1965 Violinist DAVID OISTRAKH Hand SIGNED AUTOGRAPH + PHOTO + MAT Jewish RUSSIAN

Description

DESCRIPTION
:
Up for auction is an original BEAUTIFUL , BOLDLY HAND SIGNED and DATED 1965 , Almost 60 years old AUTOGRAPH
( Autograph -Signature - Autogramme ) With a red pen of the beloved legendary Jewish RUSSIAN SOVIET violinist , The child prodigy DAVID OISTRAKH .
The original HAND SIGNED AUTOGRAPH is beautifuly and professionaly matted beneath an IMPRESSIVE reproduction ARTISTIC ACTION PHOTO of OISTRAKH emotionaly playing his violin. The AUTOGRAPH and the reproduction ACTION PHOTO are nicely matted together , Suitable for immediate framing or display . ( An image of a suggested framing is presented - The frame is not a part of this sale
-
An excellent framing - Buyer's choice - is possible for extra $ 80 ). OISTRAKH has signed in RUSSIAN on a program of a 1965 concert where he played pieces by SMETANA , BRAHMS and TCHAIKOWSKY .
The size of the decorative mat is around
11 x 14 " . The size of the reproduction action photo is around 5 x 7 " . The size of the autograph ( Autogramme - Signature ) is around
8 x 6 " . Excellent condition of the hand signed AUTOGRAPH , The original reproduction action photo and the decorative mat  . ( Pls look at scan for accurate AS IS images )  Authenticity guaranteed.  Will be sent inside a protective rigid packaging .
AUTHENTICITY
: The AUTOGRAPH is fully guaranteed ORIGINAL HAND SIGNED by OISTRAKH in 1965, It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
:
Payment method accepted : Paypal & All credit cards.
SHIPPMENT
:
SHIPP worldwide via registered airmail is   . Will be sent inside a protective packaging.
Handling around  5-10 days after payment.
David Fyodorovich Oistrakh[nb 1] (né Eustrach; 30 September [O.S. 17 September] 1908 – 24 October 1974), was a Soviet classical violinist, violist and conductor. Oistrakh collaborated with major orchestras and musicians from many parts of the world and was the dedicatee of numerous violin works, including both of Dmitri Shostakovich's violin concerti and the violin concerto by Aram Khachaturian. He is considered one of the preeminent violinists of the 20th century.[1] Contents 1 Life and career 1.1 Early years 1.2 In Moscow 1.3 During World War II 1.4 International travel 1.5 Later years 2 Distinctions 3 Instruments 4 Chess 5 Honours and awards 6 Recordings 7 Legacy 8 See also 9 Notes 10 References 11 Further reading 12 External links Life and career Early years Oistrakh was born to a Jewish family in Odessa, Kherson Governorate, Russian Empire (today part of Ukraine). His father was Fischl Eustrach, son of a second guild merchant,[2] and his mother was Beyle Oistrakh.[3][4][5] At the age of five, young Oistrakh began his studies of the violin and viola as a pupil of Pyotr Stolyarsky. In his studies with Stolyarsky he became very good friends with Iosif Brodsky, Nathan Milstein and other violinists with whom he collaborated numerous times after achieving fame since their beginnings as fellow students at the Stolyarsky School. In 1914, at the age of six, Oistrakh performed his debut concert. He entered the Odessa Conservatory in 1923, where he studied until his graduation in 1926. At the conservatory he also studied harmony with the composer Mykola Vilinsky. His 1926 graduation concert consisted of Bach's Chaconne, Tartini's Devil's Trill Sonata, Rubinstein's Viola Sonata, and Prokofiev's Violin Concerto No. 1 in D major. In 1927, Oistrakh appeared in Kiev as soloist in Glazunov Violin Concerto in a performance conducted by the composer, which earned the violinist an invitation to play the Tchaikovsky Violin Concerto in Leningrad with the Philharmonic Orchestra under Nikolai Malko the following year. In Moscow In 1927, Oistrakh relocated to Moscow, where he gave his first recital and met his future wife: the pianist Tamara Rotareva (1906–1976). They were married a year later and had one child, Igor Oistrakh, who was born in 1931. Igor Oistrakh later followed his father's path as a violinist, and eventually performed and recorded side by side with his father, including Bach's Double Concerto, which they first recorded in 1951, and Mozart's Sinfonia Concertante. In at least one of the recordings of Mozart's Sinfonia Concertante, Igor Oistrakh played violin, while Oistrakh played viola. From 1934 onwards, Oistrakh held a position teaching at the Moscow Conservatory, and was later made professor in 1939. Some of his colleagues while teaching at the conservatory included Yuri Yankelevich and Boris Goldstein. Oistrakh taught Oleg Kagan, Valery Klimov (who later succeeded Oistrakh's position at the Moscow Conservatory), Emmy Verhey, Oleh Krysa, Gidon Kremer, Yulia Brodskaya (Julia Verba), Zoya Petrosyan, Jean Ter-Merguerian, Victor Danchenko, Victor Pikaizen,[6][7] Cyrus Forough, Olga Parhomenko, and