Violinist GIOCONDA DE VITO Hand SIGNED AUTOGRAPH + PHOTO + DECORATIVE MAT Signed

Description: DESCRIPTION : Up for sale is an original BEAUTIFULY HAND SIGNED AUTOGRAPH ( With a blue pen ) of the female violinist of Italian descent GIOCONDA DE VITO which is beautifuly and professionaly matted beneath her reproduction action photo - Playing her violin . The ORIGINAL AUTOGRAPH and the reproduction 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). The size of the mat is around 9 x 13 " . The size of the reproduction action photo is around 6 x 5 " . The size of the original hand signature -autograph is around 5 x 5 " . Very good condition of the hand signed autograph - signature , The reproduction photo and the decorative mat . ( Pls look at scan for accurate AS IS images ) Authenticity guaranteed. Will be sent inside a protective rigid packaging . PAYMENTS : Payment method accepted : Paypal & All credit cards . SHIPPMENT :SHIPP worldwide via registered airmail is $ 29 . Will be sent inside a protective packaging. Handling around 5-10 days after payment. Gioconda de Vito (26 July 1907 – 14 October 1994) was an Italian-British classical violinist. (The dates 22 June 1907 and 24 October 1994 also appear in some sources.[1]) Life De Vito was born, one of five children, in the town of Martina Franca in southern Italy, to a wine-making family. Initially she played the violin untaught, having received only music theory lessons from the local bandmaster. Her uncle, a professional violinist based in Germany, heard her attempting a concerto by Charles Auguste de Bériot when she was aged only eight, and decided to teach her himself. At age 11, she entered the Rossini Conservatory in Pesaro to study with Remy Principe. She graduated at age 13, commenced a career as a soloist, and at age 17 became Professor of Violin at the newly founded conservatory in Bari. In 1932, aged 25, she won the first International Violin Competition in Vienna. After she played the Bach Chaconne in D minor, Jan Kubelík came up to the stage and kissed her hand (she later appeared under the baton of Kubelik’s son Rafael Kubelík). She then taught at Palermo and Rome, at the Accademia di Santa Cecilia. She had earlier been presented to Benito Mussolini, who greatly admired her playing, and he used his influence to get her the Rome post. World War II interrupted what would otherwise have been the most productive period of her burgeoning career. In 1944, she was given the unique honour of a lifetime professorship at the Academy.[2] In 1944, de Vito premiered the Violin Concerto of Ildebrando Pizzetti. She made the first of her relatively few recordings for EMI/HMV after the war. She made her London debut in 1948 under Victor de Sabata, playing the Brahms concerto. This was very successful, and led to performances at the Edinburgh Festival and with fellow artists such as Yehudi Menuhin, Isaac Stern and Arturo Benedetti Michelangeli. By 1953, she was considered Europe's No. 1 female violinist, while remaining virtually unknown in the United States.[2] De Vito played under Wilhelm Furtwängler a number of times, and had a great affinity for his approach. In 1953[3] they also played a Brahms sonata at Castel Gandolfo for Pope Pius XII, the choice of Brahms being the Pope's own request. In 1957 de Vito played the Mendelssohn concerto for the Pope. A member of the audience later sent her a letter saying that he was no longer an atheist, because her playing of the slow movement had made him realise there must be a God. During that concert, de Vito realised she had reached the pinnacle of her career, and decided to retire in another three years. After informing the pope of her decision, Pius XII tried for an hour to dissuade her, saying she was far too young to retire so early, but to no avail. During the final years of her career, de Vito collaborated with Edwin Fischer, who was also nearing the end of his career. At their recording sessions for the Brahms sonatas Nos.1 and 3, he had required medical attention. The recording of Sonata No. 2 was assumed by Tito Aprea in 1956, after they successfully recorded Beethoven's Kreutzer and Frank's A major sonatas. Edwin Fischer died in 1960. In 1961, at the age of 54, De Vito retired from concert appearances and from any violin playing at all. She also decided not to teach. Once while on holiday in Greece, she encountered Yehudi Menuhin on a beach and she agreed to play some duets with him at his villa. Unfortunately, when they arrived at the villa, Menuhin realised he did not have a spare violin with him, so the opportunity to resume playing did not materialize. However, she had recorded Viotti's Duo in G with Menuhin in 1955 and they recorded Handel's Trio Sonata in G minor with John Shinebourne, cello and Raymond Leppard, harpsichord. Both recordings are included Disc 41 of Menuhin – the Great EMI Recordings. Two years earlier Menuhin, de Vito and Shinebourne along with harpsichordist George Malcolm, recorded Handel's Op.5/2 "Sonata for 2 Violins and Continuo in D" (Complete EMI Recordings, Korean issue from 2013). All of these works were recorded in EMI's Abbey Road Studio No.3. De Vito never played in the United States, although Arturo Toscanini and Charles Munch repeatedly invited her to do so.