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Ivry Gitlis
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Ivry Gitlis (Hebrew: עברי גיטליס;‎ 25 August 1922 – 24 December 2020) was an Israeli virtuoso violinist and UNESCO Goodwill Ambassador. He performed with the world's top orchestras, including the London Philharmonic, New York Philharmonic, Berlin Philharmonic, Vienna Philharmonic, and Philadelphia Orchestra.

Early life and education

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Yitzhak-Meir (Isaac) Gitlis was born on 25 August 1922 in Haifa, Israel to Jewish parents Asher and Hedva Gitlis,[1] who emigrated in 1921 from Kamianets-Podilskyi, Ukraine.[2]

Gitlis acquired his first violin when he was five years old and started lessons under Mme Velikovsky together with his friend Zvi Zeitlin. He then studied privately with Mira Ben-Ami, a pupil of Joseph Szigeti.[3] When he was eight, she arranged for him to play for Bronisław Huberman, which prompted a fundraising campaign to allow him to study in France.[4]

In 1933, he arrived with his mother in Paris and started to take lessons with Marcel Chailley, husband of the pianist Céliny Chailley-Richez. Being very close to their family, he was introduced to George Enescu and Jacques Thibaud. In that period, he decided to change his birth name (Isaac)[5]) to Ivry. At 11, Gitlis (Jitlis) entered the Conservatoire de Paris in the class of Jules Boucherit, and graduated in 1935.[6]

From 1938 to 1940, his teachers included George Enescu[7] and Jacques Thibaud in Paris and Carl Flesch in Spa, Belgium and later in London.[citation needed]

Career

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World War II

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In 1940, during World War II, he went to London where he first worked for two years in a war factory and was then assigned to the artists branch of the British Army. He gave numerous concerts for the Allied soldiers and in war factories. After the war he made his successful debut with the London Philharmonic Orchestra and subsequently played with the BBC and all other principal orchestras of Great Britain.[citation needed]

1950s

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In 1951, as suggested by his teacher Alice Pashkus,[8] he participated in the Long-Thibaud Competition in Paris, where he took fifth place. During the preliminary stages of the competition, a rumor circulated that he had stolen a Stradivarius violin during the war, which caused a scandal on the day of the final. Six years after the fall of Hitler, being a Jew in France was still causing debate.[9] In the same year, Gitlis made his debut in Paris, playing in a recital at the Salle Gaveau, sponsored by the music manager Marcel de Valmalète (9 July 1951).[citation needed]

In those years Ivry Gitlis already ranked with the foremost young masters of his instrument in the world[citation needed]. He started the study of the violin at the age of five. His debut was made shortly after that and he so impressed the noted virtuoso, Bronislaw Huberman, that he was sent to Paris to study. At the age of 11, the boy won first place among 150 competitors for admission to the Paris Conservatoire, and at 13, he got "Premier Prix" at graduation from the Conservatoire. Gitlis continued his studies with such noted virtuosi as Georges Enesco, Jacques Thibaud and Theodore Pashkus, after which he embarked on a European concert tour. During the war, Gitlis remained in London where he performed for the Armed Forces in hundreds of concerts. In recent years he has been soloist with such orchestras as the London Philharmonic, London Symphony, Liverpool Philharmonic, etc. He has featured contemporary music on his program ranging from works of Bartok to Lennox Berkeley, Ivor Walsworth and Hindemith, as well as continuing his programs of the music of the classics. Further tours of the European continent strengthened critical belief that Ivry Gitlis had become one of the world's greatest violinists. (text extracted from: Don Gabor archives, ©1950). In 1955 he moved to the United States where he met Jascha Heifetz. There he made several tours, managed by Sol Hurok, including those conducted by Eugene Ormandy (Tchaikovsky, in Philadelphia) and George Szell (Sibelius, on 15,16 and 18 December 1955 in New York).[10] In Europe, between 1954 and 1955, he recorded for the Vox label concertos by Berg (Violin Concerto "To the memory of an angel", coupled with "Chamber Concerto" -Vox PL 8660- which was awarded a "Grand Prix du Disque" in 1954), Tchaikovsky, Mendelssohn, Stravinsky (Violin Concerto, coupled with "Duo Concertant") and with the conductor Jascha Horenstein, Bartók, Bruch and Sibelius. His recording of Bartók's 2nd Violin Concerto and Solo Violin Sonata -Vox PL 9020- received the "Best Record of the Year" award from the New York Herald Tribune in 1955.[citation needed]

1960s

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In 1963, he was the first Israeli violinist to play in the Soviet Union. He gave a series of concerts under the cultural exchange program of the Soviet Union and Israel, starting in Vilnius (23 October 1963). His other concerts were given in Moscow, Leningrad, Kyiv and Odesa.[11]

In 1968, he participated in The Rolling Stones Rock and Roll Circus film project, performing "Whole Lotta Yoko" with Yoko Ono and The Dirty Mac.

Many composers were fascinated by his sound and way of playing, among whom René Leibowitz who dedicated his Violin Concerto, Op. 50 (1958) to him; Roman Haubenstock-Ramati with "Sequences" for Violin and Orchestra (1958); Bruno Maderna writing "Pièce pour Ivry" (1971), which Gitlis never recorded commercially, but recorded live in Paris on 25 May 1983; Yannis Xenakis with "Mikka", which Gitlis premièred in 1972;[12] Charles Harold Bernstein with two works for solo violin, inspired by Gitlis, "Rhapsodie Israélienne" and "Romantic Suite" (1984).

1970s

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In 1972, Gitlis founded the Festival de Vence, famous for its innovative programming. He was also the inspirer and organiser of the Saint André de Cubzac, Alfortville and Bonifacio Music Festivals.[13]

In 1975, he undertook a dramatic role, as Hypnotist in François Truffaut's film, The Story of Adele H.

He often visited Japan, where he was very popular.[14]

1990s

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In 1990, Gitlis was designated UNESCO Goodwill Ambassador.[15] His stated aim was the "support of education and culture of peace and tolerance". He performed at the opening event of the International Bioethics Committee's 3rd session in 1995.[16]

2000s

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Gitlis with pianist Martha Argerich, after a joint performance at the Israel Philharmonic, Tel Aviv, 2018

Ivry Gitlis was a commentator (along with Itzhak Perlman) on the DVD The Art of Violin (2000), which showcases violin performances and gives biographical details of many of the great violinists of the twentieth century.

In 2008, he became patron of the Paris-based association "Inspiration(s)", whose aim is to make classical music accessible to all. He was a Fellow of the Royal Northern College of Music.[17]

He was a distinguished guest of the International Master Course for violinists and string players at Keshet Eilon Music Center.

Violins

[edit]

At various stages in his career, Gitlis played on a 1699 Giovanni Battista Rogeri, which he sold to famed violin author Sidney Bowden,[18] the 1737 "Chant du Cygne" Antonio Stradivari,[19] and the 1740 "Ysaye" Guarneri del Gesù.[20] Ivry Gitlis owned the 1713 "Sancy" Antonio Stradivari and a violin by Émile Marcel Français, Paris 1944 (won as a prize for the 1951 "Thibaud Competition").

Quotes

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Dear young colleagues of the up-and-coming generation, please have the courage to be yourselves, to take risks and not be copies of your recordings or of others'. Practice your instrument in order to free yourself from any psycho-technical constraint, to be able to create when you play. Listen to your inner ear, which is connected directly to your heart and spirit, the one that tells you what you feel is you! And the one you don't feel isn't you. Remember that a beautiful "wrong" note by a Kreisler, a Thibaud, a Casals or a Callas is worth more than a thousand so-called "right" notes and that playing that is hygienically and clinically correct is not necessarily a sign of good health! Take heart! Good health to you!
(Ivry Gitlis – January 2007)[21][22]

  • "... don't be so polite with the music, it's like being in love!" (IG, during a masterclass, 31 October 2011)
  • "Sheet music is a bunch of black marks; they have no significance ... I play violin, but in order to play well you have to be much more than a violin player. There is an entire world that lives together with it, like the currents in the ocean; and in any event, often I don't use sheet music at all, but improvise." (IG, October 2012)[23]
  • "... rubato is the art of playing in tempo..." (IG)
  • (on answering the question: "what is your motto?") "... to be alive, to be aware, to hear, to know, to feel, to see, to love, to be loved a little bit sometimes." (IG, July 2011)[24]

Family

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Ivry Gitlis was married from 1959 to 1960 to American director and writer Sandra Hochman;[25] also to French Actress France Lambiotte [de; fr], with whom he had one child, Raphaëlle;[26] and until his death was married to German actress Sabine Glaser [de], mother of three of his four children, Nessie, David and Johnathan.[27][28][29]

Death

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Since the end of the 1960s, Gitlis resided in Paris, France. He died there on 24 December 2020 at the age of 98.[30]

Ivry Gitlis Edition - Rhine Classics

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According to the Ivry Gitlis Edition page at the 'Rhine Classics' label website.

Audio/video recordings

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Sortable lists, in chronological order.

