An extraordinary grouping of items from the brilliant French violinist.
2 autograph letters (1 page in 4 and 1 page in 8) from the young violinist's mother signed "N. Neveu", Paris, November 14, 1933 and June 26, 1937, each to a "Chère Madame", evidently someone connected with Georges Enescu, concerning her daughter's lessons with him, concert dates, train tickets etc.
TOGETHER WITH an autograph letter from Enesco himself (1 sheet, 2 pages, 12 x 7 inches 30 x 19 cm, signs of wear) signed (full name) and sender, "26 r(ue) de Clichy - Paris (9c)", no date, to "Bien chère amie" (Neveu?), in part "here is what I have received...I respond naturally that being given...I would not say no, but that one must ask Mme. Astruc [violinist and teacher Yvonne Astruc (1889-1980)] her opinion. Thus it's for you to decide, my dear friend, because you are the advisor of Toyada [?]. Voilà!. Devoted affection from your old friend, Georges Enesco."
TOGETHER WITH: Le Guide du Concert et des Théatres Lyriques. XVII Année - No. 3, 24 Octobert, 1930. 8vo. 66-96 pp. featuring an enthusiastic promotion of Neveu, an advertisement for her upcoming Mendelssohn Concerto performance, and an large photographic portrait of her.
TOGETHER WITH: Community Concert Association recital program, with Jean Neveu. 4 pp, np, nd [1947 US tour], performing works by Vitali, Paganini, Nin, Mozart, Ravel, de Falla and Szymanowski.
TOGETHER WITH: a single sheet program cover "Recital de Violon - Ginette Neveu - Au Piano: Jean Neveu" from 7.10.1945, Salle du Conservatoire Royal, Liège.
TOGETHER WITH: an autograph note on letterhead of the Association Ginette Neveu, from her mother, extending an invitation to the inauguration of the Ginette Neveu monument at the Conservatoire.
The death of Ginette Neveu was one of the great tragedies in violin history. The French violinist was 30, and a still-rising star, when the Air France flight on which she was traveling crashed into a mountain in the Azores archipelago. Upon her death, the music world responded with grief-stricken testimonials. Conductor Charles Münch apostrophized: “…each time that by the grace of God we are able to make music really well, we shall feel you very close to us.” Conductor Eugene Ormandy called her the “greatest woman violinist—and I’ll go so far as to say, one of the greatest interpreters on the violin of our time.” To Pablo Casals, “Her playing was one of the greatest revelations, both instrumental and musical. To the impression of perfection, balance, and artistic taste, she added in her interpretation, fire, and abandon which filled her playing with richness.”
Neveu showed her greatness early. Born in Paris in 1919, she studied first with her violinist mother, and by seven had performed both the Bruch and Mendelssohn concerti. Following further lessons with George Enescu, she entered the Paris Conservatoire, where after studying violin with Jules Boucherit and composition with Nadia Boulanger, she earned a premier prix at age eleven. Next, she was recruited by Carl Flesch, who wished to teach her for free, declaring, “My child, you have received a gift from heaven, and I have no wish to touch it. All I can do for you is to give you some purely technical advice.”
An extraordinary grouping of items from the brilliant French violinist.
2 autograph letters (1 page in 4 and 1 page in 8) from the young violinist's mother signed "N. Neveu", Paris, November 14, 1933 and June 26, 1937, each to a "Chère Madame", evidently someone connected with Georges Enescu, concerning her daughter's lessons with him, concert dates, train tickets etc.
TOGETHER WITH an autograph letter from Enesco himself (1 sheet, 2 pages, 12 x 7 inches 30 x 19 cm, signs of wear) signed (full name) and sender, "26 r(ue) de Clichy - Paris (9c)", no date, to "Bien chère amie" (Neveu?), in part "here is what I have received...I respond naturally that being given...I would not say no, but that one must ask Mme. Astruc [violinist and teacher Yvonne Astruc (1889-1980)] her opinion. Thus it's for you to decide, my dear friend, because you are the advisor of Toyada [?]. Voilà!. Devoted affection from your old friend, Georges Enesco."
TOGETHER WITH: Le Guide du Concert et des Théatres Lyriques. XVII Année - No. 3, 24 Octobert, 1930. 8vo. 66-96 pp. featuring an enthusiastic promotion of Neveu, an advertisement for her upcoming Mendelssohn Concerto performance, and an large photographic portrait of her.
TOGETHER WITH: Community Concert Association recital program, with Jean Neveu. 4 pp, np, nd [1947 US tour], performing works by Vitali, Paganini, Nin, Mozart, Ravel, de Falla and Szymanowski.
TOGETHER WITH: a single sheet program cover "Recital de Violon - Ginette Neveu - Au Piano: Jean Neveu" from 7.10.1945, Salle du Conservatoire Royal, Liège.
TOGETHER WITH: an autograph note on letterhead of the Association Ginette Neveu, from her mother, extending an invitation to the inauguration of the Ginette Neveu monument at the Conservatoire.
The death of Ginette Neveu was one of the great tragedies in violin history. The French violinist was 30, and a still-rising star, when the Air France flight on which she was traveling crashed into a mountain in the Azores archipelago. Upon her death, the music world responded with grief-stricken testimonials. Conductor Charles Münch apostrophized: “…each time that by the grace of God we are able to make music really well, we shall feel you very close to us.” Conductor Eugene Ormandy called her the “greatest woman violinist—and I’ll go so far as to say, one of the greatest interpreters on the violin of our time.” To Pablo Casals, “Her playing was one of the greatest revelations, both instrumental and musical. To the impression of perfection, balance, and artistic taste, she added in her interpretation, fire, and abandon which filled her playing with richness.”
Neveu showed her greatness early. Born in Paris in 1919, she studied first with her violinist mother, and by seven had performed both the Bruch and Mendelssohn concerti. Following further lessons with George Enescu, she entered the Paris Conservatoire, where after studying violin with Jules Boucherit and composition with Nadia Boulanger, she earned a premier prix at age eleven. Next, she was recruited by Carl Flesch, who wished to teach her for free, declaring, “My child, you have received a gift from heaven, and I have no wish to touch it. All I can do for you is to give you some purely technical advice.”