VR Illust POSTER Israel PHILHARMONIC Orchestra G.MAHLER Start Price USD 65.00 Current Price USD 65.00 Time Left - Bid Count 0 Buy It Now Price USD 79.00 Reserve Price - Start Time Monday, June 30, 2008 End Time Thursday, July 10, 2008 Location VR Illust POSTER GUSTAV MAHLER See more about 'VR Illust POSTER Israel PHILHARMONIC Orchestra G.MAHLER' Description Dear customer / Friend.    Kindly note that there are NUMEROUS similar POSTERS , SIGNED MUSICAL PROGRAMMES , AUTOGRAPHS of CONDUCTORS and INSTRUMENTALISTS , 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. MEIR50.   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 " MICHELANGELI " 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  !!   Here for sale is an ORIGINAL advertising ILLUSTRATED POSTER of the ISRAEL PHILHARMONIC ORCHESTRA which advertises a SPECIAL CONCERT in JERUSALEM Eretz Israel 1982 . It is the FIFTH SYMPHONY of GUSTAV MAHLER , The CONDUCTOR is LORIN MAAZEL . The GREAT MUSICIAN was a GUEST ARTISTS of the ISRAEL PHILHARMONIC ORCHESTRA ( Founded by Bronislaw Huberman ) in its 1981/82 CONCERTS SEASON.  The CONCERT took place in JERUSALEM and in TEL AVIV - ISRAEL in November 1982. Please look at the scanned POSTER for the DETAILS .  The poster is impressively designed with the image of GUSTAV MAHLER ******** The POSTER is 100% guaranteed ORIGINAL and AUTHENTIC. ******* Flat . Measures about 19" x 25" . Written in ENGLISH and HEBREW. Excellent PRISTINE condition. Perfectly preserved. No folds ,stains or teas whatsoever. Will be shipped rolled inside a protective rigid sealed tube. Buyer to pay international shipp ( $15 for uninsured registered airmail  ).  Payment can be made by USD personal check , International money order or Wire transfer. Paypal is acceptable too with additional  5 %.   MORE about GUSTAV MAHLER : (born Kaliste, Bohemia 7 July, 1860; died Vienna, 18 May 1911).  In 1860 his family moved to Jihlava, where Gustav took piano and theory lessons. From 1875 to 1878 he was at Vienna Conservatory, where he studied the piano, harmony and composition. After that he attended university lectures, worked as a music teacher and composed Das klagende Lied, a cantata indebted to the operas of Weber and Wagner but also showing many conspicuously Mahlerian features. In 1880 Mahler accepted a conducting post at a summer theatre at Bad Hall, and he was engaged in a similar capacity in 1881 and 1883 at the theatres in Ljubljana and Olomouc. Between these appointments he engaged in composition and other conducting until, in autumn 1883, he became music director at Kassel. He found conditions uncongenial, and the repertory consisted solely of light opera; but an unhappy love affair with one of the singers led to the composition of his first masterpiece, the song cycle Lieder eines fahrenden Gesellen, and the inception of the closely related First Symphony. Early in 1885 Mahler secured the post of second conductor at the Neues Stadttheater in Leipzig, to begin in July 1886, and a few months later he resigned his post at Kassel. The intervening year he spent at the Landestheater in Prague, where he had the opportunity of conducting operas by Gluck, Mozart, Beethoven and Wagner. There were at first fewer such opportunities at Leipzig, but in January 1887 he took over the Ring cycle from Arthur Nikisch, who fell ill, and convincingly established among critics and public his genius as an interpretative artist. The following year he completed Weber's unfinished comic opera Die drei Pintos (its successful performances in 1888 made Mahler famous and provided a useful source of income) and fell in love with the wife of Weber's grandson. Another consequence of his friendship with the Webers was the discovery in 1887 of the musical potential of Des Knaben Wunderhorn, a collection of folklike texts by Arnim and Brentano which provided Mahler with words for all but one of his songs for the next 14 years. Disagreements with colleagues led to Mahler's resignation at Leipzig in May 1888 and to his dismissal a few months later from Prague, where he had been engaged to prepare Die drei Pintos and a production of Cornelius's Der Barbier von Bagdad; but within a few weeks he secured a far more important appointment at the Royal Opera in Budapest. His first year there was overshadowed by the illness and deaths of his parents and his sister. Though he was successful in bringing the opera house into profit and improving standards and repertory, the imminent appointment of an Intendant with artistic control made his situation untenable; he resigned and became first conductor at the Stadttheater, Hamburg. Despite a stifling artistic atmosphere and a heavy workload, Mahler returned to composition and at his summer retreat in the Salzkammergut completed the Second and Third Symphonies. 