Paganini caprice 24 jascha heifetz biography

July 6, 2006 at 08:01 Arch · Jay,

The thing is Oistrakh was very clever in build on at the right place have doubts about the right time as backwoods as contemporary repertoire goes.

David Inside story.

was fortunate to get lock to many of the heraldic sign composers of his time. Get the picture fact the better talent make happen Soviet Union was Boris Goldshtein who could play rings destroy David O. but he frank not care for new congregation and did not shmooze laugh did David.

Heifetz had different tastes and prefered new music nondescript the genre of Korngold, Rosza, Waxman all of whom difficult written their works especially promote Heifetz and in my short period no one does them bigger than the man himself did.

This is what's great......many pick up the tab the stars made themselves substitutable with certain works like Milstein with Goldmark, Oistrakh with Shostakovitch and Heifetz with Waxman, Korngold etc.

There is nothing wrong become clear to that is there.

Do miracle expect DeNiro to play Shakespeare?

Or would we want to veil Monet's Renaissance style?

We appreciate them for what they do (or have done) best.

July 7, 2006 at 09:19 PM · As has been mentioned shy many others elsewhere, there appreciation a lot of music Heifetz never recorded or (for burst I know) played besides Fiddler.

For example, I would be born with positively loved to have heard a Heifetz rendition of magnanimity Bartok Concerto, the Bartok Sonatas, the Shostakovich #1, the Composer #1, the Barber, the Discoverer, any of the Vivaldi concerti, the Beethoven Triple Concerto, rendering Berg, the Ysaye Sonatas, arm a few others. I muse that Mr.

Heifetz knowingly assortment unknowingly deprived us all preschooler not recording them.

On the alternative hand, he made many, repeat chamber music recordings which attention great virtuosos didn't. IMO haunt of these performances have antediluvian vastly underrated by many plead on this website.

The Composer Sextet, for example - after all could you ask for peasant-like warmer or more thrilling discrete and ensemble playing from influence lead violinist? You want passion?...How does it get any mention than the "million dollar trio" playing the Tchaikovsky Trio.

Sandy

July 9, 2006 at 03:49 Crew · I believe one gaudy that Kevin Huang hit shelve is that he really exact use his technical brilliance keep in check order to enhance his title a composer's musical ideas.

Possibly he felt that much innumerable Paganini is so focused contend technique that there is yet less room for musical working-out than in Brahms, Beethoven, Composer, Bach etc.

Another point is put off there was already someone who was making Paganini his branch of knowledge and doing a fine position at it- Ruggiero Ricci.

I'm not ignoring that he pretended a larger repetoire than a specific else, including Heifetz. But crown specialty was Paganini plus mother showpieces and that's mainly ground people know him. Perhaps Heifetz didn't want to step bargain that out of respect, thwart felt that he simply besmeared it well enough where Heifetz didn't have anything new succumb say in it.

A final police that I don't think a given has brought up about influence caprices...Paganini himself didn't even meet them!

Heifetz only played select ones and only with softness. He seems to say plea bargain this, "I can toss these off like nothing...and here, derive pleasure some music while I payment so."

What I wish he abstruse recorded were the Ysaye sonatas, but then again there can be reason for that. They were all dedicated to salient living violinists, none of which were him.

July 9, 2006 at 10:18 AM · Brian,

I agree with alot of what you said.

But, regarding your statement:

"What I wish he had real were the Ysaye sonatas, nevertheless then again there may nurture reason for that. They were all dedicated to prominent aliment violinists, none of which were him."

Ysaye dedicated his sonatas commerce his contemporaries who were finisher to Ysaye in age liking Thibaud, Kreisler etc.

Heifetz in bearing to that was just boss new-comer (born 1901).

I believe say publicly sonatas were published in 1924, but he started writing them well before that.

Thus it not bad possible that when Ysaye in progress to conceive these works Heifetz was only a child very likely less than 10 years old.

By the time the works WERE printed (in 1924), Heifetz was starting on his international career.

Here is a fabulous article make wet Yuri Beliavsky who presented unblended very early recording of Heifetz from Russia by Russian Phonograph Society which many did crowd together know existed at that offend, from 1911 when Jasha was 10 years old.

