Cho-Liang Lin

September 15, 2007 at 06:57 AM · What are your thoughts on the Taiwanese violinist Cho-Liang (Jimmy) Lin

I think he is one of the best violinists today. I loved his bruch, sibelius, and haydn concertos. He is a very clean violinist and is able to employ a broad range of styles to different pieces.

Replies (65)

September 15, 2007 at 11:19 AM · I think Cho-Liang Lin is one of the world's finest and nicest violinists/teachers. He is very well loved by his fans, colleagues and friends. As a teacher, he has helped Ryu Goto (Midori's 1/2 brother), Akiko Suwanai, and many others.

I've seen him as a teacher and was very impressed. He's very demanding, but in a very gentle way. He emphasizes all of those minute details and gives an amazing performing artists perspective in his studio.

If you ever can get into his teaching studio at Juilliard or Rice University, go for it!

As a violinist, I love Lin's recording of the Stravinsky Violin Concerto with LA Philharmonic and Esa-Pekka Salonen. I also think his Mozart Violin Concertos are so sublime!

September 15, 2007 at 03:23 PM ·

September 18, 2007 at 09:03 PM ·

September 18, 2007 at 09:13 PM · I didn't see the concert you did, but that's a pretty sweeping statement. I'm thinking it says more about you than it does about him.

He played the Bernstein Serenade several years ago with the New West Symphony; I was in the orchestra. Fine playing.

September 18, 2007 at 10:01 PM · Love him! He's the only violinist I've found who doesn't choose to rush the triplets in the first movement of the Mendelssohn. I wish we were really related!

September 18, 2007 at 10:48 PM · Haha... that's interesting... Mr. Lin can't play anymore. If he can't play, then who can?

September 18, 2007 at 11:19 PM · He's been one of my favorites as long as I've known about him. Combines the tonal lushness of Zukerman with the musical elegance of Grumiaux, in my not-very-humble opinion. His recording of the Stravinsky & Prokofiev concerti is gorgeous.

September 18, 2007 at 11:36 PM · Unfortunately, I only have one CD of his which is Bruch 1/Scottish Fantasy, but I LOVE it. His Bruch is my absolute favorite because of the very musical-sounding power it possesses.

September 19, 2007 at 04:06 AM · check out his Sibelius.

September 19, 2007 at 05:29 AM · his neilsen is fantastic...

September 19, 2007 at 12:31 PM · I agree with Buri and Nick- his Sibelius/Nielsen disc is one of the best of the last generation.

September 20, 2007 at 11:48 AM · I have noticed the posting by Mr. Kurganov and in defense of Mr. Lin and other great artists, I do feel the need to respond.

1) All musicians (from amateur to great artist) are human beings. This means, human beings will occasionally have an "off night". Does having one or few off nights warrant someone to label the great artist as not being able to play anymore?

2) I think people (audiences and fellow musicians) forget that it is impossible for the great artists to be great in every music that they perform. One sometimes forgets that it's the orchestra or performer that dictates to the artist which concerto or repertoire is performed. From my previous involvement as a presenter, not all artistic administrators have a really keen sense of the appropriate repertoire they choose for the artist that will bring out the best in them. I don't like "labeling" artists. However, I have had success matching the appropriate repertoire with the appropriate artist. For example, I have invited pianist Alicia de Larrocha before she retired. My board members asked me if she can perform some showpieces by Liszt. Now, do you think it is appropriate for Ms. deLarrocha to be performing Liszt? For one, she has extremely small hands and would have trouble reaching the chords. Two, she is known as a specialist in Mozart, Granados, Albeniz. Would you prefer the audience to have a negative experience in a repertoire that the artist is not suited for or the audience to go away with a memories of a special evening of pure magic? Maybe the Beethoven Concerto is not the vehicle to display Mr. Lin's strongest abilities. (Last year, I have heard Mr. Lin in the Beethoven and found it mesmerizing though!)

