Perlemuter, Vlado. (1904–2002). Typed Letter Signed.
TLS from the Lithuanian-born French pianist and pedagogue, typed by a secretary in response to a letter from a fan. 26th February 1996; 1 pp. on personal stationary. In full, "Dear Monsieur Juscik / In reply to your letter, Monsieur Perlemuter's great age and tiredness prevents him writing letters; but he sends you his best wishes in your enterprize [sic.] and his kindest regards," and signed by the pianist himself in black ink. In very fine condition. 5.75 x 8.25 inches (14.6 x 21 cm.).
Though relatively uncelebrated for much of his career, Perlemuter experienced a late-career renaissance in the 1970s when Nimbus Records asked him to record his entire repertoire. Consisting mostly of works by Chopin and Ravel, Perlemuter having studied the entirety of the latter's piano output with the composer himself, the recordings were a success. "Audiences at his public recitals in his later years followed anxiously his halting progress across the concert platform to the piano, and then were left astounded by the strength and passion with which, after seating himself quietly, he began his onslaught on Chopin, Ravel, Beethoven or Schumann." (The Guardian)
Perlemuter, Vlado. (1904–2002). Typed Letter Signed.
TLS from the Lithuanian-born French pianist and pedagogue, typed by a secretary in response to a letter from a fan. 26th February 1996; 1 pp. on personal stationary. In full, "Dear Monsieur Juscik / In reply to your letter, Monsieur Perlemuter's great age and tiredness prevents him writing letters; but he sends you his best wishes in your enterprize [sic.] and his kindest regards," and signed by the pianist himself in black ink. In very fine condition. 5.75 x 8.25 inches (14.6 x 21 cm.).
Though relatively uncelebrated for much of his career, Perlemuter experienced a late-career renaissance in the 1970s when Nimbus Records asked him to record his entire repertoire. Consisting mostly of works by Chopin and Ravel, Perlemuter having studied the entirety of the latter's piano output with the composer himself, the recordings were a success. "Audiences at his public recitals in his later years followed anxiously his halting progress across the concert platform to the piano, and then were left astounded by the strength and passion with which, after seating himself quietly, he began his onslaught on Chopin, Ravel, Beethoven or Schumann." (The Guardian)