1950 Original CANDID Photo TOSSY SPIVAKOVSKY Violinist SPIVAKOVSKY Plays VIOLIN on STAGE Tchaikowsky -Bruckner Start Price USD 75.00 Current Price USD 75.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Monday, June 30, 2008 End Time Thursday, July 10, 2008 Location 1950 CANDID Photo TOSSY SPIVAKOVSKY Violin See more about '1950 Original CANDID Photo TOSSY SPIVAKOVSKY Violinist ' Description   Dear customer / Friend.    Kindly note that there are NUMEROUS similar SPIVAKOVSKY and other VIOLINISTS related items , SIGNED MUSICAL PROGRAMMES , AUTOGRAPHS of CONDUCTORS and INSTRUMENTALISTS , Signed CANDID - PHOTOS , PHOTOGRAPHS ,CONCERTS POSTERS etc.  These items don't appear when you perform a regular SEARCH but you'll be able to watch ALL of them should you use the LINK to my STORE. Please do !! Thanks. LEGENDARY MUSICIANS.   PLEASE READ THIS short GUIDE for EASY and USEFUL search on my STORE :   1. Please REFINE your search by using a main CODE like for example " CELIBIDACHE " or "CONCERT" or " PROGRAMME " or " POSTER " in the small window at the top left corner of the store PAGE . Pls DO NOT mark "TITLE & DESCRIPTION" but ONLY "TITLE " then you'll receive EXACTLY what you are looking for.   2. My STORE is REFRESHENED and RENEWED on a WEEKLY basis with many new items added. Therefore it is HIGHLY RECOMMENDED to keep watching it on a regular basis. By choosing the "NEWLY LISTED" option , You'll be able to see only the NEW recent listings.   THANK YOU  !!   This is a RARE and AUTHENTIC unique 1950 original PHOTOGRAPH , Not a COPY or a REPRINT !! ***** Here for sale is a RARE genuine musical GEM. It's an ORIGINAL vintage PHOTOGRAPH which was taken by an ISRAELI PHOTOGRAPHER ( His detailed STAMP on the back of the photograph ) in the year 1950 . The photo documents an ENCOUNTER on the CONCERT STAGE between the SOLOIST , The legendary JEWISH violinist TOSSY SPIVAKOVSKY to the CONDUCTOR Heinz Freudenthal . These GREAT MUSICIANS were GUEST ARTISTS of the ISRAEL PHILHARMONIC ORCHESTRA ( Founded by Bronislaw Huberman ) in its 1950/51 CONCERTS SEASON and their common PHOTOGRAPH was taken during a 1950 CONCERT   . The CONCERT took place in TEL AVIV - ISRAEL 1955 in the old CONCERT HALL of Ohel Shem in TEL AVIV . TOSSY SPIVAKOVSKY played pieces of TCHAIKOWSKY , BRUCKNER and LARSSON  ******* TOSSY SPIVAKOVSKY is concentrating in his PLAYING while Heinz Freudenthal is CONDUCTING from his conductor podium.. *******  Please note that the UNIQUE PHOTOGRAPH was taken by the photographer on the spot , During the CONCERT , To be used for documentation or journalism purpose and was printed in only a FEW printings , It is definitely NOT a standart PUBLICITY photograph which is being printed by personal managers or PR people in numerous quantities to be distributed in gtreat numbers.  You'll DEFINITELY be unable to find ANOTHER photograph like this one.  ******** The PHOTOGRAPH is 100% guaranteed ORIGINAL and AUTHENTIC. It is an ORIGINAL 1950 photo. NOT a recently printed photo. The photographer and his STUDIO no longer active and/or exist. ( His detailed STAMP on the back of the photograph ) .********** Please note that the photo is being sold as a collectible memorabilia item WITHOUT any RIGHTS. ********** Measures  5" x 7" .  Very good condition . Buyer to pay international shipp ( $15 for un-insured registered airmail or $25 for Fully insured express delivery mail ). Payment can be made by USD personal check , International money order or Wire transfer. Paypal possible with 5% addition .     MORE About :Tossy Spivakovsky (1907-1998) studied violin in Berlin with Willy Hess at the Hochschule für Musik. From 1920 he toured as a soloist and as a member of the Spivakovsky Duo. He became concert-master of the Berlin Philharmonic Orchestra in 1926, but resigned in the following year. When the Spivakovsky-Kurtz Trio decided to remain in Melbourne in 1933, Tossy was appointed to the teaching staff of the University Conservatorium, as was Kurtz. He migrated to the U.S.A. in 1941. After World War II he appeared as a soloist (playing his 1721 Stradivarius) with major American orchestras. He held teaching positions at Fairfield University, Connecticut, and the Juilliard School, New York. Handsome and intense, elegant and graceful in his movements, he had an idiosyncratic bowing technique and a striking stage presence. His repertoire included numerous twentieth-century works in addition to the classics. Critics considered his interpretations of the concertos of Tchaikovsky and Sibelius to be his finest. ********* Odessa-born, Berlin-trained Tossy Spivakovsky was a violin prodigy who was named concertmaster of Furtwängler's Berlin