3) Another factor in the artistic output of a performance can be determined by the collaborator(s). I can speak about this from personal experience because there are musicians who I have worked with that brought the best artistic output from me and also some that brought out the worst. The "chemistry" between the collaborators is a factor that is often not considered. That is why there are artists who have a preferred collaborator (i.e. Kremer & Argerich; Gitlis & Argerich; Augustin Dumay & Maria-Joao Pires; etc).

In reference to "chemistry" between artistic collaborators, I have an example to share. When I heard pianist Helene Grimaud in the Beethoven 4th piano concerto with New York Phil and Kurt Masur it was absolutely spell-binding. Few weeks later, I caught her performing the same concerto with Seattle Symphony with the former Phoenix Symphony conductor Hermann Michael. Artistically, it was uninspiring. When I asked Ms. Grimaud "what happened", she mentioned that the conductor was very "inflexible" with the rhythm and they had many moments of disagreeing viewpoints, whereas Mr. Masur let her be herself and would expand/contract the phrases whereever and whenever she wanted.

4) People sometimes label others as "not good" if one's style of playing doesn't fit a type of mold that they look for. Although I might now always agree or like every artist's way of playing, I am able to discern outstanding quality when I see it. It is important for us to celebrate and recognize differences in artistic point of view.

Very often, these points are forgotten when others trash artists.

September 20, 2007 at 12:40 PM · Nicholas Tavani wrote:

"his neilsen is fantastic..."

Sorry I can't let this go hehe.

this here limerick of yours (Nick's)from last year:

The Neilsen? I've played it! It's great!

Though if you're a violinist, you'll hate

the tenths in cadenza

in tune? that's nonsensa!

Practice long and they might abdicate.

So what happened to the "royal" tenths in Lin's Nielsen?

And, who took over? (I won't mention who I hope it's not. oops, I mean who it was that abdicated, or who took over and who I wish it was or wasn't...and I hope it all turned out just fine)

September 20, 2007 at 02:08 PM · I'm going to respond to Sung-Dook Song's post, not because I disagree with it but because there is something missing, and this is missing all too much I think.

I think that if there was one fraction of the amount of attention and money given to "great artists" as there is to the creative process, to the very people who allow the music (and the instruments themselves) to come into being then I think there might be a whole different understanding of what is going on.

In this age of "technical" perfection and the sort of consumer oriented mania where one can go to the store and buy perhaps hundreds of CD's of different performers playing Mozart, Vivaldi or Schubert (to name just three), performers who all earn more money in comparison, who have a much more "comfortable" life, who can muse about what they think of this or that great art and then go on to something else (rather like waking Sleeping Beauty up and then putting her back to sleep): and do not have to get involved with it to the extent that those who allowed it to come into being weren't able to inhibit (regardless of what society will say when it's beyond it's time or not readily understood) – perhaps it is overlooked where the music came from.

Added to this that we live in a society which is so geared to keeping people in line while saying that it promotes personal freedom, that when you are unhappy or incapable of fitting into what's considered "in line" (and supposedly lose your freedom to be "happy") that there are these pills that are supposed to help (while doing nothing but stifling the creative process, alienating the understanding of the creative process and actually damaging the mind as if being disabled is functional). If the mental health institutions of today had their way (and I have seen a TV commercial advertising Beethoven as someone with a mental illness who could be "fixed up" with medications), Beethoven would be victim to such behavior (despite the fact that statistically, scientifically and morally it has proven NOT to help). To state that one can fix up someone whose music has truly helped emotional health on the whole planet, who is safely beyond being "fixed" as an object for the effectiveness of a treatement surely states something about what is going on. In the mean time, what is deemed as objective criteria for someone's mental illness, is based solely on the same sociological constructs as determine poverty, minority status and war. Thus an artist who is misunderstood (a minority in at least that aspect if not in a cultural sense) and could very easily be poor as well ends up in a war that the drug companies have against the human mind, and this excuses the people doing the persecuting. And, creativity suffers. Is the never before seen abundance of money going to star performers and all the attention to laud their abilities, their artistry, looking for what displays their abilities the best, psychologically based brain controlling commercial advertisement and an industry highly controlled by a few select Industries, is this really helping creativity!? Does this REALLY honor the source!?