his son Igor Oistrakh. In the 1950s, David Oistrakh invited Yulia Brodskaya to be his assistant in teaching solo and chamber music and Rosa Fine as his assistant for solo students. From 1940 to 1963, Oistrakh performed extensively in a trio that also included the cellist Sviatoslav Knushevitsky and the pianist Lev Oborin. It was sometimes called the "Oistrakh Trio". Oistrakh collaborated extensively with Oborin, as well as Jacques Thibaud, a French violinist. During World War II During World War II he was active in the Soviet Union, premiering new concerti by Nikolai Miaskovsky and Aram Khachaturian as well as two sonatas by his friend Sergei Prokofiev. He was also awarded the Stalin Prize in 1942. The final years of the war saw the blossoming of a friendship with Shostakovich, which led to the two violin concertos and the sonata, all of which were to be premiered by and become firmly associated with Oistrakh in the following years. Oistrakh's career was set from this point, although the Soviet Union was "protective" of its people and refused to let him perform abroad. He continued to teach in the Moscow Conservatory, but when Nazi Germany invaded the Soviet Union, he went to the front lines, playing for soldiers and factory workers under intensely difficult conditions. Arguably one of the most heroic acts in his life was a performance of Tchaikovsky's Violin Concerto to the end in the central music hall during the Battle of Stalingrad in the winter of 1942 while central Stalingrad was being massively bombed by the German forces. At least one source indicates that Oistrakh performed there that winter.[8] International travel Oistrakh in 1954 Oistrakh was allowed to travel after the end of the war. He travelled to the countries in the Soviet bloc and even to the West. His first foreign engagement was to appear at the newly founded "Prague Spring" Festival where he was met with enormous success. In 1949 he gave his first concert in the West – in Helsinki. In 1951, he appeared at the "Maggio Musicale" Festival in Florence, in 1952 he was in East Germany for the Beethoven celebrations, France in 1953, Britain in 1954, and eventually, in 1955, he was allowed to tour the United States. By 1959, he was beginning to establish a second career as a conductor, and in 1960 he was awarded the coveted Lenin Prize. His Moscow conducting debut followed in 1962, and by 1967 he had established a partnership with the celebrated Soviet pianist Sviatoslav Richter. Later years The year 1968 saw wide celebrations for the violinist's sixtieth birthday, which included a celebratory performance in the Great Hall of the Moscow Conservatory of the Tchaikovsky concerto, one of his favourite works, under the baton of Gennady Rozhdestvensky. Oistrakh was now seen as one of the great violinists of his time, alongside Romania's George Enescu and Lithuanian-born Jascha Heifetz. Oistrakh suffered a heart attack as early as 1964. He survived and continued to work at a furious pace. He had already become one of the principal cultural ambassadors for the Soviet Union to the West in live concerts and recordings. After conducting a cycle of Brahms with the Concertgebouw Orchestra, he died from another heart attack in Amsterdam in 1974. His remains were returned to Moscow, where he was interred in Novodevichy Cemetery. Distinctions Oistrakh received many awards and distinctions. Within the Soviet Union, David Oistrakh was awarded the Stalin Prize in 1942, the title of People's Artist of the USSR in 1953, and the Lenin Prize in 1960. He also won the 1935 Soviet Union Competition. Several reputable works from the standard violin repertoire are dedicated to Oistrakh, including a concerto by Khachaturian, two concerti by Shostakovich, and several other pieces. Oistrakh's fame and success were not limited to the Soviet Union: he was placed second at the Henryk Wieniawski Violin Competition in Warsaw, after the 16-year-old prodigy Ginette Neveu, and further improved upon that by winning the grand prize in the Queen Elisabeth Competition in Brussels. The asteroid 42516 Oistrach is named in honour of him and his son, the violinist Igor Oistrakh. Instruments Oistrakh is known to have played at least seven Stradivarius violins owned by the Soviet Union. He initially selected the 1702 Conte di Fontana Stradivarius, which he played for 10 years before exchanging it for the 1705 Marsick Stradivarius in June 1966, which he played until his death.[citation needed] Oistrakh used bows by Albert Nürnberger and André Richaume throughout his life. Up until 1957, he used a Nürnberger bow. "The André Richaume bow bought by his son Igor Oistrakh in 1957 had filled David with such enthusiasm that Igor made a gift of it."[9] Oistrakh had remarked that this (Richaume) bow gave him great satisfaction, so much so that when in Paris he had to meet Richaume in person.