From Raymond Paul
Posted December 30, 2008 at 11:27 PM
What is the best sound you have heard from player and violin. In other words, the best combination of instrument and violinist? Give me 3, and then give me a the best sound of a player playing a modern.
1. Heifetz and the ex-David
2. Perlman and whatever del Gesu he used to record the encores (does anyone know that del Gesu?)
3. Repin and the del Gesu that Fodor use to play on.
1. Boucher on his Needham
2. Ricci on a Dilworth
3. Jenson on a Zyg.
4. Ricci on a Belini
For me, it has to be Perlman. Then Gil Shaham. Third would probably be Oistrakh.
Heifetz and his David Guarnerius would probobly be the first on my list. Then would be Fritz Kreisler and Mischa Elman though i don't know which intruments they played on. I could also add Toscha Seidel to that list. I could go on forever but those would be my top.
David & Igor Oistrach
Rachel Burton Pine
As for violins, Amatti!!!!! And not the brothers but the old man! Oh Yes!
Janine Jansen- Strad "Barrere"
Isaac Stern-Ysaye del Gesu
Heifetz, King David or Tononi (began with the Tononi, last recital with it as well).
My thoughts - the violinist, as opposed to the instrument, truly brings the instrument to life.
Janine Jansen and the Barerre Stradivarius.
Paul, I saw your recent blog about Jansen's Mendelssohn recording. She's simply magnificent.
- Aaron Rosand on the "Kochanski" Guarneri Del Gesu.
- Corey Cerovsek on the "Milanollo" Stradivari.
- Fritz Kreisler on the "Kreisler" Guarneri Del Gesu.
I second the Rosand / Kochanski.
I always liked the sound of Milstein's violin, but I don't know the name of it
Ivry Gitlis - Del Gesu (absolutely unique)
Sarah Chang - Del gesu (her G-string sounds so FULL and LUSH)
Shlomo Mintz - Stradavarius (pristine)
Henryk Szeryng - Stradavarius (to me, most perfect sound)
Hilary Hahn - Vuillaume (pure)
I also have to say that Hahn has a special connection with her Vuillaume and her sound is unique and I will always be able to establish it from another.
And Michael, Jansen is amazing isn't she.
I am puzzled that anybody can name a favourite violinist, lock, stock and barrel.
In my book, it entirely depends on the work and genre. For example, there are various baroque pieces where I prefer Sigiswald Kuijken or Rachel Podger, there are pieces where I prefer Hilary Hahn or Viktoria Mullova and there are pieces (often from the romantic period) where I prefer historic recordings by Szeryng or Enescu. For string quartets, the performers I like are entirely different again and then it depends again on the period and the work. Unless I am given a specific piece, I wouldn't be able to tell which performer I prefer (amongst the ones I have heard performing said piece).
After a couple of peacefull months it seems that V.com "needs some ham" to be beefed up again...hmmm...Could turn me into a vegetarian! Anyway, here goes my list:
-Another Heifetz / "ex-David" vote, for instance... Even if I never have listened to it live... :-(
-Milstein "Maria Theresia" Stradivari
-Ferras / "Milanollo" Stradivari
-Amoyal / "ex-Kochanski" Stradivari
Elmar Oliveira / Curtin & Alf (gorgeous sound in the Joachim Concerto recording and in one live concert I've had the opportunity to listen)
Erick Friedman / Joseph Curtin
Glenn Dicterow / Zygmuntowicz (I've never listened to Mrs.Jenson on a violin by Zig, must be also very good, since she has a gorgeous tone)
And to avoid misunderstandings, I think we're talking about violin sound, not favorite violinists here...
Valerie- You're right, King David's songs in the Psalms and in Chrionicles.
Along with King David there was also Asaph. (To the directer of the strings...Se'Lah)
I find it quite odd that you and Andreas Tespolulos are promoting Needham instruments and both use hotmail addresses that can't be contacted
Agree with many of the combinations listed above, especially Gil Shaham. I'm going to add a slightly controversial choice with Nigel Kennedy and his Guarnerius. He gets so much out of that violin and for me, it just becomes a part of him - somehow after a while when he is playing, you forget where Nigel ends and the violin begins.