Commercial – official, studio and live releases

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composer arranger work collaborating artists rec. date (yyyy/mm/dd) first release Audio / Video reprint / note
Paganini, Niccolò Wilhelmj, August Violin Concerto No.1 in D Major (reorchestration of I.Allegro maestoso & Cadenza: É.Sauret) The Austrian Symphony Orchestra / Kurt Wöss 1950, Vienna LP Remington RLP-149-20 ℗1951 A 9CD Rhine Classics RH-019 ℗2021
Berg, Alban Violin Concerto “To the Memory of an Angel” Vienna Symphony (Pro Musica) Orchestra / William Strickland 30.III.1954, Vienna, Konzerthaussaal LP Vox PL-8660 (p)1954 A Grand Prix du Disque 1954 / CD Vox, 1999
Berg, Alban Kammerkonzert (Chamber Concerto) for Violin, Piano & 13 winds Vienna Symphony (Pro Musica) Orchestra Wind Ensemble / Charlotte Lois Zelka, piano / Harold Byrns 30.III.1954, Vienna, Konzerthaussaal LP Vox PL-8660 (p)1954 A 9CD Rhine Classics RH-019
Mendelssohn, Felix Violin Concerto in E minor, Op.64 Vienna Symphony (Pro Musica) Orchestra / Hans Swarowsky 1954, Vienna LP Vox PL-8840 (p)1954) A 3CD Vox, 1992
Tchaikovsky, Pyotr Ilyich Violin Concerto in D major, Op.35 Vienna Symphony (Pro Musica) Orchestra / Heinrich Hollreiser VII.1954, Vienna LP Vox PL-8840 (p)1954 A 3CD Vox, 1992
Bartók, Béla Violin Concerto No.2, Sz.112, BB 117 Vienna Symphony (Pro Musica) Orchestra / Jascha Horenstein IX.1954, Vienna LP Vox PL-9020 (p)1955 A 3CD Vox, 1992
Bartók, Béla Sonata for solo Violin, Sz.117, BB 124 IX.1954, Vienna LP Vox PL-9020 (p)1955) A 3CD Vox, 1992
Stravinsky, Igor Violin Concerto in D (1931) Concerts Colonne Orchestra / Harold Byrns 16.VI.1956, Paris, Theatre Pigalle LP Vox PL-9410 (p)1956 A CD Vox, 1999
Stravinsky, Igor Duo Concertant, for Violin and Piano Charlotte Lois Zelka, piano 1955, Vienna LP Vox PL-9410 (p)1956 A 9CD Rhine Classics RH-019 ℗2021
Bruch, Max Violin Concerto No.1 in G minor, Op.26 Vienna Symphony (Pro Musica) Orchestra / Jascha Horenstein 10.IX.1955, Vienna LP Vox PL-9660 (p)1956 A 3CD Vox, 1992
Sibelius, Jean Violin Concerto in D minor, Op.47 Vienna Symphony (Pro Musica) Orchestra / Jascha Horenstein 10.IX.1955, Vienna LP Vox PL-9660 (p)1956 A 3CD Vox, 1992
Sibelius, Jean Violin Concerto in D minor, Op.47 New York Philharmonic Orchestra / George Szell 18.XII.1955, New York 2CD+DVD Doremi DHR-7981-3 (p)2010 A "1955 USA début"
Hindemith, Paul Violin Concerto〈1939〉 Westphalia Symphony Orchestra / Hubert Reichert 1961 LP Vox PL 11980 A CD Vox (p)1999
Leibowitz, René Violin Concerto, Op.50 (1958, dedicated to Ivry Gitlis) Radio-Philharmonie Hannover des NDR / René Leibowitz 20.I.1961, Hannover, Grosse Sendesaal 2CD+DVD Doremi DHR-7981-3 (p)2010 A w.p. at "Tag der Neuen Musik 1961"
Hindemith, Paul Violin Concerto〈1939〉 SO des Südwestfunks Baden-Baden / Hans Rosbaud 14.IX.1962, Baden-Baden, Studio 5 CD Music&Arts MACD0627 (p)1990 A
Brahms, Johannes Violin Sonata No.3 in D minor, Op.108 (I. Allegro) Tasso Janopoulo, piano 5.VI.1962, Paris DVD EMI classic archive 50 (p)2007 V
Bartók, Béla Sonata for solo Violin, Sz.117, BB 124 (III. Melodia. Adagio) 5.VI.1962, Paris DVD EMI classic archive 50 (p)2007 V
Elgar, Edward La Capricieuse, Op.17 Tasso Janopoulo, piano 5.VI.1962, Paris DVD EMI classic archive 50 (p)2007 V
Wieniawski, Henryk Polonaise brillante (No.1) in D major, Op.4 Tasso Janopoulo, piano 5.VI.1962, Paris DVD EMI classic archive 50 (p)2007 V
Tchaikovsky, Pyotr Ilyich Violin Concerto in D major, Op.35 Orchestre National de l'ORTF / Francesco Mander 1965/6/13, Paris DVD EMI classic archive 50, 2007 V
Paganini, Niccolò Violin Concerto No.1 in D Major, Op.6 (Cadenza: Émile Sauret) Warsaw National Philharmonic Orchestra / Stanisław Wisłocki 17–23.II.1966, Warsaw LP Philips 6504 019 / Polskie Nagrania A 2CD Philips 446189-2 L'homme au violon (p)1994
Paganini, Niccolò Violin Concerto No.2 in B minor, Op.7 “La Campanella” (Cadenza: Ivry Gitlis) Warsaw National Philharmonic Orchestra / Stanisław Wisłocki 17–23.II.1966, Warsaw LP Philips 6504 019 / Polskie Nagrania A 2CD Philips 446189-2 L'homme au violon (p)1994
Paganini, Niccolò Violin Concerto No.2 in B minor, Op.7 “La Campanella” (III. Rondò) Warsaw National Philharmonic Orchestra / Stanisław Wisłocki audio: 17–23.II.1966, Warsaw + video: 2.X.1966, Paris DVD: EMI classic archive 50 V video playback w. Philips audio rec.
Franck, César Violin Sonata in A major, M.8 -segments- Philippe Entremont, piano 14.V.1966, Paris 2CD+DVD Doremi DHR-7981-3 (p)2010 V
Hindemith, Paul Violin Concerto〈1939〉 Bamberger Symphoniker / Sixten Ehrling 19.V.1966, Bamberg, Dominikanerbau 2CD+DVD Doremi DHR-7981-3 (p)2010 A
Paganini, Niccolò Kreisler, Fritz “La Campanella” (III. Rondò, from Violin Concerto No.2) Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A --
Paganini, Niccolò Kreisler, Fritz Caprice No.20, Op.1, MS 25 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A --
Paganini, Niccolò Kreisler, Fritz Caprice No.13, Op.1, MS 25 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A --
Paganini, Niccolò Auer, Leopold Caprice No.24, Op.1, MS 25 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A --
Paganini, Niccolò I Palpiti, Op.13, MS 77 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A 5CD Decca 5346246 Ivry Gitlis portrait (p)2013
Paganini, Niccolò Cantabile in D major, Op.17, MS 109 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A 5CD Decca 5346246 Ivry Gitlis portrait (p)2013
Paganini, Niccolò Sonatina in E minor, Op.3 No.6, MS 27 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A 5CD Decca 5346246 Ivry Gitlis portrait (p)2013
Paganini, Niccolò Minuetto in F major, for Violin and Guitar/Piano 〈1836/37〉 Tasso Janopoulo, piano V.1967, Paris LP Philips 6504 023 (p)1967 A 5CD Decca 5346246 Ivry Gitlis portrait (p)2013
Paganini, Niccolò Auer, Leopold Caprice No.24, Op.1, MS 25 Tasso Janopoulo, piano 31.V.1967, Paris 2CD+DVD Doremi DHR-7981-3 (p)2010 V video session from the Philips audio recording
Berg, Alban Violin Concerto “To the Memory of an Angel” (1935) Orchestre National de l'ORTF / Fritz Rieger 14.III.1967, Paris, Maison de la Radio 5CD Decca 5346246 Ivry Gitlis portrait, 2013 A
Saint-Saëns, Camille Ysaÿe, Eugène “Caprice pour violon et orchestre” in D major (Etude en forme de Valse, Op.52 No.6) Orchestre National de l'Opéra de Monte-Carlo / Edouard van Remoortel 7–10.III.1968, Monte-Carlo LP Philips 6504 055 A 5CD Decca 5346246 Ivry Gitlis portrait, 2013
Saint-Saëns, Camille Violin Concerto No.2 in C major, Op.58 Orchestre National de l'Opéra de Monte-Carlo / Edouard van Remoortel 7–10.III.1968, Monte-Carlo LP Philips 6504 055 A 2CD Philips 446189-2 L'homme au violon, 1994 / 5CD Decca 5346246 Ivry Gitlis portrait, 2013
Saint-Saëns, Camille Violin Concerto No.4 “Inachevé” (Morceau de concert) in G major, Op.62 Orchestre National de l'Opéra de Monte-Carlo / Edouard van Remoortel 7–10.III.1968, Monte-Carlo LP Philips 6504 055 A 2CD Philips 446189-2 L'homme au violon, 1994 / 5CD Decca 5346246 Ivry Gitlis portrait, 2013
Wieniawski, Henryk Capriccio-Valse in E major, Op.7 Tasso Janopoulo, piano 12.IV.1968, Paris DVD EMI classic archive 50, 2007 V