[9] Chess Oistrakh was an avid chess player in the 1930s, when Stalin's government was actively encouraging its best minds to pursue chess as a hobby. His 1937 match against the composer Sergei Prokofiev was a widely observed event in the Soviet Union and is seen as an important factor in the game's enduring popularity in ex-Soviet nations today.[10] Oistrakh handily defeated Prokofiev in the ten-game match; Prokofiev resigned after seven games. Only one game transcript survives, and it records a draw between the two players.[11] Honours and awards Soviet Two Orders of Lenin – 1946 and 1966 Order of the Badge of Honour, twice – 1937 and ? People's Artist of the USSR, 1953 Stalin Prize, 1st class – 1943 Lenin Prize – 1960 Honoured Artist of the RSFSR Foreign Grand Cross of the Order of the Lion of Finland (1966) Grand Officer of the Order of Leopold II (Belgium, 1967) Recordings Oistrakh made recordings for the state classical music label, Melodiya. These recordings were marketing in the west under EMI Records and in the U.S.A. under Angel Records. He made a few guest recordings with the Philadelphia Orchestra under the direction of Eugene Ormandy. These were issued by Columbia Records. In the 21st century, many of the Melodiya recordings have been reissued by Warner Classics, whose parent company acquired EMI's classical catalog. Legacy There is a yearly music festival, "The David Oistrakh Festival", from late August to October in Estonia.[12] Moscow International David Oistrakh Violin Competition is a biennial competition for young violinists held since 2006 in memory of David Oistrakh, organized by the non-profit David Oistrakh Charity Foundation.[13] The competition, supported by Moscow government's Department of Culture, the Ministry for Culture of Russia and the Moscow Conservatory, is a member of the European Union of Music Competitions for Youth.[14] The competition aims to popularize and develop the best traditions of Russian violin performance, and to discover young musicians. ******* Biography David Oistrakh David Oistrakh is considered the premiere violinist of the mid-twentieth century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartok. In year 2008 it is going to be 100 years sinse he was born. Exept for beeing a fantastic violinist he was a gifted teacher, great conductor and a wonderful viola-player. PerformerEducatorConductorEnsemblePersonality Oistrakh - born musician with exceptional natural talent. Can a normal kid to stop their antics from the fact that he threatened not to go with my mother in the theater and did not hear the orchestra, the sound is literally fascinated? "I was three and a half years old when my father brought home a toy fiddle," playing "with which I am very happy fancies himself a street musician... I thought not and could not be happier than go from house to house with a violin ". Dream come true pretty soon. Touring journey Oistrakh - concerts soloist, began when he was barely 16 years old. His first and only music teacher called David F. eminent violin teacher - Peter Stolyarsky, creator of the famous schools - this factory talents. The teacher, in turn, recalled that his best pupil "with childhood showed exceptionally brilliant and almost breakneck speed along the road of mastering a difficult violin playing". "When I think of myself in those years, it seems to me that I was playing quite freely and fluently, tonally pure. But there is still have many years of hard work over the sound, rhythm and dynamics. of course, most importantly, a deep comprehension of the inner content ". Then there was a landmark meeting with Alexander Konstantinovich Glazunov, and the invitation to speak in Leningrad. And finally - moving to Moscow, where he was to gain prestige, the name. The great creative will, desire and ability to work, a thirst for self-improvement led him to a brilliant victory in the competition named Eugene Ysaye in Brussels. Hence, in 1937, the international fame Oistrakh. Then the news spread around the world about the "appearance of violinist worldwide". Oistrakh in Moscow he was in classes most prominent professors of the Moscow Conservatory Violin - Lev Zeitlin, Abram Yampolsky and Constantine Mostras, listening to a set of Soviet and foreign artists, but to learn from everyone, he wrote in his motion to the heights of artistic maturity was obliged to myself itself. Technical difficulties for Oistrakh did not exist, while no one remembers that he was rehearsing for 25 hours a day. His violin repertoire was enormous, but he gave preference to large canvases - a concert of Beethoven, Tchaikovsky, Brahms, Sibelius, Glazunov and Shostakovich. This was a choice rather than a virtuoso, as artist-philosopher. His creative thought gave birth to all new and new interpretations of