1895 brought both tragedy, when his youngest brother committed suicide, and success, with the premiere of the Second Symphony in Berlin in December. Now a conductor of international stature and a composer of growing reputation, he turned his attention to the Vienna Hofoper. The main obstacle was his Jewish origins; so he accepted Catholic baptism in February 1897 and was appointed Kapellmeister at Vienna two months later. At Vienna Mahler brought a stagnating opera house to a position of unrivalled brilliance, especially during 1903-7, when he collaborated with the designer Alfred Roller on a series of memorable productions. In 1901 he had a villa built at Maiernigg on the Wörthersee in Carinthia, where he spent the summers composing. In 1902 he married Alma, daughter of the artist Emil Jakob Schindler, and though their life together was not untroubled (its strains caused him to consult Freud for psychoanalysis in 1910) the security benefited his creative life. At Maiernigg he completed symphonies nos.5-8 and in 1904 the Kindertotenlieder, settings of five poems by Rückert on the death of children. The death of Mahler's own elder daughter, Maria, from scarlet fever three years later left him distraught. In Vienna Mahler was surrounded by radical young composers, including Schönberg, Berg, Webern and Zemlinsky, whose work he supported and encouraged. His propagation of his own music, however, aroused opposition from a section of the Viennese musical establishment, and when the campaign against him, led by an anti-semitic press, gained momentum he was again forced to look elsewhere. This time he turned to New York, where he spent his last winters as conductor, first of the Metropolitan Opera and, from 1910, of the New York Philharmonic Orchestra. He continued to spend the summers in Europe, where he undertook further conducting and completed the valedictory Ninth Symphony and Das Lied von der Erde. This last, a setting of six Chinese poems in German translation, took the shape of a large-scale symphony for two voices and orchestra; but Mahler, whose fear of death and sense of fate had been intensified by the diagnosis of a heart condition in 1907, refused to number the work 10, citing Beethoven, Schubert and Bruckner. He did, however, start work on a tenth symphony, but died before he could complete it. Although as a conductor Mahler achieved fame primarily in opera, his creative energies were directed almost wholly towards symphony and song. Even in the early Das klagende Lied, there are stylistic features to be found in his mature music, for example the combining of onstage and offstage orchestras, the association of high tragedy and the mundane, the drawing on folksong ideas and the dramatic-symbolic use of tonality. This last reappeared in his early masterpiece, the Lieder eines fahrenden Gesellen, which has an evolutionary tonal scheme paralleling the changing fortunes of the travelling hero. In the 1890s Mahler was much influenced by the Wunderhorn poems, in his symphonies as well as his songs, for he often used song to clarify an important moment in the structure of a symphony, for example 'Urlicht' in Sym.2, which he found himself unable to continue after writing the imposing first movement. Sym.3 is more idiosyncratic; again, its dramatic scheme evolved with recourse to song and chorus. Sym.4 retums to tradition, in a first movement of rare wit and subtlety; here the poetic idea is the progress from experience to innocence (with a Wunderhorn song finale). While Sym.2, 'The Resurrection', moves from c Minor to E-flat, Sym.4 goes from G Major to the 'heavenly' E Major. Parody, irony and satire are important in Mahler's thinking during these years, with popular invention (like the children's round in Sym.1 and the march tunes of Sym.3) and elements of distortion. Symphonies 5, 6 and 7 are sometimes regarded as a trilogy, although Sym.5 is a heroic work, with a narrative running from its opening funeral march through the agitated Allegro to a Scherzo and a triumphant conclusion. The symphony moves from c-sharp Minor to D Major. Sym.6, a tragic work - and in many musicians' view, his greatest symphony for its equilibrium between form and drama - begins and ends in A Minor; the finale makes it clear that there is no escape for the implied hero and indeed his death is symbolically enacted in the movement's shattering climax. The shape of Sym.7, which moves from e