1971 Cello CONCERT POSTER Israel BARENBOIM Cellist NELSOVA Replace DU PRE Israel

$210.76 $198.11 Buy It Now or Best Offer, $42.15 Shipping, 30-Day Returns, eBay Money Back Guarantee
Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276254821404 1971 Cello CONCERT POSTER Israel BARENBOIM Cellist NELSOVA Replace DU PRE Israel.   DESCRIPTION : Up for auction is an extremely rare CONCERT POSTER of UNIQUE CIRCUMSTANCES announcing and advertising the upcoming unique CELLO performance of the renowned JEWISH CELLIST of Russian descent - ZARA NELSOVA who was called in the last moment to replace JACQUELINE DU PRE who wasn't able to perform due to her illness . The CELLO CONCERT  took place almost 50 years ago in 1971 in HAIFA ISRAEL.  NELSOVA was a guest of the IPO. She played pieces by SAINT-SAENS , HAYDN , SCHUMANN and AVIDOM with the IPO under the baton of DANIEL BARENBOIM , The husband and regular team mate of JACKY DU PRE.  . Size around  27 x 19 " . Hebrew & English.  Very good condition . ( Pls look at scan for accurate AS IS images )  Will be sent inside a protective rigid sealed tube  .   PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT :SHIPP worldwide via  registered airmail is $ 25  . Will be sent inside a protective rigid sealed tube   . Will be sent  around 5-10 days after payment .   Zara Nelsova (December 23, 1918 – October 10, 2002) was a prominent cellist. Contents 1 Biography 2 Zara Nelsova Award for Emerging Cellist 3 References 4 External links Biography[edit] Nelsova was born as Sara Katznelson in Winnipeg, Manitoba, Canada, to parents of Jewish-Russian descent. Nelsova first performed at the age of five in Winnipeg. She eventually moved with her family to London, England, where she studied at the London Cello School with its principal, Herbert Walenn.[1] She was heard by Sir John Barbirolli and introduced by him to Pablo Casals, from whom she received additional lessons. In 1932, still aged only 13, she gave a London debut recital and appeared as soloist with Sir Malcolm Sargent and the London Symphony Orchestra. During World War II she was principal cellist of the Toronto Symphony Orchestra, and in 1942 made her United States solo debut at Town Hall in New York. From 1942 to 1944, she was cellist of the Conservatory String Quartet. In 1949 Nelsova moved to London, where she introduced to Britain new works by Samuel Barber, Paul Hindemith, Dmitri Shostakovich and Ernest Bloch, who dedicated his three suites for unaccompanied cello to her. She premiered Hugh Wood's concerto at the 1969 Promenade concerts. In 1955 she became an American citizen, and performed as a soloist for many major orchestras, including Boston, Winnipeg, Montreal and the New York Philharmonic. She also toured extensively, and in 1966 was the first North American cellist to play in the Soviet Union. Nelsova promoted the Elgar Cello Concerto when it was rarely heard, long before Jacqueline du Pré appeared. Nelsova played it in concert and in recital with a piano reduction of the orchestral score. From 1966 to 1973 she was married to the American pianist Grant Johannesen, with whom she often performed and recorded.[2] Her dignified, introspective readings of Bloch's Schelomo and Barber's Cello Concerto were both recorded with the composers conducting. (She later re-recorded Schelomo under Ernest Ansermet, also for the Decca-London label.) She played a Stradivari cello, the "Marquis de Corberon" of 1726. She taught at the Juilliard School in New York City from 1962 to 2002 (the year of her death). In 1978, Gerhard Samuel composed "In Memoriam DQ" for Solo Cello (copyright 1990 MMB Music), for Zara Nelsova, which was first performed on January 7, 1980. In 2002, Nelsova died in New York City, New York. Nelsova was 83.[3] Zara Nelsova Award for Emerging Cellist[edit] An award was given in Nelsova's name at the 2008 Naumburg International Violoncello Competition; the winner was Saeunn Thorsteinsdottir, from Iceland.[4] Another award was presented at the 2011 International Cello Festival of Canada to an emerging Canadian cellist;[5] the winner of the award was Se-Doo Park.[6] *****  ZARA NELSOVA Zara Nelsova was one of the great twentieth-century prodigies of the cello. The youngest daughter of Russian Gregor Katznelson, a flautist who had trained at the St Petersburg Conservatory and performed under the name ‘Nelsov’, Zara first came before the public with her two sisters (a violinist and a pianist) as ‘The Canadian Trio’. She was five years old at their first appearance, and thirteen when they played at the Wigmore Hall. Nelsova started lessons with her father at four-and-a-half on a converted viola and at six went to his colleague from the Orpheum Orchestra, Desző Mahálek, a former pupil of Popper. When Sir Hugh Roberton, Britain’s leading choral director at the time, heard her at a talent competition he suggested she and her sisters go to London to complete their tuition. Zara hoped to attend the Royal Academy but was too young, so went to Herbert Walenn at the London Violoncello School where her classmates included John Barbirolli, Lauri Kennedy and William Pleeth. Aged twelve she made her orchestral début under Sargent with the London Symphony Orchestra, playing the then-unfamiliar Lalo Concerto. She went to the USA during World War II, making her first New York appearance in 1942 and securing an international