1951 Cellist MAURICE GENDRON Hebrew RARE PHOTO PROGRAM Israel CELLO RECITAL

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DESCRIPTION
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Here for sale is a RECITAL PROGRAM of the renowned French CELLIST , CONDUCTOR  and PEDAGOGUE - MAURICE GENDRON
. The CELLO RECITAL took place in 1951 in HAIFA , ERETZ ISRAEL .  Extremely young GENDRON was then only 30 years of age. On the front cover of the program there's a PHOTO of very YOUNG and HANDSOME GENDRON .
In this RECITAL , GENDRON played pieces by BEETHOVEN, BACH , TCHAIKOWSKY , BRUCH ( Kol Nidrei ) , DE - FALLA , RAVEL and  HALFFTER . Hebrew and English. Around 9 x 6 " .  One folded sheet. 6 pp . Very good condition . ( Pls look at scan for accurate AS IS images )  Will be sent inside a protective rigid packaging.
PAYMENTS
: Payment method accepted : Paypal & All credit cards.
SHIPPMENT
:SHIPP worldwide via registered airmail is $ 19  . Will be sent inside a protective packaging
.
Will be sent around 5-10 days after payment .
Maurice Gendron (26 December 1920, near Nice – 20 August 1990, Grez-sur-Loing) was a French cellist, conductor and teacher. He is widely considered one of the greatest cellists of the 20th century.[1][2][3][4][5][6] He was an Officer of the Legion of Honor and a recipient of the National Order of Merit.[7][8][9] He was an active member of the French Resistance during World War II.[10] Gendron recorded most of the standard concerto repertoire with conductors such as Bernard Haitink, Raymond Leppard, and Pablo Casals (the only cellist to appear on a commercial recording under Casals's baton),[11][12] and with orchestras such as the Vienna State Opera Orchestra, the London Symphony Orchestra, and the London Philharmonic Orchestra. He also recorded the sonata repertoire with pianists such as Philippe Entremont and Jean Françaix. For 25 years he was a member of a celebrated piano trio with Yehudi and Hephzibah Menuhin. [13] He also made a famous recording (earning an Edison Award) of J. S. Bach's solo cello suites.[14] Gendron played with many musical stars of his time, including Benjamin Britten, Dinu Lipatti[15][16] and Rudolf Serkin. The 1693 Stradivarius he played, which has become known as the ex-Gendron cello, was subsequently on loan to German cellist Maria Kliegel. Gendron taught at the Musikhochschule Saarbrücken, the Yehudi Menuhin School and at the Paris Conservatoire. His students include Colin Carr, Chu Yibing and Jacqueline du Pré. In 2013 a former student alleged that Gendron was abusive toward young students during his time at the Yehudi Menuhin School in the '60s and '70s. Richard Hillier, the headmaster at YMS, has said he is aware of the allegations but that according to school documents, no concerns were raised about Gendron's behaviour.[17] Other students of Gendron have described him as a very strict, even problematic teacher, but an influential one.[18][19] Gendron was the first modern cellist to record Boccherini's Concerto in B-flat in its original form (he discovered the original manuscript in the Dresden State Library)[20] instead of Grützmacher's version. This recording has been widely acclaimed by critics and is considered a classic.[21][22] He gave the first Western performance of Prokofiev's Cello Concerto with the London Philharmonic Orchestra under Walter Susskind, and was subsequently given exclusive rights to the piece's performance for 3 years. His approach to cello playing is summed up in his book "L'Art du Violoncelle", written in collaboration with Walter Grimmer and published in 1999 by Schott [ED 9176; ISMN M-001-12682-3]. Gendron is the father of the actor François-Éric Gendron.[23] Apart from several other currently available recordings, in 2015 Decca launched a 14-CD boxset, "L’Art de Maurice Gendron" (catalogue number 4823849), which comprises all his recordings for Decca and Philips in addition to some of his most relevant work for EMI.[24] ***** Maurice Gendron by Janet Horvath February 10th, 2018 GendronFrenchman Maurice Gendron (1920-1990) was known for his poise and elegant, pristine playing. If Daniil Shafran played with unconventional hand positions, Gendron’s are nearest to the ideal. His hands are cello perfect: rounded, relaxed, symmetrical, and produced a shimmering sound. You can see for yourself in the unusual little video Métamorphose, which features excerpts of the Haydn Concerto in D major, Boccherini, Chopin, and the Sarabande movement from Bach Cello Suite No. 5 in C minor. There are views of his hands from every conceivable angle, even under his finger tips, and without the instrument. A fascinating bird’s-eye-view! Then the camera digresses to the making of a cello, from the felling of the tree, through the carving and shaping of the wood, to the final work of art. Maurice Gendron: Métamorphose du violoncelle, directed by D. Delouche Play Maurice Gendron came from a humble family. Very precocious as a child, Gendron could read music by the time he was three, and a violin was immediately thrust into his talented hands. But he would have none of it. He disliked the instrument, and preferred the cello! A three-quarter cello was found for him. Gendron began studies with Stephane Odero, and when a few years later the master cellist Emanuel Feuermann came to Nice to perform, Odero and the ten-year-old were in the audience. The concert made such a great impression on Gendron that he was moved to tears. Later he wrote about Feuermann’s influence on him, “I shall never forget the first time I heard