Philharmonic when he was 19! He was in Australia when the Nazis took power in 1933, and he eventually made his way to the U.S., where as concertmaster of the Cleveland Orchestra he gave the American premiere of Bartók's Second Violin Concerto, winning praise from the composer. His successful post-war career as a touring soloist never reached superstar status nor did he make many recordings, though his outstanding Sibelius Violin Concerto with Tauno Hannikainen on Everest is still available and well worth hearing. Spivakovsky died in 1998, aged 91. ******* Here, Pearl collects 20 short pieces recorded between 1924 and 1931, when the violinist was on the brink of what should have been a glorious career. Despite their age, the transfers come up sounding well. The notes claim that the anonymous pianist on the published recordings actually is the violinist's brother, Jascha Spivakovsky, who had a solo career and in the 1930s was part of a trio that included Tossy and cellist Edmund Kurz. Twenty encore pieces is a lot to take in at once unless you're a violinist, but with such rich-toned playing it's more a pleasure than a hardship. In piece after piece Spivakovsky sounds like Kreisler or Elman, with Old School phrasing based on the speaking voice--you could almost put words to his versions of Mouret's Sarabande, Kreisler's arrangement of Gluck's Dance of the Blessed Spirits from Orfeo ed Euridyce, or a dozen other of these selections. Perhaps the most substantial work on the disc is Bloch's Baal Shem, in which Spivakovsky's soulful violin simulates cantorial melismas with an intensity that's positively gripping. Despite schmaltzy arrangements and heavy-breathing vibrato, Spivakovsky also played with elegance, as in the Kreisler faux-Baroque offerings, with the rhythm crisp and the tone slimmed down for both the Minuet in the style of Porpora and the Sicilienne et Rigaudon in the style of Francoeur, the latter also featuring some precisely articulated supersonic fiddling. (But check with your cardiologist before listening to the high-cholesterol Kreisler/Dvorák Slavonic Dance.) If you're still doubtful, consider this: you will never--repeat, never--hear playing like this from any of today's violinists. Open emotions and sentimentality are cardinal sins these days. Fortunately, they were still legal when these recordings were made, so we can dip into this CD anywhere and smile with delight. Go ahead and wallow! ********** Collectors of early LPs may well remember the name Tossy Spivakovsky. His lithe recordings of the Tchaikovsky and Sibelius concertos, amongst others, were popular in their time but he never achieved a real level of sustained international success and his career rather trailed off. Born in Odessa in 1907 he had a solid foundation studying in Berlin with the outstanding Italian violinist Arrigo Serato and later with Willy Hess at the Hochschule. In 1926 he was talent spotted by Furtwängler and became one of the leaders of the Berlin Philharmonic until, a year later, he left to follow an incipient solo career soon to founder with the arrival of the Nazis. He taught for a number of years in Australia before leaving for America where he led the Cleveland Orchestra and, rather sensationally, he gave the first performance in America of the Second Bartók Concerto under Rodzinski, and then repeated it in New York (a performance of which Bartók heard –"soloist first rate"). With that his prestige rose, his engagements increased and his solo profile remained high. Spivakovsky was famous for his violinistic idiosyncrasies – he famously held the bow above the frog and the violin was held very flat with the result that the fiddle was way out over to the left, as noted by violist Emmanuel Vardi and quoted in Tully Potter’s notes. As we can hear in these Berlin Parlophones dating between 1924 and 1931 Spivakovsky had an exceptionally fast vibrato and his bowing peculiarities meant that he possessed less tonal colourisation than was perhaps optimum. Nevertheless there is an absolute core to his tone and his vibrato whilst usually of considerable velocity is not oscillatory. He is capable of frequently expressive playing with a highly personalised temperament if sometimes falling a little short in matters of nuance.  