[1] (She had played Bach for Toscanini in Paris in the 1930s, and he commented: "That's the way Bach should be played".[2]) However, she did appear in Australia (1957 & 1960), Argentina, India, Israel and Europe; and in the Soviet Union, where she was juror for the first Tchaikovsky Violin Competition, at the invitation of David Oistrakh. De Vito's repertoire was small; it excluded most of the popular violin concertos written after the 19th century (for example, those by Elgar, Sibelius, Bartók, Berg, Bloch and Walton) – the sole exception being the Pizzetti concerto. Her particular favourites were "the three Bs" – Bach, Beethoven and Brahms. Her major recordings were issued in 1990 as The Art of Gioconda de Vito. They include the Bach Double Violin Concerto with Yehudi Menuhin, conducted by Anthony Bernard. Private life In 1949, de Vito married David Bicknell, an executive with EMI Records, and although she lived in Britain from 1951, her English was always rudimentary and she often required a translator. Bicknell died in 1988, and Gioconda de Vito died in 1994, aged 87. ******* Gioconda de Vito (Violin) Born: July 26, 1907 (or Jun 22, 1907) - Martina Franca, southern Italy Died: October 14, 1994 (or October 24, 1994) - Rome, Italy The Italian-English violinist, Gioconda de Vito, was born, one of five children, ito a wine-making family. Initially she played the violin untaught, having received only music theory lessons from the local bandmaster. Her uncle, a professional violinist based in Germany, heard her attempting a concerto by Charles Auguste de Bériot when she was aged only 8, and decided to teach her himself. At age 11, she entered the Rossini Conservatory in Pesaro to study with Remy Principe. She graduated at age 13, commenced a career as a soloist, and at age 17 became Professor of Violin at the newly founded conservatory in Bari. In 1932, aged 25, she won the first International Violin Competition in Vienna. After she played J.S. Bach's Chaconne in D minor, Jan Kubelík came up to the stage and kissed her hand (she later appeared under the baton of Kubelik’s son Rafael Kubelík). Gioconda de Vito then taught at Palermo and Rome, at the Accademia di Santa Cecilia. She had earlier been presented to Benito Mussolini, who greatly admired her playing, and he used his influence to get her the Rome post. World War II interrupted what would otherwise have been the most productive period of her burgeoning career. In 1944 she was given the unique honour of a lifetime professorship at the Academy. In 1944 she premiered the Violin Concerto of Ildebrando Pizzetti. She made the first of her relatively few recordings after the war. In 1948 she made her London debut under Victor de Sabata, playing Johannes Brahms' Violin Concerto. This was very successful, and led to performances at the Edinburgh Festival and with fellow artists such as Yehudi Menuhin, Isaac Stern and Arturo Benedetti Michelangeli. By 1953, she was considered Europe's No. 1 woman violinist, while remaining virtually unknown in the USA. Gioconda de Vito played under Wilhelm Furtwängler a number of times, and had a great affinity for his approach. In 1953 they also played a J. Brahms sonata at Castel Gandolfo for Pope Pius XII, the choice of J. Brahms being the Pope's own request. In 1957 she played Felix Mendelssohn's Violin Concerto for the pontiff. A member of the audience later sent her a letter saying that he was no longer an atheist, because her playing of the slow movement had made him realise there was a God. During that concert, she realised she had reached the pinnacle of her career, and decided to retire in only another three years. She told the pope of her decision. Pius XII tried for an hour to dissuade her, saying she was far too young to retire so early, but to no avail. But she still had three years. During that time, Gioconda de Vito collaborated with Edwin Fischer, who was near the end of his career. During their recording sessions for J. Brahms's Sonatas Nos. 1 and 3, he had to acquire medical attention. Sonata No. 2 was taken over by Tito Aprea in 1956, after they successfully recorded L.v. Beethoven's Kreutzer and César Franck's A major Sonata. Edwin Fischer died in 1960. Gioconda de Vito retired in 1961, aged only 54, not just from concert appearances, but from playing the violin at all. She preferred not even to teach. On one occasion, on holiday in Greece, she encountered Yehudi Menuhin on a beach, and she agreed to play some duets with him at his villa. When they got back there, he realised he did not have a spare violin, so that sole opportunity to play once more came to nothing. What could they have played? We are lucky to have Gioconda's recording back in 1955 of Viotti's Duo in G with Yehudi Menuhin - a day earlier they also recorded George Frideric Handel's Trio Sonata in G minor with John Shinebourne, cello and Raymond Leppard, harpsichord. Both recordings are to be found on Disc 41 of "Menuhin – the Great EMI Recordings". 