Franck, César Violin Sonata in A major (II. Allegro – Quasi lento – Tempo I°) Georges Pludermacher, piano 9.II.1969, Paris 2CD+DVD Doremi DHR-7981-3, 2010 V
Wieniawski, Henryk Violin Concerto No.1 in F-sharp minor, Op.14 (version pratique, with short orch.intro 1st mvmt) Orchestre National de l'Opéra de Monte-Carlo / Jean-Claude Casadesus 3–8.VII.1969, Monte-Carlo LP Philips 6504 001 (p)1969 A 2CD Philips 446189-2 'L'homme au violon' (p)1994 / 5CD Decca 5346246 'Ivry Gitlis portrait' (p)2013
Wieniawski, Henryk Violin Concerto No.2 in D minor, Op.22 Orchestre National de l'Opéra de Monte-Carlo / Jean-Claude Casadesus 3–8.VII.1969, Monte-Carlo LP Philips 6504 001 (p)1969 A 2CD Philips 446189-2 'L'homme au violon' (p)1994 / 5CD Decca 5346246 'Ivry Gitlis portrait' (p)2013
Brahms, Johannes Double Concerto for violin and cello in A minor, Op.102 Orchestre National de l'ORTF / Maurice Gendron, cello / Michel Tabachnik 1970/12/08, Paris 2CD+DVD Doremi DHR-7981-3, 2010 A 5CD Decca 5346246 'Ivry Gitlis portrait' (p)2013
Saint-Saëns, Camille Introduction et rondo capriccioso in A minor, Op.28 Georges Pludermacher, piano 17.XI.1971, Paris DVD EMI classic archive 50, 2007 V
Paganini, Niccolò Violin Concerto No.2 in B minor, Op.7 “La Campanella” (Cadenza: Ivry Gitlis) Stuttgart Radio Symphonieorkester / Stanislaw Skrowaczewski 13.VI.1972, Stuttgart 2CD+DVD Doremi DHR-7981-3 (p)2010 A 2CD SWR MUSIC SWR19005CD (p)2016
Haubenstock-Ramati, Roman “Sequences” für Violine und Orchester (1958) SWR Sinfonieorchester Freiburg / Hans Rosbaud 1962, studio SWR Freiburg A 2CD SWR MUSIC SWR19005CD (p)2016
Haubenstock-Ramati, Roman “Sequences” für Violine und Orchester (1958) ORF-Symphonieorchester / Milan Horvat 29.XI.1972, Vienna LP Amadeo 415 314–1 (p)1984 A no CD
Moszkovski, Moritz Sarasate, Pablo de Guitarre, Op.45 No.2 Georges Pludermacher, piano 21.VIII.1973, Paris DVD EMI classic archive 50 (p)2007 V
Albéniz, Isaac Kreisler, Fritz Malagueña, Op.165 No.3 (from "España") Georges Pludermacher, piano 21.VIII.1973, Paris DVD EMI classic archive 50 (p)2007 V
Franck, César Violin Sonata in A major, M.8 (II. Allegro – Quasi lento – Tempo I°) Georges Pludermacher, piano 5.X.1974, Paris 2CD+DVD Doremi DHR-7981-3 (p)2010 V
Mendelssohn, Felix Violin Concerto in E minor, Op.64 (III. Allegro molto vivace -no intro-) Orchestra conducted by Michel Legrand 5.X.1974, Paris 2CD+DVD Doremi DHR-7981-3 (p)2010 V
Bartók, Béla Sonata for solo Violin, Sz.117, BB 124 (III. Melodia. Adagio -fragment-) 22.XI.1974, Paris 2CD+DVD Doremi DHR-7981-3 (p)2010 V
Paganini, Niccolò 24 Caprices for solo violin, Op.1, MS 25 I-III.1976, studio Des Dames, Paris CD Philips 442 8960 (p)2007 A 5CD Decca 5346246 'Ivry Gitlis portrait' (p)2013
Franck, César Violin Sonata in A major, M.8 Martha Argerich, piano X.1976, Ricordi studio, Milano LP Ricordi RCL-27018 (p)1976 A CD RCA Red Seal BVCC-35110 (p)2001+2015
Debussy, Claude Violin Sonata in G minor, L 140 Martha Argerich, piano X.1976, Ricordi studio, Milano LP Ricordi RCL-27018 (p)1976 A CD RCA Red Seal BVCC-35110 (p)2001+2015
Ravel, Maurice Pièce en forme de Habañera (Vocalise) unknown, piano 31.X.1977, Paris 2CD+DVD Doremi DHR-7981-3 (p)2010 V
Mendelssohn, Felix Violin Concerto in E minor, Op.64 Orchestre National de l'Opéra de Monte-Carlo / David Josefowitz 13.VI.1978, Monte-Carlo CD Doron 4013 (p)2012 A
Sibelius, Jean Violin Concerto in D minor, Op.47 Orchestre National de l'Opéra de Monte-Carlo / Antonio de Almeida 14.VI.1978, Monte-Carlo CD Doron 4013 (p)2012 A
Vivaldi, Antonio Concerto for 4 violins in B minor, Op.3 No.10, RV 580 (from "L'estro Armonico") Israel Philharmonic Orchestra / Ida Haendel, Isaac Stern, Shlomo Mintz / Zubin Mehta 13–19.XII.1982, Tel-Aviv 2LP DGG 2741 026 A + V live, "The Huberman Week Festival, 30th Anniversary"
Bartók, Béla Violin Concerto No.2, Sz.112, BB 117 Israel Philharmonic Orchestra / Zubin Mehta 13–19.XII.1982, Tel-Aviv 4CD Helicon 02-9667 A live, "The Huberman Week Festival, 30th Anniversary"
Bernstein, Charles Harold "Rhapsodie Israélienne", for Violin solo〈1984〉 1984 CD Arcobaleno 93922 (p)1996 A
Bernstein, Charles Harold "Romantic Suite", for Violin solo〈1984〉 1984 CD Arcobaleno 93922 (p)1996 A
Cosma, Vladimir “Concerto de Berlin” for violin and orchestra (from the film "Le Septième Cible" of Claude Pinoteau) Berliner Philharmoniker / Vladimir Cosma 1984 CD Larghetto Music 004/8 A soundtrack release (p)2009 / YouTube
Legrand, Michel “Stanislas se souvient” (from the film "La Bûche" of Danièle Thompson) Orchestra conducted by Michel Legrand 1980s CD EmArcy Records 982908-1 A 'Le cinéma de Michel Legrand' (p)2005
Tchaikovsky, Pyotr Ilyich Violin Concerto in D major, Op.35 (III. Finale. Allegro vivacissimo) Orchestre Symphonique de Radio Tele Luxembourg / Leopold Hager 18.II.1985, Luxembourg DVD Doremi DHR-7981-3 (p)2010 V live
Sarasate, Pablo de Zigeunerweisen (Gypsy Airs) Op.20 Orchestre Symphonique de Radio Tele Luxembourg / Leopold Hager 18.II-1985, Luxembourg DVD Doremi DHR-7981-3 (p)2010 V live
Saint-Saëns, Camille Introduction et rondo capriccioso, Op.28 Orchestre Symphonique de Radio Tele Luxembourg / Leopold Hager 18.II.1985, Luxembourg DVD Doremi DHR-7981-3 (p)2010 V live
Beethoven, Ludwig van Violin Sonata No.5 in F major, Op.24 “Spring” (III. Scherzo. Allegro molto) Pierre Barbizet, piano 18.II.1985, Luxembourg DVD Doremi DHR-7981-3 (p)2010 V live
Brahms, Johannes Violin Sonata No.3 in D minor, Op.108 (III. Un poco presto e con sentimento) Pierre Barbizet, piano 18.II.1985, Luxembourg DVD Doremi DHR-7981-3 (p)2010 V live
Bach, Johann Sebastian Wilhelmj, August Air on G string (from Orchestral Suite No.3, BWV 1068) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI TOCE-9063/65 A only in: 'Legendary Virtuoso', 3CD
Bazzini, Antonio La Ronde des Lutins, scherzo fantastique Op.25 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI TOCE-9063/65 A only in: 'Legendary Virtuoso', 3CD
Bloch, Ernest Nigun -Improvisation- (No.2 from "Baal Shem", Three Pictures of Chassidic Life) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Debussy, Claude Hartmann, Arthur La fille aux cheveux de lin Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Dinicu, Grigoras Heifetz, Jascha Hora Staccato Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Dvořák, Antonín Kreisler, Fritz Songs My Mother Taught Me, Op.55 No.4 (from "Gypsy Songs") Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Dvořák, Antonín Kreisler, Fritz Humoresque in G-flat major, Op.101 No.7 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Elgar, Edward Salut d'amour, Op.12 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Elgar, Edward La Capricieuse, Op.17 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI TOCE-9063/65 A only in: 'Legendary Virtuoso', 3CD
