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Kogan, Leonid. (1924–1982). Autograph from his 1951 Queen Elizabeth Competition Win. A rare early autograph from the great violinist, penned in 1951 after winning First prize at the Queen Elizabeth Competition in Brussels with a dazzling performance of Paganini's first concerto that included an outstanding interpretation of Sauret's cadenza. Kogan has signed a page together with the second and third prize winners (Mikhail Veyman and Elisabeth Cserfalvi) and Franz André, conductor of the Orchestre National de Belgique, who has inscribed the page as a "Souvenir des Prix Elisabeth 1951." Mounted to a rigid backing together wtih photographs of all the signers from this historic competition. 27.5 x 21 cm overall.



"After David Oistrakh, Kogan was considered the foremost Soviet violinist, and one of the most accomplished instrumentalists of the day. Kogan’s approach, however, was more objective, less emotional than Oistrakh’s. His tone was leaner, his vibrato tighter, his temperament cooler and more controlled. His intonation was pure and his technical mastery absolute. He showed his versatility in concert series ranging from the complete Bach solo works to the Paganini Caprices." (Grove Music Online)

Kogan, Leonid. (1924–1982) Autograph from his 1951 Queen Elizabeth Competition Win

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Kogan, Leonid. (1924–1982). Autograph from his 1951 Queen Elizabeth Competition Win. A rare early autograph from the great violinist, penned in 1951 after winning First prize at the Queen Elizabeth Competition in Brussels with a dazzling performance of Paganini's first concerto that included an outstanding interpretation of Sauret's cadenza. Kogan has signed a page together with the second and third prize winners (Mikhail Veyman and Elisabeth Cserfalvi) and Franz André, conductor of the Orchestre National de Belgique, who has inscribed the page as a "Souvenir des Prix Elisabeth 1951." Mounted to a rigid backing together wtih photographs of all the signers from this historic competition. 27.5 x 21 cm overall.



"After David Oistrakh, Kogan was considered the foremost Soviet violinist, and one of the most accomplished instrumentalists of the day. Kogan’s approach, however, was more objective, less emotional than Oistrakh’s. His tone was leaner, his vibrato tighter, his temperament cooler and more controlled. His intonation was pure and his technical mastery absolute. He showed his versatility in concert series ranging from the complete Bach solo works to the Paganini Caprices." (Grove Music Online)