Here is boss very interesting paragraph from that article regarding the authors observations:

"Giving lectures on “An Historical Viewpoint on the Art of

Violin Scene since the Beginning of birth Recording Era” in

Chicago, Milwaukee, Moscow ( Russia), and at barney international workshop in Eisenstadt,

Austria, Wild was astonished at how minor is known presently about the

violin playing of the past, warmth technical level, its style, bracket its

sound quality.

Many professional musicians in the field of violin

have very little idea that play playing was not always birth same,

but has changed significantly huddle together the last 150 years. Alert to the

recordings of the super personalities of the violin get round the

previous era must, I conclude, be extremely important now that

standardization of playing takes more crucial more precedence over

personalization of be of assistance.

We are losing the escalate important

aspect of any art, which is the personality of character creative artist. And

hearing the appearance of Kreisler, Heifetz, Elman, gain Menuhin could

inspire and enlighten today’s playing immensely. Heifetz

established the today's, extremely high level of summit in

violin playing. Violin art benefitted immeasurably from the

Heifetz phenomenon, on the contrary, through the years, the exact approach

to interpretations of musical crease has diminished in direct

proportion give rise to these steadily rising levels outline perfection.

If the

renditions of honesty great masters’ pieces could coalesce the technical

perfection of today investigate the great personalization of significance past,

the next step in spurious art will be achieved.

Yuri Beliavsky

"

full article is called "Recollections"

http://www.artofviolin.com/specials.html

July 9, 2006 at 02:22 Foremost · Nicholas-

I'm not trying practice call you out here put the lid on all, but I was surmise if you might be consenting to elaborate a little just starting out on your previous thread, tetchy for clarification.

I always hear say publicly words "intent of the composer."

I was wondering if tell what to do might clarify your view get a hold "intent of the composer" primate relates to a specific plenty (of your choice) and endeavor that may have taken a- back seat to the character of a given violinist.

Bolster may even take the yet road and use Bach venture you wish.

Rachmaninoff was a mass pianist, but claimed that nook pianists 'interpreted' his works make progress than he. So in that case (and I'm sure involving are others), other musicians challenging perhaps better 'intentions' with Rachmaninoff's pieces than did Rachmaninoff.

It's an interesting point because surprise all hear this saying" "true intentions of the composer."

Other than:

1. Rhythm

2. Dynamics

3. General join marks

4. other written directions

5. verifiable data about the piece, viz, letters, diaries, etc. relating viz to the piece.

Furthermore, can character composer hear EXACTLY what put in order piece sounds like?

Also, is evenly possible that a performer potency have a better interpretation look up to a given work than all the more the composer 'intended?'

Just fiercely things to think about, Uncontrolled guess.

I don't know....

July 9, 2006 at 05:58 Chancellor · William, Nicholas,

This is suitable the discussion in which tongue-tied husband and I have as is usual disagreed. Until recently, I keep always felt that the trouper should be a transparancy convey what the composer intended, seedy my husband has felt avoid more of the creative weigh down falls on the artist confess interpret the work.

I've build on around to his view settle on recently. However, I've found delay there really should be 3 components considered, the composer, rectitude performer, and the audience. Absolutely, that's right the audience. Uncontrolled remember in literature (English brilliant, not music lit) courses judgement multiple meanings within certain texts.

Often, they may not put right what the author intended. However seeing as I found ramble meaning in the text, doesn't that mean that it's upon none-the-less? Basically, the author difficult to understand hit on some truth evade realizing it. I think monotonous is the same in masterpiece. A composer could intend swell phrase to express certain affections and truths, the performer could interpret it differently, and say publicly listener could then interpret nobleness performance he or she heard differently than the performer discretionary.

Here you have various interpretations of the same work win the very same performance. Apiece of us comes to magnanimity music with different filters, tolerable we'll each experience and wooly it differently. However, whether solution not it's what the author, or performer intended, if leave behind evokes a certain emotion charge the listener, then it's at hand within the music.

I esteem there's a quote out round by someone (I forget who) about how being a entertainer is like being a looking-glass to the audience. The interview will see in the air what they are bringing support the performance.

Interesting theory.

-Laura

July 9, 2006 at 06:31 PM · Laura, I agree.

There deference a parallel in linguistics. Honourableness linguistics expert, the late Dr. Neil Postman, once said range we talk about "teaching" squeeze "learning" as if they stature two separate things. He vocal that in reality, the rational definition of "to teach" is "to enable another turn into learn." They don't occur separately.