I know he has a bit of a reputation for being a "bad lad" but this article really explains a lot: http://www.telegraph.co.uk/culture/music/classicalmusic/3553974/Nigel-Kennedy-%27I-didn%27t-want-to-be-the-Des-O%27Connor-of-the-violin%27.html
Who plays Heifetz's Tononi these days?
Sherry Kloss received Heifetz's Tononi ( http://www.violinist.com/discussion/response.cfm?ID=6642 ) as a provision of his will.
My experience of the sound of great violinists is that the difference between their recorded sound and their live sound is comparable to to the difference between a photograph of a spectacular diamond and seeing one live. There is a sparkle in the live sound that is part of the physics of the distance and space that is captured live by ears that cannot be captured by a few microphones.
Sherry Kloss owns Heifetz's Tononi. He bequeathed it to her in his will.
I cannot pick favourites - too many great violinists, but I would like to list some violinists and their violins - I saw a lot of mistakes on this thread so far:
- Heifetz owned the Dolphin Strad and David Del Gésu (named after Ferdinand David). As far as I know, the last recital was performed on the David Del Gésu, not the Tononi (though I could be mistaken)
- Milstein played only on Strads and owned two of them in his career. The Maria Teresa was the last of those.
- Perlman plays mostly on the Soil Strad that he owns (though he has played and recorded on another Strad and a Del Gésu)
- Zukerman owns the Dushkin Del Gésu
- Gil Shaham owns a long-pattern Strad of 1699, as does Kavakos who plays the Falmouth Strad from 1692
- Frank Peter Zimmerman plays on a Strad, the Dragonetti, I think
- Henryk Szeryng started on a Strad, but bought a Del Gésu (a late one, the Leduq) and used that almost exclusively from the 1960's onwards. Interesting to hear his first set of Bach recordings, on a Strad and the second one, on a Del Gésu.
- Joshua Bell owns the Gibson ex-Huberman Strad
A violisnt can make any violin sing.
Violinists: Isaac Stern, Perlman, Hilary Hahn, Joshua Bell.
Of course you're right Richard. Yet, I have to admit that I found an unusually beautiful example here of blessed violin matrimony(I think anyway).
(Bach, Szigeti, Strad, and a Pecan?)
Yes, Paul she is. I was listening to the Mendelssohn (again) and her first movement is so agitated and angry in a good way, like she doesn't want to be there with the orchestra and vice versa, and she tries to break away in the cadenza. There is some sort of truce drawn between them in the second movement, which when I listen to it, I pick up tense undercurrents lingering from the first movement. By the finale, all is well and dandy. This is music at its best. When I listen to her play the Mendelssohn, there is tangible emotion in my body.
Interersting description of what it means to you!
Here's a video of her performing it back in 2005 at the Proms :) http://www.youtube.com/watch?v=hLKXD_Ar5CM
I'll start with players. The non-exhaustive list off the top of my head, in roughly chronological order includes...
Kreisler, Heifetz, Seidel, Francescatti, Grumiaux, Nadien, Rosand, Libove, Dicterow, Zuckerman (maybe even more on viola), Mutter, Hahn...
I briefly studied with Dicterow, Rosand and Libove (who sadly, passed recnetly), and heard them play in person numerous times. I've heard them each play on more than one instrument - and yes, there are differences. But they each wonderfully sound like themselves, no matter what they played - which is as it should be.
The Kohansky-Rosand del Gesu is pretty special, and finally for sale. But Mr. Rosand has unreasonably rejected my offer of "Monopoly" money!
Paul, I've already seen that. I like the pop-up video thingys too.
Have you watched her play the Lark Ascending?
By all means, Kreisler and his Del Gesu ! His sound was truly unique . . . no one has even come close.
Menuhin and his Guarnerious . . .
Wolfgang Schneiderhan (I don't know about his violin)
Sussane Lautenbacher (likewise . . . don't know her violin; anyone knows ?). Her sound in Locatelli's "L'arte del Violino", Op.3 is magnificent.
Oh yes. That's how I discovered her in the first place. After watching it and checking out her albums on iTunes and downloading some, I was hooked on her sound and interpretatioins and I still am today!
violinist: Anne Akiko Meyers.
violin: whatever she's playing on. I've heard her live on a Vuillaume and 2 different Strads, plus whatever she plays on her various CD's. She sounds pretty much the same on all of them.