reputation. Nelsova had always harboured an ambition to study with Casals and from 1948 attended two summer schools in Prades. During this period she gave the British premières of the Shostakovich and Hindemith sonatas and met Ernest Bloch; his Schelomo became associated with her and she performed his music frequently thereafter. Another equally significant connection was with Samuel Barber. Nelsova gave the British première of his Cello Concerto in 1950 and recorded it with him shortly afterwards. She was the first North American cellist to tour the USSR (in 1966, to great acclaim), and performed well into the 1980s on her magnificent 1726 Stradivarius ‘Marquis de Corberon’. Devoted also to teaching, she continued in this capacity to the end of her life, receiving a chair at Rutgers (New Jersey) at the age of eighty-one. Nelsova’s playing is very much of her time, having less of the conspicuous retention of nineteenth-century practices found with players a generation older. Her style is unchallenging, with few and fast portamenti and an almost continuous, tight vibrato; but there is an intensity and directness which renders her performances especially vivid and can sound unfamiliar to modern ears. The ‘Ghost’ Trio with Schneider and Gould (1954) sounds clumsy and literal according to recent taste, but nonetheless testifies to a powerful union of great musicians and is an evocative reading. Nelsova’s prowess as a dramatist can be heard further in some fine Romantic cello sonatas, all of which demonstrate a rich, deep tone (well suited to the Brahms and Chopin works recorded with her then husband, Grant Johannessen, in 1968) and a real sense of dialogue which works especially well in the little-recorded Rachmaninov Sonata (1956). Meanwhile, her Bloch suite From Jewish Life (1950), with some portamento and a tight, discreet vibrato, is a passionate reading and shows us why Nelsova’s name was synonymous with Bloch’s music. Her celebrated 1950 recording of Barber’s Concerto under the composer’s baton has obvious historical significance: it remains one of the most convincing interpretations of the work and testifies to Nelsova’s overtly emotional musicianship.  ***  Zara Nelsova, cellist, teacher (b at Winnipeg 23 Dec 1918; d at New York 10 Oct 2002) began playing a converted viola at the age of five with her father, a flutist and graduate of the Petrograd Conservatory. Zara Nelsova, cellist, teacher (b at Winnipeg 23 Dec 1918; d at New York 10 Oct 2002) began playing a converted viola at the age of five with her father, a flutist and graduate of the Petrograd Conservatory. From 1924 she studied with Dezsö Mahalek, a former student of the great cellist David Popper. With her older sisters Ida on violin and Anna on piano, the Nelson Trio first performed in 1924 and created a sensation at the 1926 Manitoba Music Competition Festivals. Urged by adjudicators to seek further studies in England, the Nelsovas moved to London in 1928, where the now-named Canadian Trio appeared to great acclaim at Wigmore Hall. In 1930 Nelsova played the Lalo Concerto with the London Symphony Orchestra. The Trio toured in 1934-36 throughout Africa and Australia. In 1939 they toured Canada and remained there with the outbreak of the war. Nelsova became principal cellist (1940-43) of the Toronto Symphony Orchestra and formed a new Canadian Trio with Kathleen Parlow and Ernest MacMillan (1941-44). Further studies with Emanuel Feuermann and Gregor Piatigorsky, and after 1946 with Pablo Casals, opened up solo and concerto engagements for Nelsova. She made recordings with Samuel Barber and of the cello music of Ernest Bloch, who said "Zara Nelsova is my music." Having had many works written specifically for her, in 1955 she gave a famous series of recitals for cello alone in London and New York. In 1966 she became the first North American cellist to tour the Russian republics. Beginning her teaching career at the Juilliard School in 1962, she also taught at Rutgers University and often gave master classes at the Royal Academy of Music in London. She played a 1726 Stradivarius cello known as the "Marquis de Corberon." **** Zara Nelsova, (Sara Nelson), Canadian-born American cellist (born Dec. 24, 1917, Winnipeg, Man.—died Oct. 10, 2002, New York, N.Y.), had a long career, beginning as a child prodigy. Called the “queen of cellists,” she was known particularly for performing contemporary works, including Schelomo and other music by Ernest Bloch. When she was only 10, she formed the Canadian Trio with her sisters, a pianist and a violinist. In 1929 her parents moved the family to London to give her greater opportunities for study, and the following year she appeared as a soloist with the London Symphony Orchestra. Nelsova returned to Canada in 1939, where she became principal cellist in the Toronto Symphony Orchestra, and she made her New York debut in 1942. In 1955 she became a U.S. citizen, and from 1963 to 1973 she performed frequently with pianist Grant Johannesen, her husband at the time. Nelsova taught at a number of schools, including the Juilliard School in New York City. ** Zara Nelsova was born to play the cello—almost literally. The woman who, in the 1950s, would be dubbed “Queen of the Cello” and come to be celebrated for her voluminous, molten-gold tone, started life as the missing piece in a family piano trio. Two older sisters