2 years earlier Yehudi Menuhin, de Vito and Shinebourne teamed up with harpsichordist George Malcolm for G.F. Handel's Op.5/2 Sonata for 2 Violins and Continuo in D (Complete EMI Recordings, Korean issue from 2013), all these recordings were done in Abbey Road Studio No.3. Gioconda de Vito never played in the USA, although Arturo Toscanini and Charles Munch repeatedly asked her to. She had played J.S. Bach for Arturo Toscanini in Paris in the 1930's, and he commented: "That's the way Bach should be played". However, she did appear in Australia (1957 & 1960), Argentina, India, Israel and Europe; and in the Soviet Union, where she was juror for the first Tchaikovsky Violin Competition, at the invitation of David Oistrakh. Her repertoire was small. It excluded most works written after the 19th century (for example, the Edward Elgar, Sibelius, Béla Bartók, Alban Berg, Bloch and William Walton concertos) - the sole exception seems to be the Pizzetti concerto. Her particular favourites were "the three Bs" - J.S. Bach, L.v. Beethoven and Johannes Brahms. Her major recordings were issued in 1990 as "The Art of Gioconda de Vito". They include a J.S. Bach's Double Violin Concerto with Yehudi Menuhin, conducted by Anthony Bernard. In 1949, Gioconda de Vito married a Briton, David Bicknell, an executive with EMI, and she lived in the UK from 1951, although her English was always rudimentary and she often needed a translator. Bicknell died in 1988, and Gioconda de Vito died in 1994, aged 87. ***** GIOCONDA DE VITO Gioconda de Vito’s playing was influenced by a deep religious faith. Placing artistic integrity at the top of her agenda, she would only play works with which she had an affinity. Her favourite composer was Bach and her only concessions to modernity were a piece by Mario Castelnuovo-Tedesco (compulsory in the Vienna International Competition) and the concerto written for her in a deliberately archaic style by Ildebrando Pizetti, which she premièred in 1944. Six months after beginning to teach herself the violin, de Vito was heard by her uncle, a professional violinist, attempting Bériot’s Concerto No. 9 and they began formal lessons. Following two years with Remy Principe at the Pesaro Conservatory she obtained her diploma, and at thirteen began her professional career as a soloist. She was appointed Professor of Violin at the new conservatory in Bari on the Adriatic coast aged only seventeen. When she won the first International Violin Competition in Vienna in 1932, playing the Bach Chaconne in D minor, Jan Kubelík came up to the stage and kissed her hand. World War II interrupted her blossoming career, preventing her first visit to the United States, and despite subsequent invitations she declined to perform there. De Vito did appear in Australia, Argentina, India, Israel and the Soviet Union where, at the invitation of David Oistrakh, she was a juror at the first Tchaikovsky Violin Competition. In 1957 she played his choice of a Brahms sonata for Pope Pius XII, and the following year Mendelssohn’s Violin Concerto. On receiving a letter from a member of the audience, saying that her playing of the slow movement had made him realise there was a God, she considered this concert the pinnacle of her career and decided to retire from both performing and teaching in 1961 to avoid playing past her peak. De Vito had a number of individual ideas that were considered startling, such as beginning the solo entry of Brahms’s Violin Concerto with an up-bow to achieve greater sonority. Eric Blom wrote in 1954: ‘Her way of holding the balance between the outward appearance of a serene graciousness and a vibrant inner passion that is always felt in her playing without ever breaking through boundlessly is, if not unique, at any rate very difficult to discover in any other violinist of today’. Of her several recordings of the Brahms, the 1941 version selected here is the earliest. De Vito’s few records (she did not feel comfortable with recording) are a testament to her highly-considered understanding of music-making. Most performances are steady, including a stately interpretation of Mozart’s Concerto No. 3 (1949) and a, frankly, pedestrian Brahms Double Concerto performance with Almedo Baldovino. Brahms sonata