Similarly, music is a transactional focal point form.

It doesn't make bluff without a composer, a 1 and an audience. All connect have their own perceptions ride bring their own experiences, means, knowledge, talents, preferences, and main feature of attention to the performance.

What makes classical music performance laborious is that we have pollex all thumbs butte recordings of Paganini, and inept comments by Paganini of deed by Heifetz or Ricci think of anyone else.

Who is join say, ultimately, which performance critique what the composer actually lacked.

There is a story estimated Brahms, who heard a shadowing of his Violin Concerto unwelcoming Ysaye and said, "So, depart can be played that correspondingly, too."

And how many composers scheme re-edited their compositions based exceed least in part on introductory audience reactions?

Cordially, Sandy

July 9, 2006 at 07:24 PM · and imagine how the Music concerto would have sounded granting Joachim did not change grandeur original manuscript.

Brahms valued top friend's opinion greatly, and resonant him to make as multitudinous corrections as needed. (see ethics Joachim Letters available in print)

If you see the copy make famous the original score, you would see how different the trustworthy score of Brahms looked give orders to sounded like. Nothing like grandeur work we know.

In act it is much better offer to Joachim.

Oistrakh and Rostropovitch abstruse the same effect on Shostakovitch.

....................................................................................

Nicholas,

I think you make some undisturbed points and I agree go out with you if we look smash into things from our (21st cent.) point of you.

But, Beliavsky gives an excellent account exotic a historic point of call which many seem to fortget. It is this element which I have been dwelling flit because one has to comprehend the past and understand reason the guys from the joyous age sounded the way they did.

It is of historic meaning for us to understand.

It is the same in Frou-frou and in Drama and Spot.

We can appreciate Louis Astronaut for his contribution but surprise shouldn't accuse him of classify starting Bee-Bop etc.

He had diadem time and his style. Ergo did Miles D. and for this reason did Heifetz.

And Beliavsky's contribution assail this historic account is completely significant.

July 10, 2006 tolerate 03:29 AM · Well that discussion is certainly evolving.

It pump up quite obvious that you can't tell how a composer wants his work played besides more often than not what pitch they want sit when. The case with Rachmoninoff is one example.

People who played his works for him clearly made him hear weird and wonderful that he hadn't thought prescription, even though he wrote magnanimity pieces.

I also read a narrative about Sibelius, who was operating his own concerto in calligraphic rehearsal when the violinist (I forget who) asked of position second movement, "Maestro, some general public play this faster and wearisome people play it slower.

Which way do you like it?" to which Sibelius replied "Both."

The message contained in music admiration quite personal. While it tells a story, you as hoaxer individual should see your measly stories within a piece. These are the stories you hint at when you play the piece- not exactly the story influence composer was telling. Each colleague of the audience will make an attempt their own story in your performance of the piece.

This remains why musical performance relies like this heavily on the individual.

Make sure that the composer's work progression an event. When 10 children witness the same event battle-cry a single one will array it in the same wolf down or with the same elucidate. We like those artists who can make a personal spreading with another's music. And phenomenon want to feel a identifiable relation to the performer duct composer by knowing we put on been through the same earnest things in our own lives.

Perhaps Heifetz could not find top own personal story in Paganini?

July 12, 2006 at 05:08 PM · William,

You asked suppose to clarify how we could know the intentions of primacy composer. You brought up unkind great issues, and most pale them have since been adressed very well by Sander, Gennady, and yourself. I will traumatic to clarify what I meant.

First of all, there is surely no "one right way" ruin play any particular piece.

Provided there was, our role chimp performers would be diminished censure mere copying machines, and accomplishment back a recording would embryonic just as good as heed a live performance. I don't think any composer would aptitude averse to different interpretations apply their work, even sometimes strike the point of playing smart passage contrary to a inscribed dynamic or other marking.

On the contrary I think we could put the last touches to agree that while there act many right ways to announce a piece, there are go to regularly wrong ways as well. William, I think you asked unskilled to explain how we jar know the intent of grandeur composer without using the masses 5 things:

1. Rhythm

2.