works, play with it countless times. Not by accident, as recognized by the Oistrakh, he did not like to listen to their records, so that they allowed him to move forward. With particular force and a powerful intellect temper included when Oistrakh had to play the premiere of a new, modern works. For it was written, you can say "library" of works, crowned with such masterpieces as the sonata by Prokofiev, concerts of Shostakovich and Aram Khachaturian. Never - even in childhood - Oistrakh no one to emulate. And this despite the fact that at that time with him on the international musical Olympus was Fritz Kreisler, Jascha Heifitz, Yehudi Menuhin, Joseph Szigeti, George Enescu, Isaac Stern, Myron Polyakin and many others. 60 years, he never let go of the hands of the violin, has traveled throughout Europe and North America, Japan, Australia and New Zealand, has performed with leading orchestras in the world, and most eminent of his colleagues gave him the palm. "On stage, Oistrakh impression of the Colossus - wrote an outstanding American violinist Isaac Stern. - He stands firm on the ground, he proudly holds a fiddle, he creates music, pouring in an endless stream of beauty and elegance". ***** David Oistrakh violin | Russian Federation, °1908 - 1974 † VIOLIN 1937 : First Prize David Oistrakh (1908-1974) is considered the premiere violinist of the mid-twentieth century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. His violin studies began in 1913 with Pyotr Stolyarsky. Later he officially joined Stolyarsky's class at the Odessa Conservatory, graduating in 1926 by playing Prokofiev's First Violin Concerto. Performances of the Glazunov Concerto in Odessa and Kiev in 1927, and a 1928 debut in Leningrad (Tchaikovsky Concerto) gave him the confidence to move to Moscow. He made his premiere there in early 1929, but the event went largely unnoticed. In 1934, however, after several years of patiently refining his craft, he was invited to join the Moscow Conservatory, eventually rising to the rank of full professor in 1939. Meanwhile, David Oistrakh was gaining success on the competition circuit, winning the All-Ukrainian contest in 1930, and the All-Soviet competition three years later. In 1935 he took second prize at the Wieniawski competition. In 1937 the Soviet government sent the now veteran violinist to Brussels to compete in the International Ysa e Competition, where he took home first prize. With his victory in Brussels, Soviet composers began to take notice of their young compatriot, enabling him to work closely with Miaskovsky and Khachaturian on their concertos in 1939 and 1940, respectively. In addition, his close friendship with Shostakovich led the composer to write two concertos for the instrument (the first of which Oistrakh played at his, and its, triumphant American premiere in 1955). During the 1940s David Oistrakh's active performing schedule took him across the Soviet Union but his international career had to wait until the 1950s, when the political climate had cooled enough for Soviet artists to be welcomed in the capitals of the West. The remaining decades of his life were devoted to maintaining the highest possible standards of excellence throughout an exhausting touring schedule (he returned to the U.S. six times in the 1960s), and he began a small but successful sideline career as an orchestral conductor. His death came suddenly in Amsterdam in 1974, during a cycle of Brahms concerts in which he both played and conducted. Throughout his career David Oistrakh was known for his honest, warm personality; he developed close friendships with many of the leading musicians of the day. His violin technique was virtually flawless, though he never allowed purely physical matters to dominate his musical performances. He always demanded of himself (and his students) that musical proficiency, intelligence, and emotion be in balance, regardless of the particular style. David Oistrakh felt that a violinist's essence was communicated through clever and subtle use of the bow, and not through overly expressive use of vibrato. To this end he developed a remarkably relaxed, flexible right arm technique, capable of producing the most delicate expressive nuances, but equally capable of generating great volume and projection. As a teacher, David Oistrakh maintained that a teacher should do no more than necessary to help guide the student towards his or her own solutions to technical and interpretive difficulties. He rarely played during lessons, fearing that he might distract the student from developing a more individual approach, and even encouraged his students to challenge his interpretations. Perhaps the best evidence of the Oistrakh's gift for teaching is that he felt that he gained as much from the teaching experience as his students did.    ebay6002 folder 208