Gabriel-Marie, Jean La Cinquantaine, Air dans le style ancien / 'The Golden Wedding Anniversary' (No.2 from "2 Pieces", ca.1887) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Kreisler, Fritz The Londonderry Air, 'Farewell to Cucullain' (old Irish melody) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Kreisler, Fritz Liebesfreud (Alt-Wiener Tanzweisen, No.1) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Kreisler, Fritz Liebesleid (Alt-Wiener Tanzweisen, No.2) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Kreisler, Fritz Schön Rosmarin (Alt-Wiener Tanzweisen, No.3) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Kreisler, Fritz Caprice Viennois, Op.2 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Kreisler, Fritz Rondino on a Theme of Beethoven -based on an unused theme by Beethoven, from the rejected final movement of the Wind Octet in E-flat major (1793), later used as theme in the Rondò for violin and piano in G major WoO 41- Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Massenet, Jules Marsick, Martin-Pierre Méditation de Thaïs Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Mendelssohn, Felix Heifetz, Jascha Auf Flügeln des Gesanges (On Wings of Song), Op.34 No.2 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Paganini, Niccolò Cantabile in D major, Op.17, MS 109 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Paradis, Maria Teresa von Dushkin, Samuel Sicilienne Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Poldini, Edward (Ede) Kreisler, Fritz Poupée valsante (d'après l'Album 'Marionnettes') Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Rachmaninoff, Sergei Kreisler, Fritz Daisies (Marguerite), Op.38 No.3 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Raff, Joachim Cavatina, Op.85 No.3 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Ravel, Maurice Pièce en forme de Habañera (Vocalise) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Sarasate, Pablo de Habanera, Op.21 No.2 (Spanish Dance No.2) Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI TOCE-9063/65 A only in: 'Legendary Virtuoso', 3CD
Sarasate, Pablo de Zigeunerweisen (Gypsy Airs), Op.20 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Moszkovski, Moritz Sarasate, Pablo de Guitarre, Op.45 No.2 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI TOCE-9063/65 A only in: 'Legendary Virtuoso', 3CD
Tchaikovsky, Pyotr Ilyich Mélodie in E flat major, Op.42 No.3 (from "Souvenir d'un lieu cher") Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Tchaikovsky, Pyotr Ilyich Valse sentimentale in F minor, Op.51 No.6 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Wieniawski, Henryk Capriccio-Valse, Op.7 Shigeo Neriki, piano 1985/5/8-11, Tokyo CD: Toshiba EMI CC33-3308/3309 A 'The best of violin melodies', 2CD
Massenet, Jules Marsick, Martin-Pierre Méditation de Thaïs Yves Henry, piano 13.I.1988, Paris DVD Doremi DHR-7981-3 (p)2010 V live
Mendelssohn, Felix Kreisler, Fritz Romance sans paroles No.25 in G Major, Op.62 No.1 "Brise de Mai" Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Sarasate, Pablo de Heifetz, Jascha Introduction et Tarantelle, Op.43 Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Kreisler, Fritz Syncopation (1926) Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Falla, Manuel de Kochansky, Paul Jota (No.6 from “Suite populaire espagnole”) Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Glazunov, Alexander Méditation, Op.32 Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Sarasate, Pablo de Romanza andaluza, Op.22 No.1 (Spanish Dance No.3) Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Kreisler, Fritz Tambourin Chinois, Op.3 (1910) Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Albéniz, Isaac Kreisler, Fritz Malagueña, Op.165 No.3 (from "España") Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Brahms, Johannes Joachim, Joseph Hungarian dance No.1 in G minor, W.o.O. 1, Allegro molto Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Falla, Manuel de Kreisler, Fritz Danse espagnole No.1 (from "La vida breve") Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Tartini, Giuseppe Kreisler, Fritz Sonata in G minor, B.g5 “The Devil's Trill” Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Chopin, Frédéric Milstein, Nathan Nocturne No.20 in C-sharp minor, Op.posth. Shuku Iwasaki, piano 1989/6/14-15, Tokyo CD: EMI 54774 A 'Extravaganza'
Bach, Johann Sebastian Chaconne (from Partita No.2 in D minor, BWV 1004: V) 30.VI.1990, Tokyo DVD Toshiba EMI 3527 V live, Casals Hall Tokyo
Bartók, Béla Sonata for solo Violin, Sz.117, BB 124 30.VI.1990, Tokyo DVD Toshiba EMI 3527 V live, Casals Hall Tokyo
Bach, Johann Sebastian Fuga (from Sonata No.3 in C major, BWV 1005: II) 30.VI.1990, Tokyo DVD Toshiba EMI 3527 V live, Casals Hall Tokyo
Gitlis, Ivry Improvisation – Impromptu “...for you, ...for Japan, ...for Music” 30.VI.1990, Tokyo DVD Toshiba EMI 3527 V live, Casals Hall Tokyo
Bach, Johann Sebastian Gavotte en rondeau (from Partita No.3 in E major, BWV 1006: III) 30.VI.1990, Tokyo DVD Toshiba EMI 3527 V live, Casals Hall Tokyo
Berg, Alban Violin Concerto “To the Memory of an Angel” WDR Sinfonieorchester Köln / Hans Vonk 24.I.1992, Köln DVD Doremi DHR-7981-3 (p)2010 V live
Simonetti, Achille Madrigale in D major (1901) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Schumann, Robert Kreisler, Fritz Romance in A major, Op.94 No.2 Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Kreisler, Fritz Menuet “in the style of Porpora” (1910) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Kreisler, Fritz Marche Miniature Viennoise (1925) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Tchaikovsky, Pyotr Ilyich Andante cantabile (from String Quartet No.1 in D major, Op.11: II) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Kreisler, Fritz Chanson Louis XIII et Pavane in the style of Couperin (1910) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Couperin, François Bachmann, Alberto Les Chérubins (from Suite XX, No.3) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Handel, Georg Friederich Violin Sonata in E major, Op.1 No.15, HWV 373 (doubtful) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Fauré, Gabriel Bachmann, Alberto Après un rêve, Op.7 No.1 Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Fauré, Gabriel Berceuse, Op.16 Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Chaminade, Cécile Kreisler, Fritz Sérénade espagnole, Op.150 Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Fibich, Zdeněk Kubelik, Jan / Gitlis, Ivry Poème, Op.41 No.6 Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Dawes, Charles Gates Kreisler, Fritz Melody in A major (1912) Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Bartók, Béla Székely, Zoltán (6) Danses populaires roumaines, Sz.56, BB 58 Shuku Iwasaki, piano XII.1994 - I.1995, Tokyo CD Philips 456 192–2 A 'Le violon enchanté'
Brahms, Johannes Violin Sonata No.3 in D minor, Op.108 Ana-Maria Vera, piano 10–12.XII.1996, Japan CD Voicelle VXD-AH-971120 A JP release
Beethoven, Ludwig van Violin Sonata No.9 in A major, Op.47 “à Kreutzer” Ana-Maria Vera, piano 10–12.XII.1996, Japan CD Voicelle VXD-AH-971120 A JP release
Hindemith, Paul Violin Sonata No.1 in E-flat major, Op.11/1 Ana-Maria Vera, piano 10–12.XII.1996, Japan CD Voicelle VXD-AH-971120 A JP release
Franck, César Violin Sonata in A major, M.8 Martha Argerich, piano 28.XI.1998, Japan CD EMI TOCE-55260 A live, "Beppu Argerich Festival" / JP release
Beethoven, Ludwig van Violin Sonata No.9 in A major, Op.47 “à Kreutzer” Martha Argerich, piano 20.XI.1999, Japan CD EMI TOCE-55260 A live, "Beppu Argerich Festival" / JP release