It's all well and nice to go on about whether the Beethoven concerto is the proper "vehicle" for someone, whether or not someone's artistry was allowed to come out depending on the conductor, but in the mean time there was Beethoven the whole time and he has something Universal to say...not just as a vehicle for what someone considers "outstanding quality" to "display their strongest abilities" or put them on the charts as "a great artist" but he has something to say about creativity and the miracle of the human mind itself...for everyone.

And there are even composers like Fanny Mendelssohn whose music is at the same level as Beethoven or others who have yet to be acknowledged (for one because her music was about her love for music rather than how it could be sold). She again was just a "minority" as a woman who composed in that period.

And to completely move away from the victim image, the music comes from a place, a reality which is more peaceful, harmonious and compassionate than what people call reality or what they believe survival is. That's where "great art" comes from and that's what's lost for the people who take it for granted.

September 20, 2007 at 03:20 PM · Sorry if I seem to get a bit off track, but I have to exert discrimination not to start posting some very uncouth exploitive behavior I have encountered by "great artists." One particular "superstar" violinist I won't mention here.

Consequently I won't be posting in this thread anymore.

It really has nothing to do with Lin the violinist.

September 20, 2007 at 10:28 PM · Greetings,

Neil, can you help me with the last two posts?

Cheers,

Buri

September 21, 2007 at 12:39 AM · excuse me, laurie and mr. song, i was simply answering the question honestly. i was not trash talking. i was at his concert, and i have heard amazing playing many times. it was frequently out of tune, very uneven sound, which frequently ruined anything musical he was trying to convey.

an off night...? I have seen great artists have off nights. You can still tell they're great artists.

that is my opinion after hearing him live. should i apologize for it? my apologies, next time i will say "the performance was interesting"

September 21, 2007 at 03:21 AM · Whether or not we agree with a post, we should respect it as someone's opinion. I personally love Cho-Liang Lin (his students here at Rice are quite strong as well!) and I think he is strong both musically and technically.

Also, the Beethoven is really truly a piece that shows off what you can do... or can't. However, even those that can play extremely well will, on an off night, sound "less-than-professional". I think, having heard him recently, that he is still very much on the top of his game. I think it's hard to tell how strong a player is unless you hear several performances by them, especially if they're playing the Beethoven!

September 21, 2007 at 05:08 AM · Everyone's entitled to their opinion, and everyone else is entitled to disagree with it.

Somehow this latest Kurganov controversy puts me in mind of a story I once heard. A famous orchestra was recording a, let's say it was a Mozart symphony. The principal oboist and principal bassoonist had to play the same melody one after the other, and they disagreed about how it should be played. (The conductor was, not surprisingly, oblivious.) In the recording session, the oboist played it his way and the bassoonist played it his way. Afterward, the oboist turned around and said "That sounded awful!" The bassoonist shrugged and replied, "Well then don't buy the CD!"

September 25, 2007 at 07:10 AM · Well, I did find recordings of Cho-Liang Lin available at our local library system. I'm surprised that I never heard of him. Unfortuneately his recording of Mozart is "withdrawn" from the system whatever that means but his Sibelius and Nielson are available. I do have to say that when I checked out Cozio.com, he has played on no less than 5 different Stradivari violins in his career and now owns a Del Gesu. That, is no excuse for a bad performance.

I am excited to hear him.

September 25, 2007 at 09:42 AM · Oh, and about the "other" two posts.

No great artist uses a piece to "display his strongest abilities." A great artist knows where the music comes from and is a conduit for that....an extension chord between the music and the people (and himself for that matter).

I might also mention that the mental health system (along with a great part of the "Christian" Church) would decide there was something wrong with Jesus' mind as well, since I'm speaking of art that is suppressed. Music is healing, that's it's nature. It's truly impossible to seperate the two.