in her Winnipeg, Manitoba, immigrant family already played piano and violin. To complete the ensemble, her father, a St. Petersburg Conservatory–trained flautist named Gregor Katznelson, transformed a viola into a small cello for young Sara (her original first name). Nelsova’s origin story continues with the family practice regimen. In their tiny apartment, the sisters worked at opposite ends of the same room (whence her incredible focus). Papa Katznelson would make them compete with his long flute tones—a first step toward her famous sustained sound. And he found Sara a teacher who’d studied with étude-master David Popper, providing a foundation for her later phenomenal and automatic technique. When the family relocated to Britain in 1928, ten-year-old Sara continued studies with the eminent Herbert Walenn, performing the Lalo Concerto with the London Symphony two years later. At twelve, she was already a great cellist. But seeking improvement long past the beginning of her professional career, she went on to study with the three greatest cellists of the day: Gregor Piatigorsky, Emanuel Feuermann, and Pablo Casals. Nelsova’s humility in seeking out further guidance was coupled with confidence and assertiveness, qualities that stood her in good stead both musically and professionally. She gained the opportunity to study with Piatigorsky by showing up unannounced to play for him at his hotel prior to an early morning departure. She caught conductor William Steinberg’s attention by planting her cello directly in front of him after a rehearsal, and just starting to play. All that, plus a name change, and before long, Zara Nelsova had been crowned cello royalty. Audiences were wowed by her tone; technique; forthright music-making; fast, intense vibrato; and colorful gowns. She played regularly with the greatest American and European orchestras. Steinberg hired her annually as soloist. She made a triumphant 1966 tour of the Soviet Union, the first American cellist to play there. (She’d taken US citizenship in 1955.) She gave the Hindemith and Shostakovich sonatas their British premieres, performed the Walton Concerto with Walton conducting, and made the first recording of the Barber Concerto, Barber conducting. Her biggest fan among composers, though, was Ernest Bloch, who went so far as to say “Zara Nelsova is my music.” It was at Nelsova’s urging that Bloch wrote his Cello Suites, and she recorded Schelomo under his baton. He even gave her a photo inscribed “to Madame Schelomo.” Advertisement A perusal of Nelsova’s essential recordings, then, can only begin with with Schelomo. Interestingly, Nelsova’s own favored recording was not the one with Bloch, but a subsequent outing with Ansermet and the London Philharmonic: a gloriously expressive and spontaneous performance. Still more moving is her rendition of Bloch’s From Jewish Life, throbbingly painful in its cantorial and Klezmer inflections. Journeying backward from Bloch to Bach shows Nelsova’s stylistic flexibility: she recorded three of the solo Suites with winning simplicity and naturalness, operating at a notably lower level of tonal intensity. The tone comes roaring back for the Dvořák Concerto, which she recorded three times. The last version, with Susskind and the St. Louis Symphony, is straightforward and satisfying music-making, extraordinary in its clarity, and played with that beautiful sound, so robust here that you can practically grasp it with your hands. Another gem is the Lalo Concerto, with Boult and the London Philharmonic, simmering with piquancy and romantic temperament. Nelsova was married for ten years to pianist Grant Johannesen. The two made a wonderful sonata team: their recordings of the Chopin and Brahms E Minor are perfectly unified at the deepest level of detail, and Nelsova’s playing pulsates with life, vividly capturing the colors of Chopin’s poetry and Brahms’ defiant sorrow. One example of her chamber playing is also captured on record: Beethoven’s “Ghost Trio,” played at the 1954 Stratford Festival with pianist Glenn Gould and violinist Sasha Schneider. This performance was preceded by a contentious rehearsal process, pitting the twenty-two-year-old pianist against his older string colleagues. As interpretive disagreements mounted, Schneider asked Gould how many times he’d performed the piece. The answer turned out to be zero. Said Schneider: “I’ve done it four or five hundred times.” To which Gould replied: “My position has always been that quality is more important than quantity.” Eventually, Nelsova played tiebreaker. However they got there, the end product—thrillingly energetic, beautifully subtle, and stunningly precise—is as fine a chamber recording as you could wish to hear.  *** Jacqueline Mary du Pré, OBE (26 January 1945 – 19 October 1987) was a British cellist. At a young age, she achieved enduring mainstream popularity. Despite her short career, she is regarded as one of the greatest cellists of all time. Her career was cut short by multiple sclerosis, which forced her to stop performing at the age of 28. She battled the illness for a further 14 years until her death at the age of 42. She was the subject of the 1998 biographical film, Hilary and Jackie, which attracted criticism for perceived inaccuracy and sensationalism. Contents 1 Early years, education 2 Career 3 Personal life 4 Multiple sclerosis 5 Death 6 Cultural depictions 6.1 Book and film 6.2 Ballet 6.3 Opera 7 Honours and awards 8 Discography 9 References 10 External links Early years, education[edit] Du Pré was born in Oxford, England, the second child of Iris Greep and Derek 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 was a talented concert pianist who had studied at the Royal Academy of Music.