Filmography

[edit]
original title year director / producer collaborating artists Gitlis role / content genre info and note
Mendelssohn, Felix 1963/06/23 "Discorama" / Philippe Ducrest Pro Musica Symphony Vienna (Wiener Symphoniker) / Hans Swarowsky Violin Concerto in E minor, Op.64 (I. Allegro molto appassionato) TV footage, archive by Meloclassic 1963 video playback over the 1954 VOX audio rec. / video YouTube
Ivry Gitlis – Musica da Camera 1963, Milano Elisa Quattrocolo (RAI) Loredana Franceschini, piano Debussy, Violin Sonata / Paganini, Cantabile Op.17 / Wieniawski, Capriccio-Valse Op.7 / Moszkowski/arr. Sarasate, Guitarre TV broadcast [T.T. 23'35"] RAI5 Classica / YouTube
Ivry Gitlis – interview + Paganini 1965/01/10, Paris Jacqueline Barsac (RTF, "JT 13 heures") unknown orchestra and conductor interview + rehearsal Paganini/Wilhelmj Violin Concerto Nr.1 in D major, Op.6 (fragment) TV footage, archive by Meloclassic YouTube
Ivry Gitlis – Journal de Paris (ina.fr) 1966/10/11, Paris Jacqueline Barsac Yves Henry, piano rehearsal Paganini Caprice No.24 / Brahms Violin Sonata No.3, Op.108 + interview TV footage ina.fr, watch video
Ivry Gitlis – "Un violon, une valise" 1968/10/06, Paris Jacques Busnel (ina.fr) Girolamo Arrigo (composer) rehearsing Saint-Saëns Violin Concerto No.2 Op.58, at his home in Paris + interview TV footage ina.fr, watch video / YouTube
The Rolling Stones Rock and Roll Circus: Whole Lotta Yoko 1968 Rolling Stones John Lennon, Yoko Ono violin solo improvisations filmed concert watch video / DVD release, 1996
Ivry Gitlis – avec les Tziganes 1970s improvisations in gypsy style TV footage, archive by Meloclassic YouTube
Ivry Gitlis plays Bach (ina.fr) 1970s Bach – Partita No.3 in E major, BWV 1006 (III. Gavotte en rondeau) TV footage dailymotion, watch video
Ivry Gitlis – "Sur le vif, ou un violon dans la ville" 1971, Paris M.Philippe-Gérard / Edmond Tyborowsky avec : Ivry Gitlis / violon off : Stéphane Grappelli musique de : M.Philippe-Gérard / ingenieurs du son : Guy Solignac, Claude Bittan / assistés de : Edouard Hoffmann, Hervé Chauvel / directeur de la photographie: Henri Martin / cadreurs : Guy Maçon, Adrien Ballester, Bernard Gapail / montage : Jean-Claude Couprie / assisté de : Yves Charoy / scripts-girls : Andrée Gautey, Christiane Barreau / décorateur : Armand Braun / mixage : Jean-Paul Quiquempois / collaborateur artistique : Didier Philippe-Gérard / assistants-réalisateur : Toni Tounsi, Jeanne Barbillon, Xavier Guilhem-Ducléon / réalisation : Edmond Tyborowsky / Date de diffusion : 21/03/1971 / Durée : 00h 47' 35" TV film, archive by Meloclassic YouTube
Ivry Gitlis – Vence Music Festival 1972, Vence Georges Cziffra, Dizzy Gillespie, Georges Moustaki, François-René Duchable, Zubin Mehta Chopin – Fantasie Impromptu Op.66 (G.Cziffra) / Bach – Chaconne BWV 1004 (I.Gitlis) / jam sessions (I.Gitlis & D.Gillespie & G.Moustaki) / Z.Mehta, conducting string orchestra / Schubert – fragments "Trout Quintet" (I.Gitlis, Z.Mehta, F.-R.Duchable, & friends) TV footage, archive by Meloclassic YouTube
Ivry Gitlis – an Ambassador for Children, Young People and Music 1973, Vence explaining music to children / Beethoven – Violin Concerto Op.61 (fragments) TV footage, archive by Meloclassic YouTube
Ivry Gitlis with Barbara 1974, Paris Gitlis improvising the violin part in "Une petite cantate" with Barbara TV footage YouTube
Ivry Gitlis with Léo Ferré 1974, Paris Gitlis improvising the violin part in the song "Les Étrangers" TV footage, archive by Meloclassic YouTube
Ivry Gitlis with Michel Legrand 1974, Paris Gitlis with Michel Legrand and his orchestra, playing compositions for the movies "Summer of '42" (1971) and "The Thomas Crown Affair" (1968) TV footage, archive by Meloclassic YouTube
Jean Arp ou le nageur énigmatique (ina.fr) 1975/5/17, Paris Georges Alain Baudry (Antenne 2) Ivry Gitlis, violin / Schola Cantorum / Jean Arp   TV footage ina.fr, watch video
L'Histoire d'Adèle H. 1975 François Truffaut Isabelle Adjani, Bruce Robinson The Hypnotist film-drama IMDb
Ivry Gitlis – Musique en fête (ina.fr) 1977/9/01, Bordeaux Jacques Schreiber (France Region 3) Improvisation workshop with children TV footage ina.fr, watch video
La vie devant soi 1977 Moshé Mizrahi Simone Signoret, Michal Bat-Adam violin solo film-drama IMDb
Ivry Gitlis – "Les violons qui miaulent" (ina.fr) 1979/11/24, Paris Pierre Leherle (TF1) TV footage ina.fr, watch video / YouTube
Ivry Gitlis – Les mystères de l'hérédité (ina.fr) 1979/12/10, Paris Jean Archimbaud (TF1) Pierre Paul Grasse, André Langaney, Jean Didier Vincent, Jacques Mehler   TV footage ina.fr, watch video
Ivry Gitlis – Ecole maternelle, musique (ina.fr) 1981/1/28, Paris Martine Chardon (Antenne 2)   TV footage ina.fr, watch video
Les Enquêtes du commissaire Maigret 1981 Jean Richard episode: "Maigret et l'homme tout seul" / René Vivien (a violin-playing tramp) TV fiction Télévision Française, 1982
Festival de musique de Bonifacio (ina.fr) 1984/9/06, Bonifacio Pierre Jean Luccioni (France 3 Corse)   TV footage ina.fr, watch video
Un amour de Swann 1984 Volker Schlöndorff Jeremy Irons, Ornella Muti violinist film-drama IMDb
La Septième Cible 1984 Vladimir Cosma, soundtrack "Berlin Concerto" from the French film "La Septième cible" at Berliner Philharmoniker played by Gitlis film-drama IMDb / watch video
Ivry Gitlis – Journal de Paris (ina.fr) 1987/1/01, Paris André Halimi (Editing Prod.) TV footage ina.fr, watch video
Ivry Gitlis – "hommage à Jascha Heifetz" 1988/1/13, Paris broadcast "Le Grand Échiquier" – Vive la rentrée, by André Flédérick Ivry Gitlis – "hommage à Jascha Heifetz" († 10.XII.1987) + Jules MASSENET: Méditation de Thaïs (Yves Henry, piano) TV footage, archive by Meloclassic YouTube
Léo Ferré, 'Les Etrangers' (ina.fr) 1988/4/23, Paris Michel Drucker (France 2) TV footage ina.fr, watch video
Ivry Gitlis – Afrique (ina.fr) 1990/05/15 Arnaud Hamelin, Jean Pierre Van Geirt (Sunset) TV footage ina.fr, watch video
Un violon dans la tête 1992 Claude Edelmann (Arte video) I.Gitlis & Vinh Pham music and neurosciences scientific documentary Institut français Archived 26 July 2014 at the Wayback Machine / VHS PAL only
The Soul of The Violin 1993 André Delacroix (France 3) Pierre Amoyal, Patrice Fontanarosa, Ivry Gitlis, Sergei Krilov, Hugh Maguire, Yehudi Menuhin, Anne-Sophie Mutter documentary medici.tv, medici.tv
Ivry Gitlis & Ana-Maria Vera – recital 1999 Yvon Gérault (Qualite Communication, 2000) Ana-Maria Vera, piano Concert recorded at the Abbaye Saint-Léonard de Corbigny (Nièvre): Mozart – Violin Sonata K.301 / Chopin – Fantaisie-Impromptu Op.66 (piano solo) / Bloch – Nigun (No.2 from "Baal Shem") / Sarasate – Zigeunerweisen Op.20 / Kreisler – Liebesleid / Beethoven – Violin Sonata No.9 Op.47 "Kreutzer" filmed concert MEZZO.tv (broadcast, 2004/2/19) / YouTube
Beppu! 2001 2001 feat.: Akane Sakai, Geza Hosszu-Legocky, Martha Argerich, Ivry Gitlis, Nelson Freire, Antonio Pappano A film for insiders TV footage, archive by Meloclassic YouTube
The Art of Violin 2001 Bruno Monsaingeon Itzhak Perlman I.Gitlis (commentator/performer) / Part 1. "The Devil's Instrument" & Part 2. "Transcending the Violin" documentary DVD release, 2010 / YouTube
Sansa 2003 Siegfried Roschdy Zem, Emma Suarez, Martha Argerich I.Gitlis (Monsieur Click) film-drama IMDb / YouTube
Ivry Gitlis, documentary 2003 Robertie Nahoum Valee Australia Chamber Orchestra / Richard Tognetti Beethoven – Sonata "Kreutzer" / Saint-Saëns – Introduction and rondo capriccioso Op.28 (arranged by R.Tognetti for violin and string orchestra) + interview filmed concert Ivry Gitlis Archived 27 March 2014 at the Wayback Machine / short clip on YouTube
Ivry Gitlis and the Great Tradition 2004 Tony Palmer performer documentary DVD release, 2012 / YouTube
Ruggiero Ricci – Life is a Violin 2006 Fernando Casablancas (Xochil Prod.) Ruggiero Ricci, Ivry Gitlis Ricci at his home in Palm Springs, in Paris with fellow fiddler Ivry Gitlis, and in Mozarteum Salzburg for a Master Class. A personal portrait of a great artist and warm and endearing man. documentary medici.tv / YouTube
Inspiration, Playing by Heart 2009 Marlies Huitink, Fried-jan van den Eerenbeemt David Stern, Daniel Rowland, Anna Korpalska, Jaap van Zweden, 't Stift Weerselo, Kim Cramer, Pete Saunders, Peter Ziegler himself documentary Crossmarkpictures, Avro / YouTube
Ivry Gitlis & Michel Legrand 2009 Tandem (France 2) Ivry Gitlis and Michel Legrand, playing a joke, imitating 'Contemporary Music' TV footage dailymotion, watch video
Ivry Gitlis, le violon sans frontières 2009 Sandra Joxe, Christian Labrande performer documentary Classifilms Archived 7 April 2014 at the Wayback Machine, Arte, ina / DVD, 2010 / YouTube
Ivry Gitlis, improvisation 2009/10/18 Brigitte Engerer, Boris Berezovsky recorded during Pianoscope à Beauvais – Festival 2009 – improvisation sur le nom 'Brigitte' (Ivry Gitlis, violin – Boris Berezovsky, piano) private recording dailymotion, watch video
Ivry Gitlis, interview – wallcast #13 2011/7/27, Verbier Matthieu Escande (MUSEEC/medici.tv) Verbier Festival documentary medici.tv, watch video / YouTube
Legends Interview Series – Ivry Gitlis 2011/12/17, London Steven Isserlis, Josè Lasheras Steven Isserlis, interviewer / Stephen Hough, piano Interview at Wigmore Hall, London + concert with piano (Paradis – Sicilienne / Kreisler – Liebesleid) documentary YouTube
Ivry Gitlis – Un violon pour la paix dans le monde 2012/04/02 Patrick Simonin (L'Invité, TV5Monde) TV interview dailymotion, watch video
Masterclass with Ivry Gitlis 2012, Thessaloniki Angela Maria Arbeláez, Thanasis Protatos Institut Français de Thessalonique documentary YouTube, watch video
Des gens qui s'embrassent 2013 Danièle Thompson Monica Bellucci Aron (the patriarch of a Jewish family) film-comedy IMDb / watch film / YouTube
Des gens qui s'embrassent 2013/04/5 Ivry Gitlis & Monica Bellucci L'invité du jour du 05/04/2013 dans 'A La Bonne Heure' interview dailymotion, watch video / YouTube
Ivry Gitlis – Legendary Violin Recital in 2013 2013/6/14, Tokyo Nakamura Toshitake (Tempo Primo, Japan) Vahan Mardirossian, piano Händel – Sonata in E major Op.1 No.15, HWV 373 / Franck – Violin Sonata in A major / Brahms – Scherzo F.A.E. / Bloch – Nigun / Kreisler – Liebesleid, Syncopation, Schön Rosmarin / Massenet – Meditation de Thais / Paradis – Sicilienne / Narita – The Song of the Seashore / Paganini – Cantabile Op.17 filmed concert DVD Tempo Primo Co., Ltd., 2015
Ivry Gitlis – La matinale 2013/11/02 Jean Michel Dhuez (France Musique) "Jean Michel Dhuez reçoit l'invité du jour le célèbre violoniste Ivry Gitlis dont l'autobiographie "L'âme et la corde" paraît dans une nouvelle édition augmentée aux éditions Buchet/Chastel." TV interview dailymotion, watch video