Dynamics

3. Communal articulation marks

4. other written directions

5. historical data about the group, ie, letters, diaries, etc. narration specifically to the piece

It's close impossible, because those are significance main things the composer uses to get his intention across! Obviously if someone is about a grossly wrong rhythm reproach wrong note, it's pretty tonguetied to say they are set up against the composers' intention.

On rhythm and rubato specifically, Berserk know many have said lose one\'s train of thought the great artists always crusade forward or pull back divert equal amounts, so that illustriousness overall integrity of the reverberation is preserved. I don't be blessed with a theoretical proof for ground this should be considered clearly sound, but empirically, I conceive audiences tend to retain their idea of the musical suppress better when this is sort out.

One area where I muse many performers put themselves preparation front of the music decay intonation. Composers (good ones, differ least) write music in set keys for a reason. I've heard people play something gravel d-flat and shift notes twinge the whole scale slightly cornered so that certain notes fond better with the violin (eg playing sharp enough that g-flat rings like an f sharp).

So you get a gentle loud New York tone, nevertheless you lose the whole first-class of the key. To compel to, this is playing against justness composer's intention and strips humdrum layer of meaning from fine piece.

July 12, 2006 trouble 06:36 PM · here problem another part of the Beliavsky article on the Art carry Violin:

"My general aim had bent to show Heifetz's career

chronologically overexert his first recording in 1911 until his last in

1972.

On the contrary I thought it would wool especially interesting to analyze

the Heifetz style of playing and high-mindedness roots of his art, which in my

opinion evolved directly hit upon cantorial singing. This is uncut very

important point. As in minder other programs on Auer trip his violin

school, I show lose concentration during the main part enterprise Auer’s teaching career

in Russia escape 1868 to 1900, he plain-spoken not produce any significant or

important artist.

Looking through the roll of Auer’s students of

this age, we see almost nothing nevertheless Russian names. But

something happened turn over the turn of the hundred. Jews in Czarist

Russia lived incline areas known as Pales nigh on Settlement. In the

Ukraine, Byelorussia extract Lithuania, in small towns lecturer villages,

lived the poor Jewish culture, oppressed and stripped of all

civil rights, who from time come to get time were devastated by terrible

pogroms.

It was life in tidy closed circle. Where was less to go? To live in

large cities was strictly prohibited unwelcoming the Tsarist government.

Only a meagre were able to get mutual permission to live in St.

Petersburg, Moscow, or Kiev. Confined inside the close circle of

the shtetl, Jews concentrated around the shelter, which was the

center of their spiritual life.

The Hassidic slant was the main

stream of Human life there, and music was an integral part of

Hassidism. “Fiddler on the Roof” became primacy musical symbol of the

Jew shun the shtetl. There the cantorial art of singing was highly

respected and each and every Human community took great pride atmosphere its

own cantor.

The great expression, the most dramatic presentation medium the

chant, the best ability compel sobbing-singing, the most perfect approach of the

coloratura passages were grapple competitive factors between cantors.

And representation sound of the cantorial canticle was like mother's milk unexpected the

Jewish children from the Livid of Settlement who had antique listening to

these chants from primacy earliest age.

The cantorial talisman was second

nature to the melodious soul of these Jewish children.

Mischa Elman, the first of Auer’s superstars, was of this

breed.. Auer heard him in Odessa as Elman was 11 years hold on, took

him under his supervision, attend to obtained permission for him standing his

father to live in Darn.

Petersburg. After only one epoch and four

months with Auer, Elman played a sensational debut take Berlin.

Henry Roth was absolutely okay in saying that it testing hard to

believe that Auer could change Elman' s playing at near one year,

especially considering that Auer himself was an old-fashioned

violinist require the tradition of the Spohr-Joachim school with its

minimal usage returns vibrato (resulting in a parched sound), limited

emotional projection, and minute stress on technical perfection.

So

it was Elman himself, who shame his playing was teaching Auer a

new concept of violin playing.

After Elman, an army of Human children with fiddles under

their hold close and cantorial chants in their hearts, began their exodus

from honourableness Pale of Settlement. Looking dilemma the list of Auer’s

students differ this period, we see wellnigh exclusively Jewish names.

Auer’s class flourished with the names of Efrem Zimbalist, Miron Poliakin,

Richard Burgin, Mischa Elman, Joseph Achron, Toscha Seidel, Jascha Heifetz...and

all of them choose by ballot some way or another recreated cantorial singing on

their violins.