September 25, 2007 at 12:10 PM · I'm sorry, but...just *what* do Christ and the mental health system have to do with Cho-Liang Lin??

September 25, 2007 at 01:59 PM · You know Mara, "del Gesu"...? ;-)

September 25, 2007 at 04:06 PM · Ohhhhh. I see. :)

I remember reading part of a novel called "Canone Inverso" (didn't finish it, this was several years ago) in which a character who had apparently been driven somewhat mad by his desperate search for perfection on the violin compared the position of the violinist, with the arms held in that odd way and the tilted, downward inclination of the head to the image of Christ on the cross. Let me tell you, THAT was a disturbing analogy. :)

September 25, 2007 at 10:42 PM · Greetings,

I`ve always felt the stretching exercises advocated by Attila the Hun were overrated. But then the Mongolian mental health system left somethign to be desired at that time,

Cheers,

buri

September 26, 2007 at 03:20 AM · I've always personally felt that Atilla the Hun's Treatise on Violin playing was a little brutish.... I personally find Napolean's "100 Ways to Conquer the Violin, while using only one hand" was much more adequate....

September 26, 2007 at 03:43 AM · Hunnic, Buri, not Mongolian. *tsk.*

Personally, I'm rather fond of Lajos Kossuth's uncompromising Demands for Total Finger Independence.

...ugh, that was dreadful.

September 26, 2007 at 04:31 AM · >I personally find Napolean's "100 Ways to Conquer the Violin, while using only one hand" was much more adequate....

But Christina, Josephine was thoroughly irritated by the other...

September 26, 2007 at 05:35 PM · Mara, I was just trying to say "something" about a lack of support for creativity, someone says two words about a performer who is considered divine and the whole managerial system steps in to maintain his or her sainthood (and the performer himself is probably hiding from it all by now)....

And we're all waiting for Joshua Bell to abdicate and I don't think that Napolean's or Attila the Hun's methods would help at all!

September 26, 2007 at 05:41 PM · I'm still confused.

September 26, 2007 at 06:09 PM · well, in that case, if there is any confusion about everything having something to do with anything there is always such madlib sites as http://us.penguingroup.com/static/packages/us/yreaders/madlibs/

where when putting words into the slot you get things like the following, this always helps with confusion (it also helps to listen to mechanized noises and try to pick out the conversation the hum is having, going to restaurants and trying to figure out what everyone is saying about you..or just watching corporate media television helps immensely when you change the channels every 2 to 3 seconds)

Amusement Parks

An amusement park is always fun to visit on a hot summer

Goat. When you get there, you can rent a

Boat and go for a swim. And there are lots of

red things to eat. You can start off with a hot dog on

a/an people with mustard, relish, and barometers

on it. Then you can have a buttered ear of carts with a

nice purple slice of watermelon and a big bottle of

cold glue. When you are full, it's time to go on the

roller coaster, which should settle your the red violinist.

Other amusement park rides are the Dodge-Em which has little

stables, that you drive and run into other Texans,

and the Merry-Go-Round where you can sit on a big umbrella

and try to grab the gold Politician as you ride past.

(personally I find it difficult to decide between coca cola, pepsi and a big bottle of cold glue whenever I'm looking for refreshments at the Amusement Park.)

September 26, 2007 at 06:21 PM · *desperately trying to think of something, anything to say*....

September 26, 2007 at 10:17 PM · Hmmm, a nice cold glass of haloperidol perhaps?;-)

(Comment intended in good humor, I assure you).

September 26, 2007 at 10:35 PM · no, i think we are getting closer to the truth.

September 27, 2007 at 12:19 AM · Mr. Bravati says

"no, i think we are getting closer to the truth. "

That's unfortunately the case when others can't understand something that they prefer having what they can't understand suppressed (with mind damaging substances in this case). If the truth is something unreal, then yes, it seems one has come closer to it when the mind has been made incapable of thinking.

You know, I really don't have to inhibit the very mind itself to promote my understanding of something, that would be quite insane.