That's how I discovered her too!
I'm pretty sure you're waiting until her Tchaikovsky CD comes out in the US.
Yes! But as of now I have no room on my iPod Touch. I've completely filled it up because I only bought the 8 gig one and my 30gb iPod Video is filling up too so I've got to go through and delete some things. Just albums like Nadja Salerno's Sibelius... I wish I had never bought it. It's the messiest and craziest interpretation I've ever heard.
I got a new ipod for Christmas (8 gig nano) and I am working on getting all the major concertos-Saint Saens, Tcaik, etc. I have Hahn' s Sibelius. It's amazing. I also have the Barber, Mendelssohn, Bruch, Brahms, Bach and Schoenberg.
Nice responses to my thread, though I did not mean it to be a list of great players and their styles (phrasing, etc.), but rather their actual sound.
BTW, I have never had the pleasure of meeting Andreas, because after some medical problems I moved to Montreal, so I don't know what that person is referring to....and don't want to know.
Has anyone else heard the huge difference in sound between Perlman on his Strad, and the sound he got on the del Gesu?
I always thought Perlman was a prototypical Strad man. One of his Juilliard classmates thinks so to, and couldn't figure out why he wanted the del Gesu. Although I hear that in private, he was able to do a wicked impersonation of Menuhin's Elgar with it.
What axe are you using these days?
I like Itzhak Perlman (romantic, clean) Hilary Hahn (pure, unique, technique), Gil Shaham (romantic, original, honest) , and Isaac Stern (virtuosic, calm but intense).
I'm going to go out on a limb and admit that Heifetz, while incredible technically, is not my favorite sound. Perhaps its the majority of poor sounding recordings left to us these days, but even on youtube of him at the end of his life, I'm not terribly taken with his interpretations.
I love Itzhak's Soil Strad; but otherwise, I go for a Del Gesu violin.
I am shocked that nobody has mentioned the Strad used by Arthur Grumiaux and Gidon Kremer. Those are two of the finest sounding violins I have ever heard!
Regarding the 'Heifetz, ex-David' del Gesu, I have grown more and more fond of the sound of this instrument. The G string just booms!
My wife recently played a concert with Vadim Gluzman. I was asked to play but, alas, I was double booked. He gets a terrific, effortless sound out of the 1690 ex-Auer Stradivari.
Oistrakh, Marsick Strad
Ida Haendel, her strad
Vadim Repin, his Olga del gesu
Sarah Chang, her del gesu
ok, it was 4!!!
Don't know the name of all their violins but here are fantastic teams IMHO.
I think that the violin doesn't matter. The beauty is in what the artist is trying to say.
I vote for
He plays a wonderful blend of Arabic and Western style.
I just bought a Cd by an artist named Chalf Hassan. I don't know if he's the violin, kemenche or rebab player but the sound is raw and beautiful.
Definitely Master Jascha Heifetz as number 1,
Next would be Fritz Kreisler
3rd would be Toscha Seidel
4th would be Mischa Elman
5th would be Leonid Kogan
Sorry, but for me it must be my 3 years old doughter playing "twinkle, twinkle little star" with her 1/8 violin.
Oistrack and his Strad.
Leonidas Kavacos and his Long Strad,
Vadin Gusman and his Strad.
I think Sara Chang's violin is a Guarnerius filius Andrea, not a Del Gesù.
Here's another vote for Hiliary Hahn.
In case you did not read Laurie’s interview with Vadim Repin, he now plays the 1736 ‘Von Szerdahely’ Guarneri del Gesù
(Anne-Marie what’s this ‘Olga’ del Gesu ?!)
The link goes to an online library of which violin was played by whom.
I recall reading somewhere the students of Auer considered his 1690 Strad to be the best for sound, though perhaps not best for ease of playing. His students included Heifetz, Milstein, etc, so this says something. Should I find the article again, I will post to this forum.
To whoever was wondering which del Gesu Perlman used, it was the Sauret del Gesu
Anne Akiko Meyers performs on the 1730 "Royal Spanish" Strad that once belonged to the King of Spain
Leonid Kogan specifically used a del Gesu
Kremer can get an amazing sound out of his Amati
Ginnete Neveu had an unbeatable sound with her Stradivarius, she beat out oistrakh in a competition!