him. It was quite unlike anything else I had ever heard. Not only was his technique wonderful but his playing was so honest. He never compromised…” (from The Great Cellists by Margaret Campbell.) Maurice_Gendron_rectoAlthough studies followed at the Nice Conservatoire and then the Paris Conservatoire, the indigent family could not afford to help Gendron, and he was forced to live in cold, unheated rooms and to eke out a living selling newspapers, but he could barely afford to eat. When the war began in 1939 he was given a medical deferment due to his compromised health. That didn’t stop him from defying the Nazis and joining the resistance. Meanwhile he played some private home concerts, rubbing shoulders with great artists and outstanding musicians of the time with whom he made life-long friendships —Jean Cocteau, Georges Braque, Marc Chagall, Pablo Picasso, and the composer Poulenc. He performed with pianist Dinu Lipati and with Jean Françaix, who became his long-term recital partner, he recorded the Beethoven and Brahms sonatas and numerous other works. Ludwig van Beethoven: Cello Sonata No. 3 in A Major, Op. 69(Maurice Gendron, cello; Philippe Entremont, piano) After the war ended, Gendron made his solo debut at Wigmore Hall in London, December 2, 1945 with the composer, Benjamin Britten at the piano, and that month he gave the European premiere in London, of the Prokofiev Cello Concerto No. 1 (Op. 58), establishing his international career. Gendron’s New York debut was bittersweet—the memorial concert of Emanuel Feuermann, who had died tragically at the age of 39. Gendron performed the Dvořák and Haydn D Major Concertos. Antonín Dvořák: Cello Concerto in B Minor, Op. 104, B. 191 – II. Adagio ma non troppo (Maurice Gendron, cello; London Philharmonic Orchestra; Karl Rankl, cond.) Numerous programs followed. He appeared as soloist, in recital, and as a member of the acclaimed string trio with Yehudi and Hepzibah Menuhin with whom he performed for over 25 years. Among Gendron’s achievements is performing for the only commercial recording conducted by Pablo Casals—exquisite renderings of the Haydn and Boccherini Concertos with the Lamoureaux Orchestra. Casals appreciated the younger man’s playing and even had commended Gendron for not imitating his own interpretations of the Bach Suites. No-one expected Casals to conduct a fellow cellist but he had readily agreed. Gendron played from the original scores of the Haydn and Boccherini, which he had unearthed in the Dresden State Library purely by chance. The interpretation of the Boccherini is effortless—all breath and lightness, and the recording is still considered a classic. While maintaining his solo career—recitals with pianists Rudolph Serkin and Philippe Entremont, recording the six Bach Solo Suites, and appearing as soloist with the orchestras of Vienna and London—like other cellists, Gendron tried his hand at conducting. He led orchestras in France, Portugal and Japan. He also held teaching positions at the Paris Conservatoire, at the Mozarteum in Salzburg, and from 1968 to 1977, the Yehudi Menuhin School in Surrey. It is said he was an exceedingly demanding teacher even to a fault. At one point allegations were made about his tyrannical, intolerant behavior towards his youngest students but no formal complaints were received by the school administrators. France awarded Gendron the Legion of Honor and the National Order of Merit. When he passed away in 1990, his Stradivarius cello, which has become known as the “Ex-Gendron” was loaned to German cellist Maria Kliegel. Gendron’s cello sound can be heard on a great many recordings and is described as expressive, airy, transparent, technically masterful, and always beautifully phrased. His cello methodology is illuminated in his book L’Art du Violoncelle, written in collaboration with Walter Grimmer, and published in 1999. *** Maurice Gendron (Cello) Born: December 26, 1920 - Grez-sur-Loing, near Nice, France Died: August 20, 1990 - Grez-sur-Loing, France The French cellist, conductor and teacher, Maurice Gendron, was born to a poor family, and his mother helped support them by playing cello in a local silent movie house. She would take him to the theater, where he had his first exposure to musical performance. He learned to read music when he was 3, was given a violin at 4, and took an instant dislike to it, but at 5 he was given a quarter-sized cello and it immediately appealed to him. His first teacher was Stéphane Odero in Cannes, who recognized that the boy had a notable talent and took him to the great cellist Emanuel Feuermann when Maurice was 10. The first time that he heard Fueremann concertise, he was so incredibly moved by the experience that he wept. He always remembered Feuermann's encouragement and kindness and held him as his idol. His teacher referred him for more study with Jean Mangot of the Nice Conservatoire when he was 11. Gendron was formally admitted to that Conservatoire at age 12 and he graduated from it at age 14 with prémier prix (1935). As yet, he did not even own a cello. A well-wisher bought him a cello and a train ticket so he could go to Paris, where he had been admitted to the Conservatoire to study with the great Gérard Hekking. Gendron had very little money, lived in an unheated room, sell newspapers to make a living and consequently his health suffered. Later he found mentors in conducting in Désormiere, Hermann Scherchen and Willem Mengelberg. On the outbreak of World War II in 1939, Maurice Gendron was exempted from military service due to his