I guess I shouldn't be surprised at the amount of stupid social sarcasm and malicious mind games that go on here, but I thought this was a place where people would care about the source of creativity.

September 27, 2007 at 01:48 AM · Just an honest question, with no snideness or sarcasm implied: why do you always try to turn every discussion into an examination of the mental health system and mind-altering substances?

September 27, 2007 at 02:07 AM · ...thought you were thru with posting on this site ?

September 27, 2007 at 12:52 PM · Mara, I'm not really trying to turn anything into anything. I have to laugh at myself though that I sound like a hurdy gurdy going on about the mental health system. But, when I see a conversation where, because of one criticism, there's ends up being a whole essay on this (as it applies to artists) and it's actually a very good essay (and I'm making a planet out of a mole hill) but it leaves Beethoven and Liszt as people whose music is or is not the proper vehicle to display another's strongest abilities. And if half of the amount of energy was there to defend the creative process as there is in maintaining celebrity status for the soloists who exploit this music, it might make a big difference. There's something missing there and something about creativity. In the time when the majority of the music that is played was written, the earth had from 10 times to half as few people on it and yet there seems to be that much less creativity now that there is from 2 to 10 times as many people with more technology to explore their creativity.

And the mental health system actually advertises that they know what was wrong with most of the great creative minds!? They seem to want to go back in time and make sure that most of the great artist's work is replaced with whatever would have fit into the society of that time and have faded with time by now.

that's what I see so I'm really apr to get my hurdy gurdy out and start turning the wheels because I myself can't live without the creative spirit and the very essence that allowed the music to come into being.

And now you posted "I remember reading part of a novel called "Canone Inverso" (didn't finish it, this was several years ago) in which a character who had apparently been driven somewhat mad by his desperate search for perfection on the violin compared the position of the violinist, with the arms held in that odd way and the tilted, downward inclination of the head to the image of Christ on the cross. Let me tell you, THAT was a disturbing analogy. :)"

Jesus didn't see being crucified as something that was agonizing: I think he expressed quite a few times that he found remaining on the earth agonizing "how long must I tarry amongst ye" I think it says many times in the bible. He saw it as a way to go home and a way to express transcending pain by stopping the cycle of attack. To me the violin (or any true musical instrument) comes from another world which is more peaceful and harmonious than what is called the real world (I think I said that already), so I don't find that image necessarily disturbing that it is like the acquiesence of another world and "going home," to try for perfection on the violin. I heard from one source that Jesus as a boy drew scenery in school but the Hebrew authorities outlawed that....now, if creative art was allowed rather than stressing conforming perhaps a lot of people would find life on the earth tolerable.

That's my hurdy gurdy for the day.....

September 27, 2007 at 04:10 PM · Well, in the novel the character was alluding to martyrdom rather than transcendence. Being crucified on the violin, martyred for the sake of Art...still strikes me as not exactly the most enviable situation. Great metaphor though.

September 27, 2007 at 05:09 PM · So, um, is Cho-Liang Lin Jesus, or is he just insane?

September 28, 2007 at 02:30 AM · Regardless he is Jesus or insane, I am a big fan.

September 29, 2007 at 07:43 AM · Petrouchka is still thinking about getting the Hurdy Gurdy to play but wants to hear Cho-Liang Lin first and the CD isn't here yet but is in transit.

September 29, 2007 at 06:36 PM · To my delight, the library called this morning with their automated message that the recording of Cho Iiang Lin playing Sibelius and Nielsen was in. I am sitting at the library right now listening with my headphones (Sibelius).

Not only does Cho Liang Lin have a strong masculine contour to his playing (his tone his phrasing), he has a patience and an open receptiveness which completely keeps the masculine from becoming overbearing and gives him a grip on the form, the architecture of a piece I have never heard before.

I'll go take a walk outside now in the sunlight to further enjoy Sibelius, Nielsen and this magnificent dedication of the artist Cho Liang Lin.