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ivry Gitlis

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from Grokipedia
Ivry Gitlis (25 August 1922 – 24 December 2020) was an Israeli violinist distinguished for his virtuosic technique, passionate expressiveness, and genre-spanning performances that integrated classical traditions with elements of and experimentation. Born in to Jewish parents who had emigrated from , he began studies at age five and debuted publicly in at nine, impressing figures like who facilitated further training in . Gitlis achieved early recognition with awards and recordings, such as the Grand Prix du Disque for Alban Berg's , and performed with major orchestras worldwide, notably as the first Israeli artist to appear in the in 1963. His interpretive style, characterized by raw intensity, technical risks, and occasional departures from conventional phrasing, provoked strong reactions—praised for vitality by admirers but critiqued for inconsistency by traditionalists—while his collaborations, including with and appearances in multimedia events like ' Circus, underscored his boundary-pushing ethos. Residing primarily in from the 1950s, Gitlis also mentored young talents and remained active into his nineties, embodying a commitment to musical freedom over doctrinal adherence.

Early Life

Birth and Upbringing in Haifa

Ivry Gitlis was born on August 25, 1922, in , under the British Mandate of , to Russian-Jewish parents who had emigrated in 1921 from in what was then the (now ). His family, like many Russian-Jewish immigrants, sought refuge from the pogroms and civil unrest that ravaged Jewish communities in the region during and after , including the devastating 1919 massacres in that claimed thousands of lives. Raised in modest circumstances within Haifa's growing Jewish immigrant community, Gitlis's upbringing occurred amid the Mandate's ethnic tensions, economic challenges, and British administrative policies that shaped daily life for Jewish families establishing roots in . Despite these hardships and their non-musician backgrounds, his parents emphasized cultural enrichment, providing him with a at age five to nurture his emerging interests in the arts. This early instrument sparked Gitlis's initial musical engagement, leading to a public performance by age eight that highlighted his precocious ability, as noted by contemporaries in Haifa's local scene. Such demonstrations occurred against the backdrop of regional , including sporadic between Arab and Jewish populations, yet the family's commitment to artistic pursuits persisted, fostering an environment conducive to Gitlis's foundational development.

Initial Musical Training

Ivry Gitlis received his first in 1927 at the age of five and commenced lessons shortly thereafter under Elisheva Velikovsky, a local in who had been influenced by European pedagogical traditions brought by Jewish immigrants to Mandate . His early practice focused on foundational techniques amid the rudimentary musical infrastructure of the , where Zionist settlement efforts fostered a revival of Jewish cultural expression, including , through informal lessons and community performances rather than formalized institutions. In 1931, at age nine, Gitlis made his debut concert in , performing publicly and gaining initial notice within Palestine's burgeoning Jewish musical circles, which were energized by waves of European Jewish musicians fleeing and contributing to local ensembles and teaching. By age ten, he had given additional concerts, including at his school, solidifying a youthful reputation for precocious talent in and , though formal orchestral opportunities remained limited before the establishment of broader institutions like the Palestine Symphony Orchestra in 1936. A pivotal encounter occurred around 1932 when, at approximately eight or nine years old, Gitlis performed for Bronislaw Huberman, the Polish-Jewish violinist and advocate for musical emigration to ; Huberman, impressed by the boy's technical promise and interpretive intuition, publicly acclaimed him a prodigy and mobilized support for advanced training opportunities beyond local confines. This endorsement highlighted Gitlis's self-taught elements of phrasing and emotional depth, developed through intensive daily practice in Haifa's vibrant yet resource-scarce environment, where Zionist cultural initiatives emphasized artistic self-reliance as part of national revival.

Education

Mentors and Studies in

In 1933, at the age of 11, Gitlis relocated from to with his mother to advance his training, commencing lessons with Marcel Chailley, a prominent pedagogue and husband of Céliny Chailley-Richez. This move facilitated entry into the École Normale de Musique, where he studied under Chailley and Jules Boucherit, securing a premier prix within two years for exceptional proficiency. Between 1938 and 1940, amid escalating tensions in , Gitlis received private instruction from luminaries including and in , emphasizing interpretive depth and technical refinement. Seeking further mentorship, Gitlis traveled to , and subsequently to work with Carl Flesch, whose masterclasses attracted elite talents like and during 1936–1938. The outbreak of disrupted this trajectory; in 1940, as a Jewish , he fled to , where he initially labored in a munitions factory before resuming studies under Flesch's guidance in . Lacking formal scholarships from documented Jewish aid groups, Gitlis navigated these years through personal resilience and institutional access amid widespread targeting European Jews. Following the Allied in 1944–1945, Gitlis returned to , recommencing advanced sessions with Enescu, whose lessons prioritized musical essence over rote technique, as Gitlis later recalled. These engagements with Enescu, Thibaud, and others solidified foundational influences, bridging pre-war Parisian rigor with wartime survival, though primary accounts emphasize self-directed adaptation over institutional interruptions like , which records do not substantiate for Gitlis.

Formative Influences

Gitlis's formative musical philosophy was deeply shaped by his studies with , who prioritized interpretive depth and personal emotional engagement over mere technical accuracy. Enescu's lessons encouraged Gitlis to transcend surface-level notes, urging a profound reading of the score that emphasized authentic expression and storytelling, akin to the approaches of contemporaries like Huberman and Thibaud. This influence instilled in Gitlis a rejection of mechanical playing in favor of music as a vehicle for inner truth, fostering his lifelong commitment to soulful, responsive performances. His Russian-Jewish family background exposed Gitlis to the expressive intensity of Eastern European violin traditions, characterized by robust tone and emotional fervor, which his immigrant parents carried from to . At age eight, an encounter with —himself a product of that milieu—provided not only financial and logistical support for but also modeled resilience in pursuing artistic ideals amid challenges, reinforcing Gitlis's view of violin playing as a profound, humanistic endeavor. Rooted in Jewish experiences of migration and cultural preservation, Gitlis developed an early inclination toward bridging classical forms with folk vitality and improvisational spontaneity, conceiving music as "neshama"—a breath of soul that demands living presence over scripted perfection. This philosophy, evident in his advocacy for rubato as "the of playing in ," reflected a causal link between personal heritage and artistic freedom, prioritizing in-the-moment inner voice to evoke universal emotional resonance.