[1] 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 enrolling at the London Violoncello School at age five, studying with Alison Dalrymple. For her general education, du Pré was enrolled first at Commonweal Lodge, a former independent school for girls in Purley, and then at the age of eight, transferred to Croydon High School, an independent day school for girls in South Croydon.[2]:p. 31 In 1956, at the age of 11, she won the Guilhermina Suggia Award, and was granted renewal of the award each year until 1961.[2]:p. 50 The Suggia award paid for du Pré's tuition at the Guildhall School of Music in London, and for private lessons with the celebrated cellist William Pleeth. In late 1958, the family moved to London, where Derek du Pré took the job of Secretary of the Institute of Cost and Works Accounting. In January, 1959, du Pré was enrolled in Queen's College, where she fell behind in her schoolwork, and in December du Pré's parents withdrew her from the school. This ended du Pré's general education; she never took the GCE.[2]:pp. 44–46 From an early age, du Pré was entering and winning local music competitions alongside her sister, flautist Hilary du Pré. In 1959 she began appearing at children's and young musicians' concerts, including with fellow students at the Guildhall end-of-term concert in March, followed by an appearance on BBC Television, playing the Lalo Cello Concerto. In May she repeated the Lalo concerto with the BBC Welsh Orchestra in Cardiff, with an additional recording of the Haydn Cello Concerto at the BBC Lime Grove Studios with the Royal Philharmonic. In 1960 du Pré 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. Pleeth entered her in the Queen's Prize competition for outstanding musicians under 30. The panel, chaired by Yehudi Menuhin, unanimously awarded du Pré the prize, and Menuhin subsequently invited her to play trios with him and his sister.[2]:pp. 52–53 Career[edit] In March 1961, at the age of 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 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; repeating the Elgar at The Proms with the same orchestra on August 14 of the same year, under Sir Malcolm Sargent. In September, 1962, du Pré débuted at the Edinburgh Festival with Brahms' Second Cello Sonata, followed by débuts in Berlin in September and Paris in October, playing the Schumann Cello Concerto. After the Paris début, du Pré enrolled at the Conservatoire de Paris to study for six months with Paul Tortelier, the tuition paid by her final Suggia Award stipend, although she continued to refer to Pleeth as her primary teacher.[2]:pp. 68–69 In 1963, du Pré performed at The Proms, 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, returning 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 a benchmark for the work, and one which has never been out of the catalogue 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. In 1966 du Pré studied in Russia with Mstislav Rostropovich, who was so impressed with his 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] In 1968, at the suggestion of Ian Hunter, a composition was created by Alexander Goehr specifically for du Pré, Romanza for cello and orchestra, op.24, which she premiered at the Brighton Music Festival, with Daniel Barenboim conducting the New Philharmonia Orchestra.[4]:pp. 281–282 In addition to those already mentioned, Du Pré performed with numerous orchestras throughout the world, including the London Philharmonic, Cleveland Orchestra, New Philharmonia Orchestra, BBC Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Israel Philharmonic, and the Los Angeles Philharmonic Orchestra. She made her debut with the Berliner Philharmoniker in 1968 playing Dvořák's Cello Concerto in B minor with Zubin Mehta. She regularly performed with such conductors as Barbirolli, Sargent, Sir Adrian Boult, Daniel Barenboim, and Leonard Bernstein. Du Pré primarily played on two Stradivarius cellos, one from 1673 and the 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 marriage to Daniel Barenboim led to many memorable chamber-music performances. In a book review for two biographies about the cellist, Eugenia Zukerman, the flutist and former wife of Pinchas Zukerman, judged du Pré "one of the most stunningly gifted musicians of our time".[5] 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. Personal life[edit] Du Pré met pianist and conductor Daniel Barenboim in London on Christmas Eve 1966. Shortly before the Six-Day War of 1967, she cancelled all of her current engagements, flew to Jerusalem with Barenboim, where she converted to Judaism and they married at the Western Wall on 15 June after having given concerts around Israel for its troops and citizens. Barenboim and du Pré were highly regarded as a "golden couple" in the music industry during the late 1960s and early 1970s, with their extensive performing and recording collaborations being ranked as some of the finest of their time. The posthumous memoir A Genius in the Family (later renamed Hilary and Jackie) by Jacqueline's siblings Hilary and Piers, published well after her death, alleges that she had an extramarital affair with Christopher Finzi, her brother-in-law, from 1971 to 1972 when she was visiting Hilary's family.