I went back to my old teacher who owns both a 1736 del Gesu, and a 1695(or 8) Long pattern Strad. I asked to try her del gesu, and being used to hearing such a BOOMY sound from soloists while they use del gesus, i tried to almost force a sound with my bow out of the violin. well unfortunately those old italian instruments require you to PULL the sound out of the violin not to push it out. So after making friends with the Guarneri, I was finally able to relax, and produce a magnificient sound. ESPECIALLY on that G string. wow
But it's quite the opposite from what you expect, trying to be loud actually will make you become softer, and its only when you totally let the weight of your arm drag the sound out of the violin that the instrument starts to speak.
P.S. every note that i played had its own ringy sound. Even a C# on the A string!!
Eitan - that sounds really fascinating, once you'd figured out how to get a great sound out of the del Gesu, which would you prefer as your concert instrument? The del Gesu or the Strad?
Hello Rosalind, unfortunately when I went back to visit I only tried the del Gesu, but when I used to take lessons from her, i DID try her Strad. I would have to say that personally, i would take the extra time to learn special technical aspects needed for the del Gesu rather than the strad. The strad will by all means be a beauitful golden sound, but its much easier to play than the guarneri. When you play a strad it almost makes a beautiful sound with having to think about it too much, theres a certain precision to how much bow to use and at which speed. The guarneri requires a more relaxed and heavy bow arm that is comfortable in ALL positions.
But yea, I would chose to play on the del Gesu for concerts most definately.. its a miracle because i played this del gesu in an accoustically "dead" room and its sound was almost nasal if you will, but once i stepped into the hall, the violin seems to multiply its sound to reach every inch of the room!
true masters of amazing work.. strad and guarneri
Hi Eithan, I though that pushing the sound (force it out) was a bad thing on all violins. Violins choke if forced and only relaxation and gravity can do the job. Wow, I'm happy for you! Such nice instruments! Some Guarneri modals are just wonderful so I imagine a real...
This is true for most violins. I play on a 90 year old French violin and for this violin i tend to use less bow and more pressure, i guess kind of like Midori. Using more pressure with my violin doesn't choke it as it chokes older italtian violins.
The del Gesu was also extroadinarily light, and its arches were enormously high. A real beauty
heres a picture of my old teacher and her del Gesu !
Thanks for the precisions! Yes it's a beautiful violin and it's great to have such a teacher!
It might be interesting to know if people are talking about CD violins or real ones. I have NEVER heard a recording of an instrument that I know which sounded like that instrument in real life. I've even had the experience of being able to switch back and forth between life and the feed taken off the board at a concert, and the difference was remarkable. Once you put a microphone in the way, everything changes, and the deeper you get into recorded sound, the greater the difference.
There are a few things that do make it through, but they aren't things I would call "tonal"--like a violins response and dynamics. But tone? Nope.
Micheal, good to see you chime in and voice out for this topic.
I agree with you, recording will sound nothing like hearing them in realife, especially talking about violin. I've just done a violin track for my friend's song project she's working on. It's in fact sounded very funny and odd, though still nice, but I don't think that sound is what being heard in real life (although i can't hear myself playing!).
I've heard quite a few Kavakos recordings, but quite different from what I heard him played in a concert hall a few years ago. It sounded woody, warm, big and surround, luminous, as opposed to brilliant and clean as heard in the recordings. Both sounded great, but very different that said.
Just for a casual discussion, Micheal, how do you describe the differences of the sound you heard in real life, versus the recordings?
Casey, I think you have hit it exactly right in many case by saying "It sounded woody, warm, big and surround, luminous, as opposed to brilliant and clean as heard in the recordings. Both sounded great, but very different that said."
One obvious problem is the "presence peak" that many microphones have, a bump of about 2X in the volume of frequencies somewhere above 6KHz (exactly where depends on the mic) that adds a lot of high frequency zing and sizzle. Another is the lack of any real sense of presence in recordings. There's a simulated presence, but it's nothing like the real thing. Another is that violins just don't sound the same at ten feet and fifty--it takes some distance for the sound coming off all the differently-facing surfaces to come back together and blend. Many micing situations only get what's coming off the top of the vioiln, not the whole sound.
