Text Box: violinist autographs
Text Box: HARMONIE AUTOGRAPHS AND MUSIC INC.

MUSIC AUTOGRAPHS & ANTIQUARIAN
Text Box: MUSIC AUTOGRAPHS AND EPHEMERA BOUGHT AND SOLD

Phone: 212-860-5541  *  Fax: 917-677-8247

 

Price: $150.00

FINE CONDITION

RUTH POSSELT & EMIL ONDRICEK

Dual autographed complete 20 page Czech Philharmonic program, March 20, 1937.  Each virtuoso violinist has autographed below their full page photograph.

Ondricek led his pupil in the performance of three concertos, his arrangement of the Tartini concerto in A minor, the Dvorak concerto in A minor and the Tchaikovsky concerto in D minor. Really a tour de force!

Posselt (1914-2007) today is one of America’s great secrets in it’s pantheon of violinists.  Certainly the greatest American female violinist of her day and could easily compete with the men in what was at the time a male dominated field. She first picked up the violin at three and made her debut at six.  She studied with the Czech born violinist Emanuel Ondricek in Boston and made her Carnegie Hall recital debut in 1923, followed by her recital debut at Symphony in Boston.  In 1928 she made her concert debut with Walter Damrosch and the New York Symphony.  She went on to study with Jacques Thibaud in France and toured extensively in Europe and then in the United States.  In 1937 her teacher Emanuel Ondricek returned to Czechoslovakia with his star pupil to play recitals and this all concerto concert with the Czech Philharmonic under his direction.  Ondricek (1880-1958) came from a prominent Czech family of musicians, his father was a conductor.  His much older brother Frantisek was a celebrated violinist and better known today due to his friendship with Dvorak and the fact he performed the world premiere of the Dvorak Violin Concerto. There was also two other brothers, Karel (Jan Kubelik’s teacher) and Stanislav, as well as two sisters Mary and Augusta; all were musicians. Emanuel had a truly remarkable international career, far more expansive than his older brothers.  After his first years studying with his Father, Emanuel was sent in 1894 to study with Otakar Sevcik at the Prague Conservatory.  He graduated in 1899 and went to Brussels where he finished his studies with Eugene Ysa˙e.  He made a number of tours of Eastern and Western Europe including the major musical capitals.  In London for whatever reason, perhaps concerns for anti-Semitism performed under the name of “Floris”.  He opened his first school there. At the time he was an able competitor of Jan Kubelik.  He arrived in the United States in 1910 and in 1912 suffered a nervous breakdown.  His neurological condition ended his performing career.  That said he opened two music academies, Ondricek’s Studio of Violin Art in Boston and New York City and taught the Sevcik method his way.  His two sisters, one a violinist, the other a pianist helped with the endeavor, as well as their two husbands, pianist Karel Leitner and cellist Bedrich Vaska. Karel Ondricek who was at the time a member of the Boston Symphony Orchestra and a member of the Kneisel Quartet’s wife Ella Kalova Ondricek was a violinist and helped teach at the school.  Leitner and Vaska were also conductors of various music ensembles.  Ondricek had a large number of pupils, but Posselt was his real star.  He took Posselt around the world on tour conducting her performances, as he was no longer playing the violin.  He also married Ruth’s sister Gladys.  Ruth went on to marry Richard Burgin, a Russian born violinist and pupil of Leopold Auer who also became an Ondricek pupil.  He was the long-time Concertmaster of the Boston Symphony Orchestra.  Posselt performed 109 times with the Boston Symphony Orchestra.  Her musicality and her husband’s position with the BSO led to a fruitful relationship with conductor Serge Koussevitzky who commissioned numerous works via his foundation and personal introductions to composers of the day who wrote works for her.  World Premieres of violin concertos included the, the 1949 revised version of the Samuel Barber violin concerto,  Vladimir Dukelsky’s 1944 violin concerto in G minor (her only New York Philharmonic performances), Edward Burlingame Hill’s 1938 violin concerto, Paul Hindemith’s 1940 violin concerto and Walter Piston’s 1st violin concerto in 1940.  Interestingly, Bohuslav Martinu had promised Posselt his second violin concerto and she was co-opted by a request from the better known Mischa Elman who eventually played the concerto on the first night with the New York Philharmonic, whilst Posselt gave a performance the next night with the Boston Symphony Orchestra.  We had letters in our inventory at one point where Martinu clearly stated he was working on the concerto for her.

 

A wonderful souvenir of an extremely important violinist and her teacher-mentor in concert together with a world-class orchestra!  Scarce!