[6] Multiple sclerosis[edit] In 1971, du Pré's playing declined as she began 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 programme with Felix Mendelssohn's Violin Concerto.[7] Death[edit] Her gravestone Du Pré died in London on 19 October 1987 at age 42, and is buried in Golders Green Jewish Cemetery. The Vuitton Foundation purchased her Davidov Stradivarius for just over £1 million, and made it available on loan to Yo-Yo Ma. After being owned by the Norwegian cellist Øyvind Gimse, the 1673 Stradivarius, named by Lynn Harrell the Du Pré Stradivarius in tribute,[8] is now on extended loan to Hungarian cellist István Várdai.[9] Du Pré's 1970 Peresson cello is currently on loan to cellist Kyril Zlotnikov of the Jerusalem Quartet.[10] There is a blue plaque celebrating her memory at her former home, 27 Upper Montagu Street, Marylebone. Cultural depictions[edit] Book and film[edit] 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, which in turn promoted the popularity of the memoir. Both the book and film adaptation have been criticised for sensationalising Jacqueline du Pré's personal life, although the general claim of an affair was supported by others. The memoir's content in general remains factually unsupported and disputed, and contains significant omissions.[11] The memoir's actual description of events is 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)[12] also coincided with a long period in which Finzi took the initiative in verbally comforting Jacqueline. Hilary claims that she was helping her sister through her depression. She also argues, however, that she was victimised by her sister's demands, and concludes that her sister had a desire for her husband.[13] The memoir's account of the affair with Finzi is 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 posthumous allegation of an affair, combined with Hilary's claim to be victimised, inevitably generated a controversy over Jacqueline du Pré's personal life.[14] The film dramatisation Hilary and Jackie, supported by Hilary Finzi, changes the story line of the memoir on several key factual points,[12] and has been criticised by some for imposing a scandal on Jacqueline's personal life.[15] 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 portrayal of events as imagined from Jacqueline's own perspective. The film adaptation contains factually incorrect elements and diverges from the book's account of events, portraying Jacqueline as being predatory and actively planning to seduce her sister's husband.[12] The director, Anand Tucker, defends the film's portrayal of an affair by arguing that extant alternatives amount to canonisation or hagiography, and that he was "deeply moved [by] Hilary's sacrifice". The film and book were also defended for their emotional power and broad authenticity, despite fictional content regarding aspects of Jacqueline's personality and the specifics of events.[16] 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".[17][18] 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". Others, such as Christopher Nupen, took a different view, holding that Jacqueline's struggle with multiple sclerosis was more complex, with long periods of sustained normality even to the very end.[19] Ballet[edit] Choreographer Cathy Marston choreographed a one-act ballet titled The Cellist, based on du Pré's life, for The Royal Ballet. The ballet premiered in 2020 at the Royal Opera House, with Lauren Cuthbertson as "The Cellist", Matthew Ball as "The Conductor" and Marcelino Sambé as "The Instrument".[20] Opera[edit] On 19 February 2020 the opera 'Jacqueline' had its world premiere at the Betty Oliphant theatre in Toronto in a production by Tapestry Opera - Libretto by Royce Vavrek | Music by Luna Pearl Woolf | Dramaturgy and Direction by Michael Hidetoshi Mori. Jacqueline was performed by Marnie Breckinridge (Soprano) and the Cello was performed by Matt Haimovitz. Honours and awards[edit] 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 the age of 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.[23] ****  Daniel Barenboim (German: [ˈbaːʁənbɔʏm]; Hebrew: דניאל בארנבוים‎; born 15 November 1942) is a pianist and conductor who is a citizen of Argentina, Israel, Palestine, and Spain. The current general music director of the Berlin State Opera and the Staatskapelle Berlin, Barenboim previously served as Music Director of the Chicago Symphony Orchestra, the Orchestre de Paris and La Scala in Milan.[2] Barenboim is known for his work with the West–Eastern Divan Orchestra, a Seville-based orchestra of young Arab and Israeli musicians, and as a resolute critic of the Israeli occupation of Palestinian territories. Barenboim has received many awards and prizes, including seven Grammy awards, an honorary Knight Commander of the Order of the British Empire,[3] France's Légion d'honneur both as a Commander and Grand Officier, and the German Großes Bundesverdienstkreuz mit Stern und Schulterband. Together with the Palestinian-American scholar Edward Said, he was given Spain's Prince of Asturias Concord Award. Barenboim is a polyglot, fluent in Spanish, Hebrew, English, French, Italian, and German. A self-described Spinozist, he is significantly influenced by Spinoza's life and thought.