SMGQ-0335 Jascha Heifetz Double Autograph 1940 dated USO Flyer Famous Violinist

$500.00

Out of stock

Description

Fantastic offering! Not only do you get a full signature with the 1940 date on the USO flyer, you also get a Short signature dated April 1945 on an invasion note that was taped to the flyer by the American Service man who brought it back (or sent it home). The soldier who sent it home was admin officer (captain at the time) Charlie Gebhardt from the 9th US army. Gebhardt wrote on the flyer ” <— Autograph  Took him out to a German firing range to fire all shorts of hand weapons”. Gebhardt must have went to his 1940 USO performance or acquired the flyer from a buddy who went. Then, he had the fortune to be able to take him out to a German firing range just before the war ended 5 years later! Super cool!

 

From Wikipedia:

Heifetz was “regarded as the greatest violin virtuoso since Paganini”, wrote Lois Timnick of the Los Angeles Times.[20] “He set all standards for 20th-century violin playing…everything about him conspired to create a sense of awe”, wrote music critic Harold Schonberg of The New York Times.[21] “The goals he set still remain, and for violinists today it’s rather depressing that they may never really be attained again”, wrote violinist Itzhak Perlman.[22]

Virgil Thomson called Heifetz’s style of playing “silk underwear music”, a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composer’s intentions. His style of playing was highly influential in defining the way modern violinists approached the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz’s playing instantly recognizable to aficionados. Itzhak Perlman, who himself is known for his rich warm tone and expressive use of portamento, described Heifetz’s tone as like “a tornado” because of its emotional intensity. Perlman said that Heifetz preferred to record relatively close to the microphone—and as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance.[23]

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