Performing Career

World War II and Immediate Post-War Period

In 1940, as invaded and occupied , Gitlis, then a young Jewish violinist studying in , fled the advancing forces by sailing across the on June 21 aboard the last ship to depart occupied territory before full German control was enforced. This narrow escape spared him from the escalating under Vichy collaboration and direct Nazi rule, including roundups and deportations that claimed over 75,000 French Jews by war's end. Upon arriving in , Gitlis initially supported the by working for two years in a munitions factory, a common role for able-bodied immigrants amid Britain's industrial mobilization against the . Later, he was transferred to the British Army's artists' branch, where he performed recitals in war factories and for Allied troops, providing morale-boosting entertainment during and subsequent campaigns. These subsistence-level concerts, often in makeshift or frontline settings, underscored his adaptability and commitment to music amid , sustaining him financially while evading the stateless vulnerability many Jewish refugees faced. In the immediate post-war period of 1945–1946, Gitlis contributed to reconstruction efforts through continued performances for liberating forces and began reorienting toward civilian concert life, culminating in his formal British debut with the London Symphony Orchestra. Though he briefly considered returning to Palestine—where his ailing mother had repatriated during the conflict before her death in early 1945—Gitlis prioritized re-establishing his career in Europe, leveraging wartime resilience forged under existential threat as a Jewish artist in exile. This phase marked a transition from survival-driven improvisation to professional recovery, unmarred by collaboration controversies that tainted some European musicians' wartime records.

Breakthrough and 1950s Recognition

In 1951, Ivry Gitlis participated in the Long-Thibaud International Violin Competition in , earning fifth prize despite widespread public enthusiasm for his interpretations, which led to audience protests and media scrutiny over the jury's rankings. A rumor circulating during the preliminary rounds—that Gitlis had stolen a amid wartime chaos—further fueled the controversy, though it did not derail his momentum. The ensuing publicity ignited his breakthrough, enabling a Paris recital debut that same year and opening doors to broader European engagements. This recognition positioned Gitlis as a rising figure in classical circuits, distinct from established European traditions. During the , Gitlis expanded into major tours across the alongside conductors and , while committing key repertoire to disc, including Max Bruch's No. 1 in and Jean Sibelius's under Jascha Horenstein with the Orchestra in the mid-decade. As one of the foremost Israeli violinists following the nation's independence, these achievements helped cement his role in bridging Israeli talent with Western audiences, predating his landmark 1955 Soviet appearances as the first musician from the new state to perform there.

Peak International Tours (1960s-1970s)

During the , Ivry Gitlis achieved a landmark in his by becoming the first Israeli violinist to perform officially in the , under the bilateral cultural exchange program between and the USSR. His tour commenced with a concert in on October 23, 1963, followed by performances in and other cities, where he received enthusiastic receptions from audiences and critics. This breakthrough opened doors for further engagements and underscored Gitlis's role in bridging cultural divides through music amid tensions. Gitlis's international profile surged with extensive tours across , , and , featuring collaborations with premier orchestras such as the and conductors of international stature. These appearances highlighted his command of core repertoire, including concertos by Beethoven, Brahms, and Sibelius, performed in major venues like the Royal Festival Hall and . His technical prowess and interpretive intensity earned acclaim, solidifying his status as a capable of sustaining high-level engagements year-round. In parallel, Gitlis pursued innovative cross-genre experiments, notably participating in the Rolling Stones' Rock and Roll Circus television special filmed in London on December 11-12, 1968. There, he contributed violin parts to The Dirty Mac supergroup—comprising John Lennon, Eric Clapton, Keith Richards, and Mitch Mitchell—on tracks like a blues improvisation and Lennon's "Yer Blues," demonstrating his adaptability to rock and improvisational styles influenced by jazz elements. This event exemplified his willingness to transcend classical boundaries, blending virtuoso technique with popular music forms. Gitlis also championed contemporary compositions during this era, advocating for 20th-century works through premieres and dedicated pieces. In 1971, composer created Piece for Ivry Gitlis specifically for him, reflecting Gitlis's commitment to expanding the repertoire beyond Romantic staples. His recordings and live interpretations of violin concertos by Stravinsky and Berg further evidenced this advocacy, prioritizing emotional depth and technical innovation in modern scores. These efforts distinguished his tours, attracting diverse audiences and influencing younger musicians toward experimental approaches.

Mature and Later Engagements (1980s-2010s)

Gitlis sustained his performing career through the 1980s and 1990s with recitals and orchestral engagements, including a 1988 rendition of Massenet's Méditation from Thaïs accompanied by pianist Yves Henry. In 1990, he performed Bach's Chaconne from Partita No. 2 in D minor live, showcasing his command of solo repertoire. By the mid-1990s, he delivered the Beethoven Violin Concerto with Kreisler cadenzas at Suntory Hall in Tokyo in 1995, maintaining technical and expressive rigor into his seventies. Entering the 2000s and 2010s, Gitlis focused on prestigious festivals and collaborations with younger artists, notably appearing at the in 2011 alongside , , and Itamar Golan, where he performed showpieces such as Schön Rosmarin. That year, at age 89, he offered an idiosyncratic interpretation of Kreisler's Liebesleid at the Järvi Festival under , highlighting his enduring personal style despite advancing age. In a 2015 performance at 93, Gitlis joined Buniatishvili for Kreisler encores including Liebesleid, Schön Rosmarin, and Syncopation, defying conventional expectations for performers in their nineties through sheer interpretive conviction over flawless execution. Amid physical limitations associated with age, Gitlis increasingly emphasized , leading es that shaped emerging violinists globally. In 2009, he coached on Kreisler's Recitativo and at a session documented with violinist Eleanor Dunbar. This continued in 2013 at Denmark's Klassiske Dage Festival, where he guided Sofie Qvamme on interpretive depth, and extended to events like a 2016 . Through these engagements, Gitlis transmitted his legacy of emotional intensity and freedom to younger talents, prioritizing artistic transmission over sustained concertizing.

Musical Style

Technical Characteristics

Gitlis's violin technique was marked by a rapid and intense , often described as super-speed, which he varied with periods of non-vibrato to produce a distinctive palette of colors and expressive intonation. This approach allowed for heightened emotional engagement, with the vibrato's speed and intensity contributing to a quivering, tensile quality in passages. In bowing, Gitlis utilized a wide range of contact points and speeds, employing techniques that included incisive articulation, variations in weight, and occasional scooping or sliding for dynamic contrast. These elements facilitated deep sonority in double stops and polyphonic textures, where he prioritized controlled pressure to achieve intensity without excess bow usage. Gitlis executed rapid passages with virtuosic speed, favoring fast tempi and heart-stopping accelerandi that emphasized relentless energy and improvisatory flow over strict metronomic precision. His phenomenal coordination in such sections underscored a technique geared toward expressive vitality, with free-wheeling elements in rhythm and intonation enhancing the overall athleticism of his phrasing.

Interpretive Approach

Gitlis's interpretive philosophy emphasized unmediated emotional authenticity and instinctive response as the core of musical performance, viewing as an extension of vital breath and inner life force rather than mechanical precision. He described the act of playing as channeling personal emotion and to reveal the music's , stating that one must "go into [the music] and look inside yourself" to access true feeling. This approach rejected formulaic interpretations in favor of spontaneous vitality, aligning with his belief that demands and living presence over safe conformity. Central to his method was rhythmic freedom, enabling improvisatory flair that mirrored the music's organic pulse and allowed for heightened emotional engagement, often evoking raw passion through varied tonal colors and dynamic intensity. Drawing from George Enescu's , Gitlis incorporated folk inflections, such as subtle gypsy-like rubato and expressive phrasing rooted in Romanian traditions, to infuse classical works with primal, unpolished urgency. Gitlis extended this by integrating non-classical elements, notably through improvisations that cross-pollinated genres and reinforced his commitment to expressive liberty. In 1968, he collaborated with violinist on sessions like an impromptu rendition of Cole Porter's "Night and Day," blending classical technique with spontaneity to prioritize communicative freedom over genre boundaries.