[4][5][6][7][8] Contents 1 Biography 1.1 Citizenship 2 Career 3 Musical style 3.1 Recordings 3.2 Conducting Wagner in Israel 4 Political views 4.1 West–Eastern Divan 4.2 Wolf Prize 4.3 Performing in the West Bank and Gaza Strip 5 Awards and recognition 5.1 Honorary degrees 5.2 Grammy Awards 6 Straight-Strung Piano 7 References 8 External links Biography[edit] Daniel Barenboim, age 11, with composer Eithan Lustig and the Gadna Youth orchestra (1953) Daniel Barenboim was born on 15 November 1942 in Buenos Aires, Argentina, to Argentinian-Jewish parents Aida (née Schuster) and Enrique Barenboim.[9] 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.[10] In 1952, Barenboim's family moved to Israel. 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.[11] 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.[12] In 1955 Barenboim studied harmony and composition with Nadia Boulanger in Paris. On 15 June 1967, Barenboim and British cellist Jacqueline du Pré were married in Jerusalem at a Western Wall ceremony, du Pré having converted to Judaism.[13] 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.[14] 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 and Russian pianist Elena Bashkirova started a relationship. Together they had two sons, both born in Paris before du Pré's death: David Arthur, born 1983, and Michael, born 1985. Barenboim worked to keep his relationship with Bashkirova hidden from du Pré, and believed he had succeeded. He and Bashkirova married in 1988. Both sons are part of the music world: David is a manager-writer for the German hip-hop band Level 8, and Michael Barenboim is a classical violinist.[15] Citizenship[edit] Barenboim holds citizenship in Argentina, Israel,[16] Palestine,[17] and Spain,[18] and was the first person to hold Palestinian and Israeli citizenship simultaneously. He lives in Berlin.[19][10] Career[edit] U.S. concert performance at age 15 (January 1958) After performing in Buenos Aires, Barenboim made his international debut as a pianist at the age of 10 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 Jacqueline du Pré gave concerts in Jerusalem, Tel Aviv, Haifa and Beersheba before and during the Six-Day War.[20] 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 performance of the Schubert "Trout" Quintet.[21] 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 Opéra Bastille in Paris, scheduled to open in 1990, but was fired in January 1989 by the opera's chairman Pierre Bergé.[22] Barenboim was named music director designate of the Chicago Symphony Orchestra in 1989 and succeeded Sir Georg Solti as its music director in 1991, a post he held until 17 June 2006.[23] 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.[15] (l-r) President of the East Berlin Jewish Community Peter Kirchner [de], President of the Federal Republic of Germany Richard von Weizsäcker, and Barenboim visit Jewish cemetery in Berlin-Weissensee (1990) Since 1992, Barenboim has been music director of the Berlin State Opera and the Staatskapelle Berlin, succeeding in maintaining the independent status of the State Opera. He has tried to maintain the orchestra's traditional sound and style.[24] In autumn 2000 he was made conductor for life of the Staatskapelle Berlin.[25] On 15 May 2006 Barenboim was named principal guest conductor of La Scala opera house, in Milan, after Riccardo Muti's resignation.[26] He subsequently became music director of La Scala in 2011.[27] In 2006, Barenboim presented the BBC Reith Lectures, presenting a series of five lectures titled In the Beginning was Sound. The lectures on music were recorded in a range of cities, including London, Chicago, Berlin, and two in Jerusalem.[28][29][30][31] In the autumn of 2006, Barenboim gave the Charles Eliot Norton Lectures at Harvard University, entitling his talk Sound and Thought.[32] In November 2006, Lorin Maazel submitted Barenboim's name as his nominee to succeed him as the New York Philharmonic's music director.[33] 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",[34] repeating in April 2007 his lack of interest in the New York Philharmonic's music directorship or its newly created principal conductor position.[35] Barenboim made his conducting debut on 28 November 2008 at the Metropolitan Opera in New York for the House's 450th performance of Wagner's Tristan und Isolde. In 2009, he conducted the Vienna New Year's Concert of the Vienna Philharmonic.[36] In his New Year message, he expressed the hope that 2009 would be a year for peace and for human justice in the Middle East.[37] He conducted the Vienna Philharmonic again for New Year's Day 2014. That year construction began on the Barenboim–Said Academy in Berlin. A joint project Barenboim developed with Palestinian-American scholar Edward Said, the academy was planned as a site for young music students from the Arab world and Israel to study music and humanities in Berlin.[38] It opened its doors on 8 December 2016.[39] In 2015, Barenboim unveiled a new concert grand piano. Designed by Chris Maene with support from Steinway & Sons, the piano features straight parallel strings instead of the conventional diagonally-crossed strings of a modern Steinway.