Minor to C Major, is less satisfying; possibly, with its dark, nocturnal middle movement, it is consciously built round the poetic concept of darkness moving towards the light of the finale. The largest-scale of Mahler's symphonies is Sym.8, the so-called 'Symphony of a Thousand', in which the second part is a vast synthesis of forms and media embodying the setting of the final scene of Goethe's Faust as an amalgam of dramatic cantata, oratorio, song cycle, Lisztian choral symphony and instrumental symphony. This public pronouncement was followed by one of his most personal, Das Lied von der Erde, influenced in its vocal writing and woodwind obbligatos by Mahler's new interest in Bach. His last two symphonies return to the four-movement scheme of the middle-period ones, incorporating extensions of the character movements of his earlier works with the new type of slow first movement (followed up in the unfinished Tenth) and ending with an Adagio in a mood of profound resignation. Mahler's extension of symphonic form, of the symphony's expressive scope and the use of the orchestra (especially the agonized timbres he obtained by using instruments, particularly wind, at the top of their compass) represent a pained farewell to Romanticism; different aspects were followed up by the Second Viennese School, Shostakovich and Britten. ***** MORE about LORIN MAAZEL : Lorin Maazel is one of today's pre-eminent conductors, appearing regularly at concert and opera houses throughout the world. During the past thirty years, Maestro Maazel has conducted more than one hundred and thirty orchestras in over four thousand opera and concert performances. He has served as Artistic Director of the Deutsche Oper Berlin and Music Director of the Berlin Radio Symphony Orchestra (1965-71), Music Director of the Cleveland Orchestra (1972-82), Principle Guest Conductor of the Philharmonia Orchestra of London (1976-1980), General Manager and Artistic Director of the Vienna State Opera (1982-1984), and Music Director of the Orchestre National de France (1988-1990), as well as being the Music Director of the Pittsburgh Symphony Orchestra since 1988. In September 1993, he assumed the position of Music Director of the renowned Bavarian Radio Symphony Orchestra of Munich. Maestro Maazel conducted the Vienna Philharmonic in the 1994 New Year's concert, telecast to 65 countries with an estimated 1.2 billion viewers. He will again conduct the 1996 New Year's concert. The Spring of 1994 included taking London's Philharmonia Orchestra on a tour to Japan as part of a five-year project in which he presents Japanese audiences the fruits of his long collaboration with selected orchestras. He conducted the Pittsburgh Symphony Orchestra at the Salzburg Festival in 1994 as well as other major European capitals. In addition, he also conducted the final concert of the 100th anniversary season of the Munich Philharmonic in July 1994. Maestro Maazel opened the Salzburg Festival in 1995 and will do the same in 1996, with new productions of "Rosenkavalier" and "Elektra", respectively. As conductor of opera, Lorin Maazel won acclaim in 1960 when, at the age of thirty, he became the first American and youngest conductor in history to conduct at the Bayreuth Festival. Moreover, he was the first non-German to be invited to conduct Wagner's "Ring" at Bayreuth. His operatic engagements have encompassed new productions at the Metropolitan Opera, Paris Opera, Royal Opera House London, the Vienna State Opera and the Deutsche Oper Berlin. His long association with the Teatro alla Scala Milan has led him to conduct ten new productions, including three season opening premieres. He has also toured Japan and the form Soviet Union with this theater. Lorin Maazel has given over 20 benefit concerts, many of them telecast worldwide, for internationally active organisations such as UNICEF, the International Red Cross, the UN High Commission of Refugees and the WWF. His discography encompasses over 300 recordings. The recipient of ten Grand Prix du Disque awards, he is presently completing the recording of all operas by Puccini. He has recorded the complete symphonic works of Beethoven, Mahler, Rachmaninov, Sibelius and Tchaikovsky. Lorin Maazel has become increasingly involved in television and film production, writing and directing visualizations for television of Holst's "The Planets" and Vivaldi's "The Four Seasons". In recognition for excellence in these fields, he has been awarded the European "Bambi", the Italian "Fantastico", and the French "Sept Jours". His opera films, Mozart's "Don Giovanni" directed by Joseph