceremony of the Games, credited for bringing \"harmony in place of discord\". Wolf Prize In May 2004, Barenboim was awarded the Wolf Prize at a ceremony at the Israeli Knesset. Education Minister Livnat held up the nomination until Barenboim apologized for his performance of Wagner in Israel.[69] Barenboim called Livnat\'s demand \"politically motivated\", adding \"I don\'t see what I need to apologize about. If I ever hurt a person privately or in public, I am sorry, because I have no intention of hurting people...\", which was good enough for Livnat,[70] but the ceremony was boycotted by Knesset Speaker Reuven Rivlin, also a member of the Likud party.[71] In his acceptance speech, Barenboim took the opportunity to express his opinions on the political situation, referring to the Israeli Declaration of Independence in 1948: \"I am asking today with deep sorrow: Can we, despite all our achievements, ignore the intolerable gap between what the Declaration of Independence promised and what was fulfilled, the gap between the idea and the realities of Israel? Does the condition of occupation and domination over another people fit the Declaration of Independence? Is there any sense in the independence of one at the expense of the fundamental rights of the other? Can the Jewish people whose history is a record of continued suffering and relentless persecution, allow themselves to be indifferent to the rights and suffering of a neighboring people? Can the State of Israel allow itself an unrealistic dream of an ideological end to the conflict instead of pursuing a pragmatic, humanitarian one based on social justice?\"[72]Israel\'s President Moshe Katsav and Education Minister Livnat criticized Barenboim for his speech. Livnat accused him of attacking the state of Israel, to which Barenboim replied that he had not done so, but that he instead had merely cited the text of the Israeli Declaration of Independence.[73] In March 2007, Barenboim said: \"The whole subject of Wagner in Israel has been politicized and is a symptom of a malaise that goes very deep in Israeli society...\"[74]Performing in the West Bank and Gaza Strip Barenboim has performed several times in the West Bank, in 1999 at Bir Zeit University and several times in Ramallah.[75]In December 2007, Barenboim and 20 musicians from England, the United States, France and Germany, and one Palestinian were scheduled to play a baroque music concert in Gaza.[76] Although they had received authorization from Israeli authorities, the Palestinian was stopped at the Israel-Gaza border and told that he needed individual permission to enter.[76] The group waited seven hours at the border, and then canceled the concert in solidarity.[76] Barenboim commented: \"A baroque music concert in a Roman Catholic church in Gaza – as we all know – has nothing to do with security and would bring so much joy to people who live there in great difficulty.\"[76]In January 2008, after performing in Ramallah, Barenboim accepted honorary Palestinian citizenship, becoming the first Jewish Israeli citizen to be offered the status. Barenboim said he hoped it would serve as a public gesture of peace.[77] Some Israelis criticized Barenboim\'s decision to accept Palestinian citizenship. The parliamentary faction chairman of the Shas party demanded that Barenboim be stripped of his Israeli citizenship, but the Interior Minister told the media that \"the matter is not even up for discussion.\"[78]In January 2009, Barenboim cancelled two concerts of the West-Eastern Divan Orchestra in Qatar and Cairo \"due to the escalating violence in Gaza and the resulting concerns for the musicians’ safety.\"[79]In May 2011, Barenboim conducted the \"Orchestra for Gaza\" composed of volunteers from the Berlin Philharmonic, the Berlin Staatskapelle, the Orchestra of La Scala in Milan, the Vienna Philharmonic and the Orchestre de Paris—at al-Mathaf Cultural House. The concert, held in Gaza City, was co-ordinated in secret with the United Nations. The orchestra flew from Berlin to Vienna and from there to El Arish on a plane chartered by Barenboim, entering the Gaza Strip at the Egyptian Rafah Border Crossing. The musicians were escorted by a convoy of United Nations vehicles.[80] The concert, the first performance by an international classical ensemble in the strip, was attended by an invited audience of several hundred schoolchildren and NGO workers, who greeted Barenboim with applause.[81] The orchestra played Mozart\'s Eine kleine Nachtmusik and Symphony No. 40, also familiar to an Arab audience as basis of one of the songs of the famous Arab singer Fairuz. In his speech Barenboim said: \"Everyone has to understand that the Palestinian cause is a just cause therefore it can be only given justice if it is achieved without violence. Violence can only weaken the righteousness of the Palestinian cause\". 4347
1967 Jackie DU PRE Cello CONCERT PROGRAM Photo ISRAEL IPO Beethoven SAINT-SAENS:
$175.00