September 30, 2007 at 01:35 AM · Sung-Duk Song thank you for your comments about Cho Liang Lin and also about Anne Sophie Mutter. I can't believe I hadn't heard of Lin!? He is an exceptional artist.

September 30, 2007 at 01:42 AM · Roelof:

Glad you ended up like Cho-Liang Lin.

You might be interested in seeing a short clip of him playing the Vieuxtaumps Violin Concerto No.5 in Itzhak Perlman's masterclass when he was much younger (back in the 1980's). He has a killer staccatto technique. (The video starts off with Nadja Salerno-Sonnenberg then Cho-Liang Lin is next on the list).

http://www.youtube.com/watch?v=mZs-4ASTitg

September 30, 2007 at 04:19 AM · Heh, a piece of heaven, Nadja and Cho?

No, that can't be on a computer LOL

yes, I'll look, but not till I'm at a faster computer...I just have dial up.

September 30, 2007 at 04:32 AM · Listening to Sibelius I was transformed and then the Nielsen is such a nice piece. I recently heard a Gounod opera which was simply nice music too, resonant perhaps more in a domestic restful way then the immediate drama of what is considered a masterpiece. The Nielsen is a very interesting piece and the program notes are interesting on the album. There are a set of Poulenc Nocturnes I have played which are also amazingly beautiful and in the same genre as comfortable and resonant.

Incidently, I ended up taking a walk outside with my walkman and Cho, taking a bus and being able to buy 5 wonderful CD's for 10 dollars at a GoodWill store (2 of Sibelius: Symphonies and Finlandia and others). Cecilia Bartoli, John Eliot Gardner with Holst Grainger and Berlioz on another CD!

So I have nothing to complain about, I wouldn't be surprised if I ran into Stradivari, except I forgot to buy strawberries.........silly of me.

Emily Dickinson

Over the fence -

Strawberries - grow -

Over the fence -

I could climb - if I tried, I know -

Berries are nice!

But - if I stained my Apron -

God would certainly scold!

Oh, dear, - I guess if He were a Boy -

He'd - climb - if He could!

October 1, 2007 at 10:00 PM · It's redundant of me, but I should add that whatever I was referring to earlier about frustration in an encounter with a "great artist" or rather someone who is exploited to play concertoes all the time. These people are very very human, in fact it seems they have even more the need to be human, the way they are exploited....

October 2, 2007 at 12:45 AM · Getting to play Tchaikovsky, Sibelius, Brahms, Beethoven and Mendelssohn with the world's best orchestras and the world's best conductors all year is "exploitation"?

From such slavery, I would never want to be liberated. ;-)

October 2, 2007 at 12:49 AM · Listen Mara, I already heard your voice go (oh S@#$*&) when I wrote this post (although I never have heard your voice!?)

So, if you are still dissatisfied there's some clear instructions on how to deal with such matters when I suggested a name for the string quartette (and it might have something to do with your Enescu quote...hint hint)

look here:

Quartet name needed! UPDATED!

From Caeli Smith: Four teenaged girls forming a string quartet and we need a name ASAP!

October 2, 2007 at 12:58 AM · Wilis? I'm confused...

October 2, 2007 at 01:08 AM · I'm confused too now.

Well, in case there does happen to be some or other of these creatures who does play all these concertoes and wants to be liberated from it (which they obviously shouldn't), you might want to ask the Wilis to put "him" out of his misery. And his place would be available for someone with more dedication.

Or you could just change places which happens all the time in any operas anywhere. There always has to be two people who dress up as each other. Always!

Two violinists of Verona...

October 12, 2007 at 08:12 PM · I heard him play Mozart No. 2 in Sydney.....fantastic (and very beautiful).

October 13, 2007 at 12:57 PM · Has anyone here studied with Jimmy Lin? I am interested in knowing what he is like as a teacher?