We've come to accept a certain standardized substitute sound of what a close-miked violin sounds like, including the very unrealistic way it stands out over the orchestra. I'm sure that a lot of the disappointment people searching for violins have can be traced to their standard for violin sound having been formed from unnatural-sounding recordings.
At this moment I'm listening to a recording of a viola that I know extremely well. The recording is lovely, but it's not what I experience when I'm adjusting it for the player. In some respects it's better, in some it's worse, but it's not the same, even though it does sound great on the recording. Similarly, I'm very disappointed by every single recording of the "Cannone" del Gesu--they all fail to capture the huge warmth of the instrument, substituting a brilliant sizzle that I didn't hear in person.
There are some recordings I know can't sound like the real thing. I was listening to a recording of Tibor Varga yesterday that I'm almost certain no real violin sounds like. Isabelle Faust is possibly my favorite modern violinist, but I hope her violin doesn't sound as metallic-edgy on the high end as it does on some of the recordings I have.
Agree with you, Michael. Often people are looking for the sound they heard from the recordings during violin shopping. I guess that's a pretty misleading way?
And I guess my experiences matched yours too, recordings didn't capture that woody-ness and the big surround sound that heard in person. Often there's the sizzles and zings all over, but not so when hearing in person.
Very good point! If you'll permit me to make a very bad analogy. Shopping for a violin based on recorded CD's is like searching for a wife based on Playboy magazine. Hopefully, I don't get booted from V.com for that statement. :-)
Smiley - How true! LOL
Luis, she said in her video that it's a del gesu?
I would usually avoid subjective topics like these... but whatever. :)
(Violins are too subjective, so for violinists...)
Christian Ferras is at the top of my list.
The following are in no particular order...
Sarah Chang for her outrageous G string capabilities.
Michael Rabin for his fire and amazing staccato.
Perlman... everytime I hear him play, I think of something really fatty, oily, and juicey--a good comfort food. I just can't get over how buttery his sound is.
Hilary Hahn for her super-super-clear/consistent tone. Love her Bach performances.
Can't forget Kreisler... his playing is just so charming.
from your list I thought you mnight like Hassid as well. The chocolate after the donut perhaps?
I know the thread started with violin, but I heard Kim Kashkashian play the Bartok viola concerto with the Cleveland Orchestra last year and I believe she was using her Greiner viola. I was amazed by her playing and her viola - it was the best viola sound I have ever heard, very clean, clear, and singing throughout, never harsh or nasally up high as sometimes happens even with nice violas.
Oh wow. Definitely. After hearing Hassid play Meditation, I feel a buzz in my head from that insane vibrato. Thanks Stephen :D
this probably sounds a touch weird but there is one recording of Hassid that I =cannot- nbear lsitenign to: Achron`s Hebrew Melody. Everytime I put it on I get such strong mental imagery of concerntartin camps I have to stop it.
Incidnetally, although Hassid`s Meditions is out of this world I still prefer the Kreisler version. I think this piece can only hold so much intenstiy and Kreisler caught it exactly. The other gorgeous Meditation is by Elman.
Hmmm... I love the Milstein Strad. Maybe the most powerful 'dark' sounding violin?
I didn't read all the posts, but did anyone mention Maxim Vengerov's Strad? I'm pretty sure it's a Strad... It is the clearest sounding, fastest-responding instruments out of the 'ancients' that I have heard.
And to Royce Faina's post: I tend to have a hard time warming up to really deep sounding violins.. but you said old man Amati in general... If you don't know it, you MUST consider Gidon Kremer on his 1642... it was stunning when I saw him live. It swirled around the room like the night itself... I would recommend typing in 'Kremer Bach' on YouTube. Just choose the first couple for a sample.
Thanks, I'll check it out!
WOW! I have a new hero to add to my growing & glowing collection! His Chaconne; Partita #2 d minor is one of the best that I've heard so far! I must confess, I loved the sound of his violin also. I bet he and it were incredible live!
His 1642 is a what? Strad, Amati, Del Gesu, etc.,?