recordings with Edwin Fischer (1954, including Op. 108 selected here) are also rather slow but thus impart an unhurried intensity to the works. All of these recordings show her to be a conscientious and warm-hearted interpreter with a sonorous tone achieved at least in part by a slow and wide vibrato. This works better in some contexts than others: her 1951 recording of Mendelssohn’s Violin Concerto with Malcolm Sargent is a thoughtful reading, although the slow movement is perhaps excessively steady, and her Bach D minor Chaconne from 1947 escapes the often brutal virtuoso treatment that has been visited upon it, with a richly-sustained melody line in the opening material especially. This is not to say that de Vito’s playing lacks vitality; her 1955 recording of Spohr’s Duo in G minor with Menuhin contains some impassioned playing and a compelling intensity. Whilst the success of de Vito’s interpretations is a matter of taste, her integrity as an artist is never in question. ****** GIOCONDA DE VITO Gioconda de Vito’s playing was influenced by a deep religious faith. Placing artistic integrity at the top of her agenda, she would only play works with which she had an affinity. Her favourite composer was Bach and her only concessions to modernity were a piece by Mario Castelnuovo-Tedesco (compulsory in the Vienna International Competition) and the concerto written for her in a deliberately archaic style by Ildebrando Pizetti, which she premièred in 1944. Six months after beginning to teach herself the violin, de Vito was heard by her uncle, a professional violinist, attempting Bériot’s Concerto No. 9 and they began formal lessons. Following two years with Remy Principe at the Pesaro Conservatory she obtained her diploma, and at thirteen began her professional career as a soloist. She was appointed Professor of Violin at the new conservatory in Bari on the Adriatic coast aged only seventeen. When she won the first International Violin Competition in Vienna in 1932, playing the Bach Chaconne in D minor, Jan Kubelík came up to the stage and kissed her hand. World War II interrupted her blossoming career, preventing her first visit to the United States, and despite subsequent invitations she declined to perform there. De Vito did appear in Australia, Argentina, India, Israel and the Soviet Union where, at the invitation of David Oistrakh, she was a juror at the first Tchaikovsky Violin Competition. In 1957 she played his choice of a Brahms sonata for Pope Pius XII, and the following year Mendelssohn’s Violin Concerto. On receiving a letter from a member of the audience, saying that her playing of the slow movement had made him realise there was a God, she considered this concert the pinnacle of her career and decided to retire from both performing and teaching in 1961 to avoid playing past her peak. De Vito had a number of individual ideas that were considered startling, such as beginning the solo entry of Brahms’s Violin Concerto with an up-bow to achieve greater sonority. Eric Blom wrote in 1954: ‘Her way of holding the balance between the outward appearance of a serene graciousness and a vibrant inner passion that is always felt in her playing without ever breaking through boundlessly is, if not unique, at any rate very difficult to discover in any other violinist of today’. Of her several recordings of the Brahms, the 1941 version selected here is the earliest. De Vito’s few records (she did not feel comfortable with recording) are a testament to her highly-considered understanding of music-making. Most performances are steady, including a stately interpretation of Mozart’s Concerto No. 3 (1949) and a, frankly, pedestrian Brahms Double Concerto performance with Almedo Baldovino. Brahms sonata recordings with Edwin Fischer (1954, including Op. 108 selected here) are also rather slow but thus impart an unhurried intensity to the works. All of these recordings show her to be a conscientious and warm-hearted interpreter with a sonorous tone achieved at least in part by a slow and wide vibrato. This works better in some contexts than others: her 1951 recording of Mendelssohn’s Violin Concerto with Malcolm Sargent is a thoughtful reading, although the slow movement is perhaps excessively steady, and her Bach D minor Chaconne from 1947 escapes the often brutal virtuoso treatment that has been visited upon it, with a richly-sustained melody line in the opening material especially. This is not to say that de Vito’s playing lacks vitality; her 1955 recording of Spohr’s Duo in G minor with Menuhin contains some impassioned playing and a compelling intensity. Whilst the success of de Vito’s interpretations is a matter of taste, her integrity as an artist is never in question. ******* ebay6035

Price: 175 USD

Location: TEL AVIV

End Time: 2024-12-27T09:51:33.000Z

Shipping Cost: 29 USD