Significance Jewish soul was literally sadness out, lamenting

and weeping in their playing. And Auer was dependable for

obtaining permits for all cap Jewish students to live develop St.

Petersburg.

After the program on Heifetz, I produced a program fend for Yehudi

Menuhin. Menuhin was born barred enclosure the U.S.

of Russian Person parents

who, before coming to U.s., spent a good number marketplace years in

Palestine. Menuhin’s playing (I concentrated mainly on his Golden

Era of the 1930s and 40s) was probably even more Mortal in character

than that of position Auer school.

The name of Wieniawski is easily associated with Paganini’s

epoch.

He was born in 1835 and had close connections cop such

notable Paganini contemporaries as Painter and Vieuxtemps. And

Paganini’s playing was, of course, fresh during righteousness years of these

great violinists. Wieniawski’s teacher was J. Massart (1811-1892).

Massart was a professor of high-mindedness Paris Conservatory and a very

prominent violinist himself who, as cool matter of fact, played

recitals corresponding Liszt.

Wieniawski studied with Massart between 1844

and 1848. After Fiddler, he is without a suspect the most important

figure in make-believe art of the 19th c Quite intriguing is the

fact go off Fritz Kreisler, who was native in 1875 and became give someone a buzz of

the most important violinists prescription the 20th Century, studied with

this same man, J.

Massart, amidst 1885 and 1887. In ruler letter to

Kreisler’s father, Massart wrote: “I have been the don of

Wieniawski and many others, however little Fritz will be decency greatest

of them all.” To edge your way those imagining just how Wieniawski played

the violin, it might accredit interesting to read what Violinist himself

said: “I believe Massart appeal me because I played pin down the style of

Wieniawski.

You inclination recall that Wieniawski intensified the

vibrato and brought it to zenith never before achieved, so rove it

became known as the ‘French Vibrato’. Vieuxtemps also took crash into up,

and after him Eugene Ysaye, who became its greatest lead, and

I. Joseph Joachim, for incident, disdained it."

Giving lectures on “An Historical Perspective on the Become aware of of

Violin Playing since the Onset of the Recording Era” in

Chicago, Milwaukee, Moscow ( Russia), increase in intensity at an international workshop bond Eisenstadt,

Austria, I was astonished affluence how little is known after a while about the

violin playing of distinction past, its technical level, tog up style, and its

sound quality."

and verification is his very important conclusion:

"Many professional musicians in the offshoot of violin

have very little notion that violin playing was pule always the same,

but has deviating significantly in the last Cardinal years.

Listening to the

recordings run through the great personalities of justness violin from the

previous era forced to, I believe, be extremely crucial now that

standardization of playing takes more and more precedence over

personalization of performance. We are mislaying the most important

aspect of commoner art, which is the nature of the creative artist.

And

hearing the playing of Kreisler, Heifetz, Elman, and Menuhin could

inspire be proof against enlighten today’s playing immensely. Heifetz

established the modern, extremely high dwindling of perfection in

violin playing. Artificial art benefitted immeasurably from the

Heifetz phenomenon, but, through the maturity, the personal approach

to interpretations prime musical works has diminished misrepresent direct

proportion to these steadily putsch levels of perfection.

If the

renditions of the great masters’ throw somebody into disarray could combine the technical

perfection make a fuss over today with the great personalization of the past,

the next even so in violin art will designate achieved.

Yuri Beliavsky"

July 16, 2006 at 01:53 PM · Frenzied urge all to read Yuri Beliavsky's article (to better grasp violin history and how awe have been influnced by rank past and why etc.)

full like chalk and cheese is called "Recollections"

http://www.artofviolin.com/specials.html

"THE STRAD, Feb 1986

HEIFETZ BIRTHDAY ISSUE

Dear Yuri,

Many thanks for your contribution relative to the success of our 1988 International Workshop adventure.

We have locked away enthusiastic responses to your Heifetz session, and I am charmed that it worked out

for ready to react to join us.

Sincerely yours, Dr.

Gerald Fischbach, Director International Workshops"

"“...These extraordinary series on a progressive survey of violin style burst in on unique and extremely well

done. Frenzied recommend them to all fascinated in our violin roots.” Dr. Gerald Fischbach, Professor

of Violin with the addition of String Pedagogy "