In the Bazzini the left hand pizzicatos are tossed off with panache, there is cleanliness in all positions and we can appreciate his narrow bore vibrato with no unnecessary and disruptive rubati. The Mouret has some fervent and rapt playing whilst in Raff’s ubiquitous Cavatina, a late acoustic from 1924, he is uncompromisingly slow with an appropriately slow slide – a young man’s performance. On the other side of the Raff was the Gluck in which the pianist – conjecturally held to be Spivakovsky’s talented pianist brother Jascha – sounds unduly rushed and the pair are guilty of some phrasal over eagerness. Again this is a rather gauche performance with insufficient space for repose, salon style downward portamenti and rather unsubtle over inflated rhetoric. These earlier recordings are instructive in showing us how quickly Spivakovsky matured from the adolescent talent to the more polished artist he was to become by 1928. His Bloch is fervid and Kreisler’s Sicilienne and Rigaudon attractive without quite the last ounce of charm - it’s certainly fast and with skipping momentum in the Rigaudon. He is undaunted by the pizzicato passages in Paganini’s 11th Sonata (in the customary piano arrangement) and he is driving and triumphant, dissipating technical difficulties in the 12th Sonata. His Dvorak Slavonic Dance is perhaps a little over emphatic whereas his Brahms Dance is fervidly done at a moderate tempo and much more convincing. The Hochstein arrangement of the Brahms Waltz is elegant, not over-emoted and attractive. His playing of Kreisler’s delicious Tambourin chinois seems to me to be somewhat emphatic once again but without any obvious heaviness; it’s very clean, scrupulous playing but not necessarily especially idiomatic. His performance of Caprice Viennois is spick and span, articulate in passagework if sounding a little artificial, a little practised. There’s a rough start to Wieniawski’s Scherzo-tarantelle – generally though the copies are excellent with the exception of the murky sounding Turkish March – but it features some nicely lyric phrasing but not as combustible as it should be and with a couple of excessive slides. Sarasate’s Introduction and Tarantelle though receives a real daredevil reading but one perhaps with moments of worry in the lower strings and emerging – a personal view, this – as surprisingly uncultured playing. The Danza Española is a good deal more convincing, rhythmically energetic without ever losing control and with excellent phrasing.  Very few of Spivakovsky’s Parlophones have been reissued and they have been done so here with excellent results. It’s a pity about the booklet cover picture which looks like a fifth generation copy of an already murky original but the records themselves are well transferred with minimal surface noise. Notes by Tully Potter are biographical and comprehensive. This is altogether a fine conspectus of a remarkable young talent.  ******** For his guest stint with the New York Philharmonic-Symphony last week, Violinist Tossy Spivakovsky offered a careful balance: something old, something new. First he flooded the hall with the singing airs of Mozart's Adagio in E. Then, tucking his fiddle under his chin again and staring intently at his stubby fingers, he launched into the amiable and sometimes pyrotechnic moods of Gian-Carlo Menotti's two-year-old Violin Concerto. As always, his tone was luxuriant, his pitch impeccable, and he brought the music to full-blooded life. From Manhattan's experienced audience, the modern work drew down an extra round of applause. Russian-born Violinist Spivakovsky learned to balance his repertory by experience. When he arrived in the U.S. in 1940 (at the age of 33), he already had 20 years of concert experience. He could spin out the Tchaikovsky Concerto with every Slavic sob intact, and he was the master, in lofty interpretations, of the Beethoven and Brahms concertos as well. But as one of the younger generation of musicians, he had a strong bent for the moderns, the more "difficult" the better. He made his first big splash when he introduced the spectacularly demanding Bartok Concerto to the U.S. in Cleveland in 1943, continued to get billowing reactions wherever he played it. ("Was this the best since Heifetz," wrote the San Francisco Chronicle's Alfred Frankenstein after a 1948 performance, "or was this just the best, period?") The word got around among U.S. orchestras: if you want to perform a modern violin score, get Spivakovsky. Temperamentally, that was fine for the fiddler, but to programmers and booking agents too much modern music is not good business. Tossy Spivakovsky learned that there was such a thing as an unbalanced portfolio, successfully set out to rid himself of the modernist tag. Today, with a reputation as one of the most brilliant violinists alive, Spivakovsky usually limits himself to one modern work on each recital program. His aim: to live long enough to see the programmers demand more.  Check out my other items!         Be sure to add me to your favorites list! Place a Bid!