Reception

Critical Praise and Achievements

Gitlis served as a from 1990, advocating for education, cultural peace, and tolerance through performances at fundraising galas and initiatives promoting international artistic exchange. In 1963, he became the first Israeli violinist to perform in the , presenting a series of concerts in cities including under the Soviet-Israeli cultural exchange program, which drew positive reception and marked a breakthrough in diplomatic musical relations. Over more than five decades, Gitlis collaborated with leading orchestras such as the , , London Philharmonic, and , sustaining a rigorous international touring schedule that underscored his enduring appeal and technical command. His pioneering role advanced opportunities for Israeli musicians abroad, exemplified by his early trailblazing tours and recognition through awards including the 2017 Cremona Musica Award for Performance at age 95 and the Grand Prix du Disque for his recording of Alban Berg's Concerto for Violin.

Criticisms and Polarizing Elements

Gitlis's violin technique drew criticism for its perceived excesses, including frequent use of effects described as "scooping" and "sliding," alongside "" that prioritized impetuous energy over refinement. Reviewers noted a "fast, nervous " that imparted a "slightly hysterical air" to interpretations, lacking the subtlety associated with more controlled styles. His tone was often characterized as unpolished and lacking roundness or richness, with deliberate inclusion of "ugly" sounds that eschewed conventional beauty for raw intensity. These elements contributed to a polarizing reception, where Gitlis's departures from smoother, more lyrical benchmarks—such as those exemplified by Itzhak Perlman's flowing phrasing—rendered his sound "weird" or arbitrary to detractors favoring classical fidelity and evenness. His style, neither refined nor universally appealing, divided audiences between those who valued its fearless emotional directness as enhancing musical vitality and others who viewed it as undermining structural coherence or masterful poise. This stemmed from Gitlis's commitment to unfiltered expressivity, which amplified personal idiosyncrasies at the expense of broader accessibility, prompting some to dismiss his approach as non-traditional showmanship rather than interpretive depth.

Instruments

Notable Violins and Ownership History

Ivry Gitlis owned the 'Sancy' Stradivarius violin, crafted by Antonio Stradivari in Cremona in 1713 during his Golden Period, featuring high-quality maple back and ribs with a reddish-orange varnish. He acquired the instrument in 1956 from Rembert Wurlitzer Inc. in New York and retained ownership until his death in 2020, a period of 64 years during which it became central to his performances and recordings. Prior to Gitlis, the violin's provenance included the Leloup family of Sancy, France (from which it derives its name), Belgian collector Charles Wilmotte in the 1870s, violinist Jan Kubelík who played it briefly in 1908, and dealer Felix E. Kahn who purchased it in 1920 before it returned to the Wurlitzer family. Gitlis also owned a violin made by Émile Marcel Français in in 1944, which he received as a prize for winning second place in the Long-Thibaud International Competition. This modern instrument, crafted in the tradition of classical Italian makers, complemented his collection alongside the , reflecting his use of both historical and contemporary s suited to his expressive demands. No public records detail loans or specific maintenance history for these instruments beyond standard care associated with professional use.

Personal Life

Family Background

Ivry Gitlis was born Yitzhak-Meir Gitlis on August 25, 1922, in , , to Jewish parents Asher and Hedva Gitlis, who immigrated from in 1921. His family's Eastern European Jewish heritage, rooted in regions like (now in ), contributed to a cultural identity marked by resilience amid migration and historical upheaval, though his parents were not musicians. Gitlis married three times. His first marriage, to American writer and director Sandra Hochman, lasted from 1959 to 1960 and ended in divorce. He then wed French actress France Lambiotte, with whom he had a daughter, Raphaëlle Gitlis, who pursued acting. His third marriage was to German actress Sabine Glaser, who bore three of his children; this union lasted until his death. Details on his descendants' professional pursuits, particularly in music, are scarce in public records, underscoring Gitlis's reticent approach to family matters despite his prominent career.

Advocacy and UNESCO Role

In 1988, Ivry Gitlis was appointed a , tasked with advancing education, a , and tolerance through artistic endeavors, particularly emphasizing the arts' potential to engage and educate youth. His efforts in this capacity highlighted music's role in cross-cultural dialogue and , drawing on his global performance experience to advocate for accessible artistic training programs that build empathy and skill among young people. Gitlis established the Ivry Gitlis International Association, a non-profit entity focused on cultural and educational objectives, which launched the Ivry Gitlis International Competition open to violinists aged 18 to 30 regardless of nationality. This initiative provided competitive platforms and professional exposure to emerging talents, facilitating their entry into international circuits and thereby expanding music access for early-career musicians through structured and prizes. He further supported youth development by serving as faculty at the Keshet Eilon Center in Israel's Western Galilee, delivering master classes that instructed young violinists on interpretive freedom and technical innovation over decades. These sessions, part of an international program, prioritized hands-on to nurture raw potential, contributing measurable opportunities for participants to refine skills in a collaborative environment.

Death and Legacy

Final Years and Death

Ivry Gitlis resided in from the late onward, where he continued musical activities into his nineties despite declining health in his final years. He performed concerts, including appearances at the as late as 2019, and remained engaged with the musical community until shortly before his passing. In his last months, Gitlis lived in a care home, where visitors noted his unhappiness amid health challenges. Gitlis died on December 24, 2020, in at the age of 98. His funeral included a graveside oration delivered by Delphine Horvilleur, emphasizing his multifaceted life and enduring spirit. Immediate tributes poured in from musical peers, with cellist describing Gitlis as a vibrant, irreplaceable figure whose charisma extended beyond performance to personal interactions. Colleagues highlighted his influence and the profound sense of loss felt across the world.

Posthumous Recognition and Influence

In 2021, Rhine Classics released the 9-CD Ivry Gitlis: In Memoriam – Inédits et Introuvables, compiling rare live recordings and previously unpublished performances, including concertos by Tchaikovsky and Sibelius from the and , as a tribute to his artistic legacy following his death. This collection highlights Gitlis's technical daring and emotional intensity in lesser-known repertory, serving as a resource for scholars and performers seeking archival insights into mid-20th-century interpretation. Gitlis's approach to violin playing, characterized by rhythmic flexibility and unorthodox phrasing, continues to inform postwar debates on interpretive versus technical , with his recordings referenced in analyses of performers who prioritize expressive over polished uniformity. His for experimentation—evident in collaborations across classical, , and improvised genres—resonates in pedagogical critiques of institutionalized training, encouraging violinists to cultivate personal voice amid trends toward standardized execution. In Israeli arts, Gitlis's pioneering status as an emigré who bridged European traditions with sustains his influence on the classical scene, where his emphasis on cultural ambassadorship via roles models resilience for younger musicians navigating global stages. Posthumous reflections, including tributes from peers, position him as a counterforce to homogenization, fostering eclectic that values individual artistry over rote replication.

Discography

Studio and Commercial Recordings

Ivry Gitlis recorded relatively few works in studio settings, prioritizing live performances that captured his improvisatory style, with commercial releases limited to select concertos and later chamber or orchestral pieces. Among his earliest studio efforts were violin concertos from the 1950s, including Pyotr Ilyich Tchaikovsky's Violin Concerto in D major, Op. 35, taped in 1954 with the Vienna Symphony Orchestra under Heinrich Hollreiser's direction. He also committed Jean Sibelius's Violin Concerto in D minor, Op. 47 to disc with the same orchestra, conducted by Jascha Horenstein, emphasizing his broad repertoire command in controlled acoustic environments. Gitlis's studio output extended into and smaller-scale orchestral works on various labels, though specifics remain sparse compared to his extensive live catalog. In , following sessions likely conducted in his advanced age, the album The Last Studio Recordings appeared posthumously, featuring and Romantic selections performed with the Orchestre de Chambre de Toulouse under Alain Moglia, marking his final verified commercial studio contribution.

Live Releases and Multimedia

Gitlis's live performances from international festivals and tours have been preserved in several posthumously released compilations, capturing his distinctive interpretive style in concert settings. The 2024 album Ivry Gitlis in Verbier (Live) documents his 2011 appearances at the , featuring collaborations with pianists , , and Itamar Golan on sonatas by and , Ernest Bloch's Nigun, and Fritz Kreisler's Schön Rosmarin. These recordings highlight Gitlis's advanced age performance at 89, emphasizing emotional depth over technical precision in intimate chamber works. Earlier concert captures include the 2010 CD Live Performances (1955-1992) Volume 1, which compiles archival audio from various venues spanning nearly four decades of his career, showcasing concertos and solos in live acoustics. Posthumous releases such as the 2021 Rhine Classics 9-CD set Ivry Gitlis – In Memoriam incorporate additional live material from broadcasts and festivals, serving as a with selections from his extensive touring , including works performed during his pioneering 1960s Soviet engagements under cultural exchange programs. A 2023 album Martha Argerich & Ivry Gitlis Live further documents their joint concerts, drawing from shared stage appearances. In multimedia formats, Gitlis featured in the 2000 documentary DVD The Art of Violin, directed by Bruno Monsaingeon, where he performs excerpts from Paganini's Caprice No. 24 (Campanella variations) and offers insights into 20th-century violin technique alongside contemporaries like and . The 2012 DVD Ivry Gitlis and profiles his career through interviews, archival footage of performances with conductors like , and demonstrations of his approach to the instrument's "." These visual media emphasize Gitlis's for expressive in interpretation, distinct from studio-controlled recordings.

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