[40] Musical style[edit] Barenboim has rejected musical fashions based on current musicological research, such as the authentic performance movement. His recording of Beethoven's symphonies shows his preference for some conventional practices, rather than fully adhering to Bärenreiter's new edition (edited by Jonathan Del Mar).[41] Barenboim has opposed the practice of choosing the tempo of a piece based on historical evidence, such as the composer's metronome marks. He argues instead for finding the tempo from within the music, especially from its harmony and harmonic rhythm. He has reflected this in the general tempi chosen in his recording of Beethoven's symphonies, usually adhering to early-twentieth-century practices. He has not been influenced by the faster tempos chosen by other conductors such as David Zinman and authentic movement advocate Roger Norrington. In his recording of The Well-Tempered Clavier, Barenboim 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 favoured by Glenn Gould. Moreover, in the fugues, he often plays one voice considerably louder than the others, a practice impossible on a harpsichord. According to some scholarship, this practice began in Beethoven's time (see, for example, Matthew Dirst's book Engaging 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 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 ...[42] Recordings[edit] 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, Beethoven and Schubert's piano sonatas, Beethoven's piano concertos (with the New Philharmonia Orchestra and Otto Klemperer), and Mozart's piano concertos (conducting the English Chamber Orchestra from the piano). Romantic recordings include Brahms's piano concertos (with John Barbirolli), Mendelssohn's Songs Without Words, 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 Mahler;[43] 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 Rodrigo and 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: J. S. Bach's The Well-Tempered Clavier (which he has played since childhood) and Goldberg Variations, Albeniz's Iberia, and Debussy's Préludes. In addition, he turned to other musical genres, such as jazz,[44] 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.[45] 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, and Mozart's Clarinet Trio with members of the Berlin Staatskapelle. To mark Barenboim's 75th birthday, Deutsche Grammophon released a box set of 39 CDs of his solo recordings,[46] and Sony Classical issued a box set of Barenboim's orchestral recordings on 43 CDs and three DVDs in 2017, Daniel Barenboim – A Retrospective.[47] Conducting Wagner in Israel[edit] Further information: Wagner controversies § Wagner's music in Israel The Israel Philharmonic Orchestra (then Palestine Orchestra) had performed Richard Wagner's music in Mandatory Palestine even during the early days of the Nazi era.[48] But after the Kristallnacht,[49] 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,[50] initiating 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.[51] In 1974[52] and again in 1981 Zubin Mehta planned to (but did not) lead the Israel Philharmonic Orchestra in works of Wagner. During the latter occasion, fist fights broke out in the audience.[53] Barenboim, who had been selected to head the production of Wagner's operas at the 1988 Bayreuth Festival,[54] had since at least 1989 publicly opposed the Israeli ban. In that year, he had the Israel Philharmonic "rehearse" two of Wagner's works.[55] 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, but 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?"[56] Not long afterwards, it was announced that Barenboim would lead the Israel Philharmonic in two Wagner overtures,[57] which took place on 27 December "before a carefully screened audience".[58] In 2000, the Israel Supreme Court upheld the right of the Rishon LeZion Orchestra to perform Wagner's Siegfried Idyll.[59] 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.)[60] 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.[61] Barenboim agreed to substitute music by Schumann and 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 Prelude.[62][63][64] 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.[65] Barenboim regarded the performance of Wagner at the 7 July concert as a political statement. He said he had decided to defy the ban on Wagner after having a news conference he held the previous week interrupted by the ringing of a mobile phone to the tune of Wagner's "Ride of the Valkyries".[66] "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.[67][68] A Knesset committee subsequently called for Barenboim to be declared a persona non grata in Israel until he apologized for conducting Wagner's music.[69] The move was condemned by the musical director of the Israel Philharmonic Orchestra Zubin Mehta and members of Knesset.[70] 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".[71] In 2005, Barenboim gave the inaugural Edward Said Memorial Lecture at Columbia University, entitled "Wagner, Israel and Palestine".[72] In the speech, according to the Financial Times, Barenboim "called on Israel to accept the Palestinian 'narrative even though they may not agree with it'", and said, "The state of Israel was supposed to provide the instrument for the end of anti-Semitism ... This inability to accept a new narrative has led to a new anti-Semitism that is very different from the European anti-Semitism of the 19th century."