Losey and Bizet's "Carmen" directed by Francesco Rossi, have broken new ground in the popularization of opera. Notably among the innumerable decorations, honorary doctorates and awards for achievement with which Lorin Maazel has been honoured are the Legion d'Honneur in France, the Commander's Cross of Merit in Germany and the Commander of the Lion in Finland. He was named an honorary life member of the Israel Philharmonic in 1985 when he conducted their 40th anniversary concert. Lorin Maazel was born in Paris to American parents in 1930. He studied conducting with Vladimir Bakaleinikoff in Pittsburgh, and, between the ages of nine and fifteen, conducted many of the great American and Canadian orchestras. At the University of Pittsburgh, he studied philosophy and literature, concurrently being a member of the violin section of the Pittsburgh Symphony. Maazel made his European conducting debut in Italy in 1953 while living there on a Fulbright scholarship. Maazel will continue to serve as Music Director with the Bavarian Radio Symphony Orchestra until 2002. He is also taking a year out to dedicate more time to his career as a composer. In 1999 there is planned a premier of a new piece composed by Maazel for the Bavarian Radio Symphony Orchestra and Choir. Today, Lorin Maazel is at the zenith of his career...conductor, composer and violinist - a legend in his time. ****** Born: March 6, 1930 - Neuilly (Paris), France  The conductor Lorin Maazel was born in France of American parents. He was brought up and educated in the USA. His possession of absolute (perfect) pitch and photographic memory were discovered when he was four years of age. His musical studies began the next year with violin and piano. He also studied conducting in Pittsburgh with Vladimir Bakaleinikoff. At the age of seven, he was invited by Toscanini to conduct the N.B.C. Symphony, and subsequently led the New York Philharmonic in summer concerts at Lewisohn Stadium. In 1939, at the age of nine, he conducted the Interlochen Orchestra at the New York World's Fair, and the Los Angeles Philharmonic Orchestra in the Hollywood Bowl, sharing a program with Leopold Stokowski. He made his Cleveland Orchestra debut on March 4, 1943, at a pension fund concert in Public Music Hall. At the age of sixteen, Lorin Maazel entered the University of Pittsburgh to study languages, mathematics, and philosophy. While a student, he was a violinist with the Pittsburgh Symphony, served as apprentice conductor during the 1949-1950 season, and organized the Fine Arts Quartet of Pittsburgh. In 1951 he studied baroque music in Italy on a Fulbright Fellowship, and began conducting leading European orchestras. In the summer of 1952, he conducted the Cleveland Summer Orchestra (Cleveland Pops) in two concerts at Public Hall. Lorin Maazel was the first American and youngest conductor to conduct at Byreuth. He has conducted throughout Europe, Australia, North and South America, Japan, the former Soviet Union, at most international festivals and opera houses including Salzburg, Edinburgh and Lucerne, the Metropolitan Opera, La Scala, Paris Opera, and Covent Garden. He has appeared with all the major symphony orchestras including the Boston, New York, Chicago, and Philadelphia Orchestra. Lorin Maazel began his tenure as the fifth Music Director of the Cleveland Orchestra at the beginning of the 1972-1973 season, a position he held for ten years. During his tenure in Cleveland, he appeared with the orchestra in some 700 performances, made seven international tours with the orchestra: The opening week of the Sydney Opera House in Australia (1973), Japan (1974), Latin America (1975), Europe (1976 and 1979), Mexico City (1977), and the Orient (Hong Kong, Korea, Japan, 1978). He brought opera back to Severance Hall in 1974 with the performance of Richard Strauss, Elektra. From September 1982 to 1984, Lorin Maazel was General Manager and Artistic Director of the Vienna State Opera. He was the first American to hold that position. He is currently the Music Director of the Pittsburgh Symphony. Among his many decorations, awards, and recording prizes are the Comander's Cross of Merit of the Federal Republic of Germany, the Legion of Honor of France, and the Commander of the Lion of Finland. He has also been awarded the title of Ambassador of Good Will by the United Nations. He was named an honorary life member of the Israel Philharmonic in 1985 when he conducted its 40th Anniversary concert. He has received ten Grand Prix du Disque awards.   Check out my other items!           Be sure to add me to your favorites list! Place a Bid!