October 13, 2007 at 02:13 PM · Song-Duk, thanks for your insightful comments about the situation through the eyes of a presenter. They were so interesting to read. Silly me - I thought the artist, through his/her manager, peddled, so to speak, a certain piece of work, like "Ms. X is looking for venues to perform the Sibelius in, for the '08-'09 season. Would you be interested?" Are you saying that the board might, instead, tell the facilitator to "see if Violinist X or maybe Violinist Y is free to perform the Korngold; we need a short Romantic concerto mid-season." I'm sure I'm sounding pretty stupid here, spouting off these theoretical scenarios. If you felt like digressing a bit more, tho, I'd love to hear your comments via email (or here). It's fascinating! And again, thank you for the detail and eloquence of your replies.

October 13, 2007 at 02:20 PM · Oh, and forgot to mention that I have Mr. Lin's recording of the Saint Saens VC, conducted by MTT. It's wonderful - the second movement sends me off into orbit.

October 13, 2007 at 11:38 PM · Terez:

It's usually a combination of the board of directors, music director, and the marketing department who all work together to plan a concert season of an orchestra. What happens usually is that they determine the schedule and program and then the artistic administrator contacts the artist manager and checks on date availability and runs the repertoire request. If the soloist is able to play the repertoire and available on the date the orchestra wants to hire them, then they negotiate a fee and execute a contract.

The more in-demand and well-known the artists are (i.e. Pavarotti, Domingo, Yo-Yo Ma) the artist usually dictates to the orchestra what they want to play and most orchestras will oblige. However, some will still want a specific work performed by a specific artist.

When an artist cancels (i.e. Perlman cancelling SF Symphony opening night), the replacement artist is usually whomever is available. So if a young artist is lucky, it might be a lucky break for their career growth.

SDS

October 14, 2007 at 04:54 AM · Sung-Duk (forgive me for misspelling your name in the last comment), thanks so much for this fascinating information! The things I don't know - really, so much. Very interesting...

October 14, 2007 at 01:51 PM · About a week ago I got a used copy of his Prokofiev/Stravinsky recording from 1995 (with Esa -Pekka Salonen and the Los Angeles Philharmonic) and we are listening to it over and over to the point of obsession. Anyway, I found this interview from 2000, which might be of interest.

October 14, 2007 at 10:44 PM · Greetings,

it`s a very good interview. Thanks,

Buri

October 18, 2007 at 11:09 PM · Yes it is a good interview. And, by the way, The second concerto is a result of having the first concerto denied as a piece of art.

I am supposed to recognize more things and believe it didn't really happen, and that there wasn't a different way out?

If I was half so fine I would notice nobody.

October 18, 2007 at 11:17 PM · Greetings,

>If I was half so fine I would notice nobody.

and vice versa.

Cheers,

Buri

October 18, 2007 at 11:21 PM · Emily Dickinson:

"Sown in dishonor"!

Ah! Indeed!

May this "dishonor" be?

If I were half so fine myself

I'd notice nobody!

"Sown in corruption"!

Not so fast!

Apostle is askew!

Corinthians 1. 15. narrates

A Circumstance or two!

October 18, 2007 at 11:40 PM · Ah, so 'tis poetry again that our fancy doth strike?

Again let its brilliance light up the site!

From sublimest sonnet to oddest couplet,

V.com poetry rescues the day

From an evening of boredom (and studying, ewww.)

So now *this* is just what I'm going to do....

October 19, 2007 at 04:01 AM · E. Smith I know that exact recording, lovely playing. Also I would recommend the Nielsen recording of his.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Violin Finder
Yamaha Violin Finder

Pirastro Strings
Pirastro Strings

Corilon Violins
Corilon Violins

Los Angeles Philharmonic
Los Angeles Philharmonic

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Metzler Violin Shop
Metzler Violin Shop

Juilliard: Starling-Delay Symposium on Violin Studies
Juilliard: Starling-Delay Symposium on Violin Studies

Gliga Violins
Gliga Violins

ARIA International Summer Academy

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Nazareth Gevorkian Violins

Los Angeles Violin Shop

Pluhar Violins

Potter Violins

Pro-Am Strings Ltd

Violin Lab

Violin Pros

Wangbow Violin Bow Workshop

Subscribe