malnourishment. In 1940, the Germans overran the country. Despite his earlier classification as unfit for duty, Gendron became an active member of the Resistance. He refused direct orders from the Nazis to go to Germany to play, which almost got him arrested and shipped out anyway. During the war, he met many of the leading artists of France, including writer Jean Cocteau, pianist Jean Neveu and his violinist brother Ginette, Picasso, and composers Jean Françaix and Francis Poulenc. He formed a cello-piano duo with Françaix that lasted for 25 years. Another close friend was legendary Rumanian pianist Dinu Lipatti. They gave memorable performances, but Dinu Lipatti's worsening leukemia and early death made preserving these on recordings impossible. Immediately after the war, the British vocal-piano team of Peter Pears and Benjamin Britten made important concert tours through ravaged Europe. The famous art historian Kenneth Clarke introduced Benjamin Britten to Maurice Gendron. Through Benjamin Britten, Gendron received an invitation to play in London, where he performed the Western premiere of Prokofiev's Cello Concerto with the London Philharmonic Orchestra under Walter Susskind, and was subsequently given exclusive rights to the piece's performance for 3 years.. His solo debut at Wigmore Hall on December 2, 1945, was with Benjamin Britten as his partner in sonatas by Gabriel Fauré and Debussy. On the same program were composer/pianist Francis Poulenc and his new partner, the young baritone Pierre Bernac, also making London debuts. He played with many other musical stars of his time, including Rudolf Serkin. For 25 years, he was a member of a celebrated piano trio with Yehudi Menuhin and Hephzibah Menuhin. Maurice Gendron's idol Feuermann died in New York during the war. Gendron traveled there for a memorial concert, which was also his American debut. During the postwar years, Gendron traveled to Prades, where the great cellist Pablo Casals had just made his residence, and played a J.S. Bach's solo cello suite for the master. Pablo Casals congratulated him on not copying his own interpretation and they formed a strong professional friendship. Later, when Gendron was asked by Philips Records to record the Boccherini's Concerto in B flat and the Haydn's D major Concerto, Gendron agreed and suggested Pablo Casals as conductor. The company received a surprise when Pablo Casals readily agreed, the only instance where the master conducted another cellist in a solo performance. The disc has been widely acclaimed by critics and it is considered a classic. It is notable for the performers' devotion to historical authenticity, for they had consulted the original manuscripts housed in the Dresden State Library in preparing it. He was the first modern cellist to record Boccherini's Concerto in B flat in its original form, instead of the Grützmacher version. Maurice Gendron was also active as a conductor in France, and later was conductor with the Bournemouth Sinfonietta (1971-1973). Maurice Gendron made many recordings during his career, He recorded most of the standard concerto repertoire with conductors such as Bernard Haitink, Raymond Leppard, and Pablo Casals, and with orchestras such as the Vienna State Opera Orchestra, London Symphony Orchestra, and London Philharmonic Orchestra. He also recorded the sonata repertoire with pianists such as Philippe Entremont and Jean Françaix. He also made a famous recording (earned an Edison Award), of J.S. Bach's Solo Cello Suites (BWV 1007-1012). Apart from several other currently available recordings, in 2015 Decca launched a 14-CD box-set titled "L’Art de Maurice Gendron", which comprises all of his recordings for Decca and Philips in addition to some of his most relevant work for EMI. Maurice Gendron had an extensive teaching career. He served as Professor at the Saarbrücken Hochschile für Musik (1953-1970), and then at the Paris Conservatoire (1970-1987). He has also taught at the Mozarteum in Salzburg, and the Yehudi Menuhin School (YMS) in Surrey, England. His students include Colin Carr, Chu Yibing, acqueline du Pré, Charles Medlam and Guido Schiefen, among many others. In 2013, allegations emerged, from one pupil, claiming that Gendron was abusive towards young students during his time as a teacher at the Yehudi Menuhin School in the 1960's and 1970's. Dr. Richard Hillier, the headmaster at YMS, has declared that he is aware of this person's allegations but that according to school documents, no concerns were raised about Gendron's behaviour. Other students of Gendron have simply described him as a very strict, even problematic teacher, but, ultimately, an influential one. Maurice Gendron is widely considered one of the greatest cellists of the 20th century. The qualities of his playing most mentioned by critics are outstanding technique and expressive tone, with impeccable phrasing and remarkable transparency, especially in French music. He was known not only as an outstanding soloist but as a fine ensemble player, ever alert to all the nuances of his partners. The 18th-century Stradivarius that he played, which has become known as the ex-Gendron cello, was subsequently on loan to German cellist Maria Kliegel. His approach to celloplaying is summed up in his book L'Art du Violoncelle which was written in collaboration with Walter Grimmer and published in 1999 by Schott. Maurice Gendron was an Officer of the Legion of Honor and a recipient of the National Order of Merit. He is the father of the actor François-Éric Gendron.    ebay5550 200