Just a single stand-out instrument for me, head and shoulders above the rest-- I may have spellings wrong, and VERY sorry I don't know generations well enough (father, son....). I trust someone here can set the details straight:
The ex-Liebkowitz Amati (I heard it live eight feet away on stage played by Rachel Barton).
Best violin ever. Endless deeps. I cried over it on stage during the performance about a decade ago when then Rachel Barton (now also Pine) came and played Berg violin concerto, followed by an encore (perfect, and perfect choice !!!) of Bach slow mt. (Andante) from the a minor sonata 2 of the S&P's. OMG OMG OMG
Not so long ago, I looked into details on some more recent recordings and performances by Ms. RBP, and I was shocked to see that they were with a different instrument.... I can't imagine any violinist choosing another over that one. They seemed so good together. Did she really? Or had it been only on loan to her, or anyone know what's happened with it, where the ex-Liebkowitz is now?
My cup of tea is Szeryng with his Leduc 1743 Guarneri del Gesu.
An anecdote which probably took place in 1977:
The mother of a student of Christian Ferras - who by then had the dubious pleasure of making students cry in his class (detailed in another thread, I think) - made a passing comment :"with a strad in hand, it is normal that you have a beautiful sound in your demonstration".
Little did she know, probably, that Ferras suffered for years of inferiority complex in the 50's, of having to play in concerts with a modern (prob. French) violin painted like a Guarnerius, while Ferras senior boasted to the whole world that it was a genuine Guarnerius... Most music critics fell for that trick, but not the dealer Vatelot who once went backstage and asked, after a concert, to inspect the instrument... The young Ferras - very embarassed as you can imagine - lied to say: "the violin is no longer here"...
Back to the violin class: Ferras picked up the modest violin of the student, and played with a full-bodied powerful tone. After that incident, Ferras didn't bring his violin to class anymore...
Morale of the story: the sound comes from the violinist, not the violin...
I thank Hilary Hahn not only for her great music, but also for her unswerving fidelity to her Vuillaume. She's a living proof to me that the sound indeed comes from the violinist, not the violin.
Other than that I have always been amazed with Oistrakh with his G String - always sounds like he has stolen the cello from Rostropovich for a while. Oh sorry I should probably say Oistrakh sul G - David with his G string is such a horrid image...... so much better off sticking to his tuxedos.
But after this thread I will go hunt for some records of Sarah Chang to see who is better with the G String...
"Morale of the story: the sound comes from the violinist, not the violin..."
"Sound" is a result of the interaction of two complex systems: The player with his skills, and the instrument.
NO player, not even Mutter or Perlman, could play the Brahms concert on a cheap violin and be heared. You need the car and the driver, that's all.
(I just found an old french violin with a wonderful sound. But It's just too weak to be played even with only my piano player. So I need my main violin when I'm not playing alone)
<<"Sound" is a result of the interaction of two complex systems: The player with his skills, and the instrument.">>
So true!. But do not forget that the instrument is made of two parts: the violin and the bow. Try to play an old italian with a $35 bow and hear what you get!
I can't think of any sound that I find excellent for a violinist born after approximately 1915. My favorites are Kreisler, Ysaye, Thibaud, and many others of that generation.
On the (violin) G-String in recent days... Friedman, Amoyal, Repin and... Didier Lockwood... From old days "mister H" himself... For instance Ferras, Rabin, Francescatti, Huberman, Seidel "et al..." Charah Sang in the "other" G-String doesn't match Vanessa Mae... 'Nuff said...
My favorites would be in this order. Heifetz and his Guarneri, Kreisler and his Guarneri,
Milstein and his Strad, Elman and his Strad, and Kogan, Anything he played on.
The "Dushkin" late Del Gésú is an incredible violin, with "wild and animal sound", and it´s not only the player (Pinchas Zuckermann) but the violin, even in hands less "compétent", for me it´s the best fiddle I have hear so far.
A good couple!
I have mentioned Vadim Gluzman here, I saw him in a recital with his wife pianist last September in NYC, but I saw him again here with our State Orchestra playing Bernstein`s Serenade After Plato`s Symposium..... he produces the most beautifull sound I have ever heard!!!
Heifetz, on his del Gesu (I think it was a del Gesu?), Sarah chang on her del Gesu, and Joshua Bell on a strad.
Oistrakh's sound is nice too, but for melodic tunes, I like Chang, Heifetz, and Bell better.
To me, the most beautiful and powefull violin sounds were those of David Oistrakh, Seidel,
Elman, Igor Politkovsky and Eduard Grach.
Going outside the Genre of this discussion, but Charlie Daniels and the current violin he is using. The one he recorded the original, "Devil went Down to Georgia".
Mark O'Connor and the violin he uses on the album, "Appalachian Journey".
Mark O'Connor I can see, but, Charlie Daniels, really? I'll have to give him another listen...or have they been spiking the coffee down at Coal Creek?
Janine Jansen- Strad "Barrere"
perfect. : )
cho liang lin and the titian strad hands down!
There are so many greats that my favorites change often. Here are the current ones:
Oistrakh - Such power and authority. Whenever I hear him I'm riveted.
Perlman - Sweet & buttery smooth, like Swiss chocolate
Hahn - My absolute favorite Bach
Has anyone mentioned the Jupiter Strad???? I think midori plays that one
Midori played the Jupiter Strad quite a long time ago. Now she plays a Guarneri del Gesu.
Regarding really good sounding instruments in the right hands that I have heard LIVE (listed in no special order).
1. Henryk Szeryng playing the 1745 LeDuc Del Gesu.
2. Aaron Rosand playing the 1741 Kochanski del Gesu.
3. Zino Framcescatti on a 1727 Stradivari.
4. Paganini's 1743 del Gesu. I heard this in New York in 1994. HUGE sound. Quite unbelievable and I would not have believed it had I not heard it with my own ears. The fame of the violin is supported by the reality of the sound.
Most memorable violinist, Michael Rabin, RFH in 1968-or 69. Tchiakovsy with the RLPO. I was in the band and Rabin stood in for Milstein who had a last minute accident. He was sensational, the sound seemed to float out of the violin with no effort. Even the brass were stunned!
Best modern violin,, Leyland Chen on a Glen Collins.
Best tone story, Heifetz in the green room after a concert. Gushing admirer says " Mr Heifetz, your violin has a beautiful tone" Heifetz addresses his violin, "Hear that, you have a beautiful tone"
Perlman playing his 1714 Soil Strad (Ex-Menuhin)
ZINO FRANCESCATTI (a.k.a: ZFR) playing the LvB (abridged version) at PDFS, with the OMS (now renamed OPS, I know it might sound confusing); He was just back from a concert with the BSO (Bosnia sinf.) and was scheduled with the OMG (orch.municip.Grenoble) a few days later under ROFL (Rafael Obadia Felipe Lopez)
The Heifetz story (I've also heard it attributed to Kreisler) is that a fan gushed after a concert "Oh, Mr. Heifetz, your Guarnerius has never sounded more beautiful." At this point, Heifetz opens his case, gets out the Guarneri, holds it up to his ear, and says "Funny, I don't hear anything" or words to that effect.
The instrument has to be one the player can use most effectively as a tool. Answering the question, I always admired the sounds of any great player. In their own ways, Heifetz, Stern, Francescatti, and Milstein all had highly distinctive sounds. Younger players must have been taught differently--I find them much harder to tell apart. That said, my favorites in the under-40 crowd are Vadim Repin and Hilary Hahn.
Please enjoy....the world first violinstory cartoon along with sports game technique.
My favorite violinists are Philippe Hirschhorn, Josef Hasid, Dovid Oistrakh & Perlman. I also agree that it is the violinist and 'not' the violin which is the determining factor when it comes to tone production, as both Jaime Laredo & Cho-Liang Lin state, "It's the player, not the instrument that makes the sound" & "A great layer can make [even] a cigar box sound great." (pg 58; "Got Tone", by Sarah Freiberg, in Strings Magazine; October 2003.)
John Fadial with the 1786 Pietro Mantegazza-Millan-Gramcino, Testore!!!!!
"A great layer can make [even] a cigar box sound great."
""A great layer can make [even] a cigar box sound great."
But wouldn't be fun to test it? How would Perlman sound if he played on my violin :)
I am not a great layer (of eggs ??), but on a good day I like to think I can sound OK on my Lucci violin. Such fantasies are the carrot on the stick, drawing us ever onwards.
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