[73] According to The New York Times, Barenboim said it was the "fear, this conviction of being yet again the victim, that does not allow the Israeli public to accept Wagner's anti-Semitism ... It is the same cell in the collective brain that does not allow them to make progress in their understanding of the needs of the Palestinian people", and also said that suicide bombings in Israel "had to be seen in the context of the historical development at which we have arrived".[74] The speech caused controversy; the Jewish Telegraphic Agency wrote that Barenboim had "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".[75] 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 ..."[76] 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 favourite 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".[77] In a 2012 interview with Der Spiegel,[78] Barenboim said, "It saddens me that official Israel so doggedly refuses to allow Wagner to be performed – as was the case, once again, at the University of Tel Aviv two weeks ago – because I see it as a symptom of a disease. The words I'm about to use are harsh, but I choose them deliberately: There is a politicization of the remembrance of the Holocaust in Israel, and that's terrible." He also argued that after the trial of Adolf Eichmann and the Six-Day War, "a misunderstanding also arose ... namely that the Holocaust, from which the Jews' ultimate claim to Israel was derived, and the Palestinian problem had something to do with each other."[78] He also said, that since the Six-Day War, Israeli politicians have repeatedly established a connection between European anti-Semitism and the fact that the Palestinians don't accept the founding of the State of Israel. But that's absurd! The Palestinians weren't primarily anti-Semitic. They just didn't accept their expulsion. But European anti-Semitism goes much further back than to the partition of Palestine and the establishment of Israel in 1948.[78] In response to a question from the interviewer, he said he conducted Wagner with the West–Eastern Divan Orchestra because, "The musicians wanted it. I said: Sure, but we have to talk about it. It's a tricky decision." When the interviewer asked if the initiative came from Arab musicians in the orchestra, he replied, "On the contrary. It was the Israelis. The Israeli brass players."[78] Over the years, observers of the Wagner battle have weighed in on both sides of the issue.[79] Political views[edit] Daniel Barenboim leads a rehearsal of the West–Eastern Divan in Seville, Spain, 2005 Rehearsal of the West–Eastern Divan under the lead of Daniel Barenboim, 2005 Barenboim, a supporter of human rights, including 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 that was "morally abhorrent and strategically wrong" and "putting in danger the very existence of the state of Israel".[80] 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.[81] Barenboim has argued publicly for a Two-state solution for Israelis and Palestinians. In a November 2014 opinion piece in The Guardian, he wrote that the "ongoing security of the state of Israel ... is only possible in the long term if the future of the Palestinian people, too, is secured in its own sovereign state. If this does not happen, the wars and history of that region will be constantly repeated and the unbearable stalemate will continue."[82] West–Eastern Divan[edit] In 1999, Barenboim and Palestinian-American intellectual Edward Said jointly founded the West–Eastern Divan Orchestra.[83][84] This initiative brings together, every summer, a group of young classical musicians from Israel, the Palestinian territories and Arab countries to study, perform and to promote mutual reflection and understanding.[85][86][87] Barenboim and Said jointly received 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.[88] 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".[89] After being invited for the fourth time to the Doha Festival for Music and Dialogue in Qatar 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". There had been a campaign against him in the Arab media,[90] accusing him of "being a Zionist".[91] In July 2012, Barenboim and the orchestra played a pivotal role at the BBC Proms, performing a cycle of Beethoven's nine symphonies, with the Ninth timed to coincide with the opening of the London 2012 Olympic Games.[92] In addition, he was an Olympic flag carrier at the opening ceremony of the Games.[93] Wolf Prize[edit] 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.[94] 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.[95] The ceremony was boycotted by Knesset Speaker Reuven Rivlin, also a member of the Likud party.[96] In his acceptance speech, Barenboim expressed his opinion 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?[97] 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 cited the text of the Israeli Declaration of Independence.[98]     ebay5100
  • Condition: Very good condition ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Israel
  • Religion: Judaism

PicClick Insights - 1971 Cello CONCERT POSTER Israel BARENBOIM Cellist NELSOVA Replace DU PRE Israel PicClick Exclusive

  •  Popularity - 0 watchers, 0.0 new watchers per day, 91 days for sale on eBay. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 2,805+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive