Characteristics of violinists

November 2, 2007 at 06:50 AM · What are some of the characteristics of each of the great violinists that allow you to immediately distinguish them from others? Like, phrasing, vibrato, power, etc...And what type of pieces are they known for playing?

For example, many would agree that Hilary Hahn has a clean, crisp attack and articulation/technique and she plays Bach quite well. Are there certain distinctions for Heifetz, Milstein, Oistrakh, Kogan, Menuhin, Stern, Perlman, Bell, Elman, etc etc.?

Haha, I just realized this could be quite a long list... :)

Replies (51)

November 2, 2007 at 02:50 PM · I've identified Hilary Hahn "blind" a couple times mostly from the very fast tempi (e.g. Brahms/Stravinsky concerti recording), and from the lean, brilliant sound. Also turned on the radio one time and heard the 3rd movement of the Bruch #1, and the violinist was able to play the 2nd theme very very loud without scratching. The rich sound and well-integrated vibrato made me think it had to be either Perlman or Shaham. I was right, but can't remember which one it was.

Kyung-Wha Chung: the combination of wild passionate abandon and iron discipline makes it sound like the car is going to go off the road at any moment, but it never does; then you realize that the "driver" knows exactly where the edge is, and how close she can get without going over.

Stern: I know this is kind of awful, but for me his defining characteristics are the scratchy sound and erratic intonation.

Mutter: lately anyway, it's the sheer amount of vibrato (almost-but-not-quite too much for the tone) that makes me start wondering, followed by some courageous/outrageous quirk of interpretation that makes me think "Only ASM would dare try that in public."

That's my $.02 anyway...

November 2, 2007 at 03:50 PM · Bruce:

On Hilary Hahn -- her tempos are not always fast. The Paganini #1 and Bach Chaconne are the slowest I have ever heard. Based on what's on the internet, her Sibelius recording will be similarly paced, especially in the first two movements.

Kevin

November 2, 2007 at 03:44 PM · Agree with all of the above (except for the Stern bit...I actually like his sound). My own two kopeks:

Oistrakh: very distinctive tone, dark and rich yet sweet and elegant at the same time. Ahhhhh...

Heifetz: very hard-edged tone, fast vibrato, frequently (to my ears) brusque and "macho" interpretations. (If anyone can think of a better word than "macho", PLEASE don't hesitate.)

Szigeti: a sound steeped in the ancient folklore of the fiddlers of the little Carpathian town where he grew up, and such an inimitable "parlando" quality to his phrasing. No schmaltz, no superfluous pyrotechnics, no superficiality, but the *occasional* flip side of that is a somewhat "unpolished" quality. Quite a slow vibrato (slower than mine even...geez!)

Enescu: a cross between Oistrakh and Szigeti, with a very familiar vibrato (I ended up with his vibrato due to him being my previous teacher's teacher's teacher--the vibrato got passed down like an heirloom or something) and the best use of portamenti ever. But sometimes there is a coolness, an Apollonian aloofness to his playing that prevents me from ever getting fully and completely drawn in (possibly because he basically hated playing the violin and considered it confining.)

More later...this is fun.

November 2, 2007 at 05:33 PM · An interesting note about Szigeti- Masuko Ushioda, who was one of my teachers and studied with Szigeti in Switzerland, spoke of Szigeti's compelling sadness in his use of expressive intonation, stretching augmented seconds far apart and raising leading tones and flattening the lowered 6th degree in minor scale patterns. She also spoke of his slower than average vibrato but his earliest recordings as a young man show him to have a sufficently fast vibrato. His incredible concert with Bela Bartok at the Library of Congress featuring music of Bartok, Beethoven,and Debussy also highlights the unique sense of rhythmic pulse they share together in one of the finest duo recitals on record.

As for others, a few distinctive features about Milstein's playing include the use of harmonics and open strings when most others would choose to use a finger on the string, a remarkably light facile sautille in passages done up bow staccato, so elegant that one does not even miss his not using the staccato, a very open pure sound with a very efficient vibrato that colors the tone without calling attention to itself, an extremely accurate left hand with flawless intonation and incredible facility- his Scherzo Tarentelle and Polonaise Brilliante in D are second to none as well as the famous Goldmark Concerto recording with Blech and a fantastic Valse Scherzo by Tchaikowsky to name just a few. I'm sure Oliver Steiner, as a former Milstein pupil, could expound much further on the unique and superlative qualities of Milstein.

Francescatti possesses two characteristics I find different from Milstein's - a very present, charged constantly intense vibrato combined with a held into the string sound a great deal of the time- not like the open sound of Milstein, but still with remarkable left hand facility and excellent bow control.Among his most celebrated recordings are the complete Beethoven Sonatas with his long time friend and duo collaborator, the famous pianist Robert Casadesus.

Grumiaux's playing possesses a refined tone, with a distinct avoidance of portamenti and lush sliding- his Franck Sonata is a case in point. His Lalo Symphonie Espagnole one of the finest for its exuberance and energy combined with purity of tone and elegant clean bowing.

Oistrakh possesses that rich creamy deep sound that every note is bathed in- he has remarkable control in slowing down trills instead of speeding them up at cadences, his colle is biting and crisp without ever sounding scratchy and his intonation also nearly flawless. If you can still find it on CD, a live performance of the Franck Sonata in Paris in the early 60's with Richter is a model of technical control combined with emotional freedom. Though the orchestra is not at its best, in the mono recording of the Tchaikowsky Concerto, with Franz Konwitschny conducting, Oistrakh's playing is superlative.

Of course mention must be made of Jascha Heifetz too- reflexes as fast as one can imagine, a highly charged vibrato that, combined with incredible bow speed at climactic moments in the music, takes one's breath away with its searing intensity. There is also a liberal use of portamenti but never slow and dragging- always in good taste I feel. His Bruch Scottish Fantasy shows his special qualities to the full, including beautiful tapering of phrases in soft passages.

Fritz Kreisler's rubati and beautiful throbbing continuous vibrato and the throaty German slides, (that make us feel the lump in the throat and the tear in the corner of the eye), all combine to give us a violinist who plays with a song in his heart and his heart on his sleeve. His sound is a noble and sentimental one and his contributions to violin literature inestimable- a beloved violinist with an enchanting sound. Listen to his own recordings of his own pieces and you cannot fail to be charmed.

I realize these are but stabs at a few characteristics that pop into mind and it is impossible to sum up the unique attributes of an artist in such a short space. Henry Roth's books on violinists in performance as well as the DVD The Art of Violin are very helpful resources for uncovering more about the great players of the past as well as current ones.

November 2, 2007 at 08:48 PM ·

November 2, 2007 at 06:22 PM · Mara: The better word than "macho" for Heifetz is "passionate."

:) Sandy

November 2, 2007 at 08:48 PM ·

November 2, 2007 at 08:47 PM · To hear the different styles of violinists and their playing differences, it's interesting to compare different recordings of the same piece by different violinists. I highly recommend listening to several different recordings of Bach's superb Violin Concerto in E, BWV102.

Anne-Sophie Mutter: Her violin "hums" wonderfully. Huuummmmmmmmm. Simply amazing! I think the arrangement in a more traditional chamber orchestra style is fabulous. You can hear the interplay between Mutter and the other instruments. The playing is also a little on the slow side when compared to other recordings. However, some people just hate this recording because Mutter seems to use too much on vibrato. Some think the playing is too slow.

I think that too many violinists play this piece way too fast and maybe too bright, losing the wonderful pacing -- think basso continuo -- and the interplay between the instruments ala' chamber orchestra style.

Isaac Stern: This is a fabulous recording. His playing is terrific and his violin tone is brilliant yet sweet. The orchestra sounds almost symphonic in the blending, with Stern's violin tone blending in.

Itzhak Perlman: His bow does the talking. I thought his violin tone is not as nice as Mutter and Stern but his playing is first rate. Other might disagree strongly since some people strongly feel that this is the benchmark recording. Pinky Zukerman plays with Perlman on the Bach double violin concerto included (on two different recordings).

Hilary Hahn: I have not heard her version yet but plan to within the next couple weeks. I have heard she is technically superb and clean but falls prey to the popular interpretation to play fast. Some Hahn fans hold this recording up as the best, as well.

November 2, 2007 at 09:04 PM · Amazing how these debates go.

Person 1: Hahn plays fast.

Person 2: Not so. Here are specific examples of her playing much more slowly than is the norm.

Person 3: I hear Hahn plays fast.

November 3, 2007 at 12:20 AM · yes,it is amazing---each person has their own 'take'.

people are difficult to understand--most times...

when we think we are doing a great performance on the violin,most all listening will have their 'take' or impression of us,often contrary to our own.

many times it's easier to learn how to play the violin than it is to understand what is going on in anothers head.....

November 3, 2007 at 12:47 AM · Sander,

Rachel Podger is also "passionate", so perhaps this is not the best word to describe Heifetz in the way that she meant it.

November 3, 2007 at 02:30 AM · how about: poignant or impassioned ?

no,there must be a better description.

especially for heifetz !

November 3, 2007 at 02:30 AM · no... it has nothing to do with the sentiment, but the approach... macho is an excellent word. His approach to the violin was daring, full of calculated risks, and a lot of gusto.

November 3, 2007 at 02:42 AM · ^

exactly---great post !

thanks.

November 3, 2007 at 03:42 AM · Mr Vitek sent the whole studio into gales of laughter by using the word "macho" in class a few weeks ago...but the accent was probably what did it. :)

November 3, 2007 at 04:43 PM · Since we are at this topic.. I've recently downloaded some music from Amazon.

This says it is played by Oistrakh. But does anyone know who is the other violin, and is Oistrakh playing violin 1 or violin 2?

http://www.amazon.com/Concerto-Violins-Strings-Continuo-minor/dp/B000VHMIT8/ref=sr_1_2/103-4605771-4022237?ie=UTF8&s=dmusic&qid=1194108077&sr=8-2

Thks.

November 3, 2007 at 06:42 PM · LyeYen, it's his son who is playing the other violin part. This is an excellent album despite the mono sound and the Tchaikowsky concerto performance is one of my all time favorite performances of this work. For more information about David and Igor check out:

http://www.andromeda.at/mus/oist/art_e.html

November 4, 2007 at 01:19 AM · Thks Ronald for the link. Will check it out.

November 4, 2007 at 03:00 AM · To follow up on the Hilary Hahn/tempo discussion:

1) She plays the last movement of the Mendelssohn very fast -- around 6 minutes, including the introduction. The other two movements are what I would call "average" tempo. I think the first movement is like 11.5 minutes. These days, that borders on faster than average, but there was a time when that was nothing extraordinary.

2) I saw her play Dvorak live. That was an overall faster than normal performance. The tempi weren't a lot different than any of Milstein's three recordings.

3) I heard the Elgar once but wasn't paying a lot of attention. My recollection is that the tempi were kind of middle of the road.

4) I haven't heard the Beethoven, Brahms, or Stravinski.

5) The Paganini is agonizingly slow. She takes about 10 and a half minutes for the last movement. Pearlman, in a slow performance, takes 9.5 minutes, Fodor/Kogan, about 9 minutes, Tibor Varga a little over 8 minutes. These are all complete versions.

6) Her Chaconne, as I recall, is over 17 minutes. I thought it would never end. Szerying takes about 14.5, Hiefetz 12+, Milstein 13+.

7) Go to Youtube to hear the Sibelius. Francescatti takes, I think, about 7+ minutes for the second movement. Heifetz is faster in the Hendle version, similar in the first (Barbarilli?) verison. Hahn takes 9. I think the first movement is nearly 16 minutes.

There's no debating these tempi. The problem is generalizing, which is difficult to do. But I don't think one can argue that she plays everything fast.

Kevin

November 4, 2007 at 03:24 AM · Kevin, your own examples show one fast movement, and two RECOLLECTED (i.e. subjective and debatable) overall-faster-than-average works, of which one was, according to you, at tempi similar to Milstein's, who could non-controversially be said to represent a gold standard. In other words, three examples of which none constitute conclusive "votes" for the fast camp.

Then, in your own examples, you show three undisputable instances of her playing much more slowly than the norm.

Then you state your conclusion: "But I don't think one can argue that she plays everything fast."

How in the name of all that's logical does that make any sense?

November 4, 2007 at 03:31 AM · Emil:

I was being coy about the Dvorak...the performance took a bit less than half an hour (excluding breaks), which is on the fast side. Most people take longer, especially these days.

Maybe my point was lost in the details...I think it is hard to generalize about her tempi. Some are quite fast, others extraordinarily slow. So I disagree with those who say she plays everything fast. But I would not say she is always on the slow side.

Many players (an not jsut on the violin) are easier to generalize about.

Do you disagree?

Kevin

November 4, 2007 at 04:15 AM · I totally agree that generalizations are tricky, especially since as soon as you make one someone else can always find an example of an exception. I just didn't understand from your own conclusion (viz. "But I don't think one can argue that she plays everything fast.") that you meant that one SHOULDN'T argue that she plays everything fast.

Here it's the printed medium that's at fault. Had you been speaking you'd probably have stressed the word "can" which would have slightly but significantly changed the meaning of the sentence. A perfect example, incidentally, of how one usually needs only a small difference to completely change the sense of something. No Apap cadenzas, just a touch of vibrato here or a subito somethingorother there can make the same notes sound utterly different from one performance to another.

November 4, 2007 at 05:02 AM · Bach Violin Concerto in E, Continued...

Today I listened to Hilary Hahn's version of Bach's masterpiece Violin Concerto in E Major, BMV 1042. I was completely blown away by her playing! Her technical prowess is absolutely the best! Her violin also has such a wonderful tone, and she uses her vibrato just right, not to mention absolutely amazing bowing. Wow! This is a candidate for "best recording" of this piece (although I hate that term).

However, Hahn's version is played way too fast. As a measuring stick, Anne-Sophie Mutter's recording, made under the direction of the traditionalist Salvatore Accardo (and a great figure in classical music), runs 19 minutes and 55 seconds (5 seconds under 20 minutes). Hahn's version runs 16 minutes and 29 seconds (16 1/2 minutes).

The beauty of Bach's genius gets lost at that fast speed. Bach music, as you know, taps into almost a universal pattern that, upon listening, seems almost celestial in it's perfection (think Plato's conceptualization of forms) but actually is a harmony that is very intricately of this world, much as mathematics, abstract by nature, perfectly speaks the language of reality exactly.

Think of a Bach partita or minuet (and many other Bach pieces). It takes flight with a few elevating notes. And then it catches wind in the current with more notes and moves along just perfectly with a sublime harmony. And it will just move on and on with that current perfectly.

Now along comes this strong wind -- a version that is too fast -- and we lose that perfect movement with harmony.

The upside is that the piece becomes an astonishing virtuoso piece. I truly believe that Hilary Hahn may be the most advanced violinist in the world today. This recording is an amazing work of violin playing. Also, this interpretation is probably a smart decision from a commercial point of view. Buyers are getting a terrific “Hilary Hahn virtuoso violinist” version. By comparison, some people hate Mutter’s slower version.

In the second movement, the soloist has a wonderful tone and expresses wonderfully the mood and ideas of the movement. She can really make her violin emote. However, the rest of the ensemble is a little disjointed from soloist, and so you lose some of that slow, brooding movement in the second movement that Bach intended, which makes the violin long-notes all the more touching. Again, this soloist-forward recording makes for a ravishing listening experience of a great violinist, but that harmony and moving interplay, touching back and forth, between the ensemble players and soloist is lessened. It's a trade-off, I guess.

So there you have it. By listening to different versions of Bach's Violin Concerto in E, you can learn the differences between the great violinists. I think they tell us much.

Right now Hahn has established that, technically, she is as good as it gets and a star. She can play Barber’s "unplayable” Concerto for Violin and Orchestra with virtuoso perfection Her tone is stunning. She is a truly an astonishing violinist. However, her greatest potential as an interpreter of music will still be realized at a future time.

November 4, 2007 at 04:52 AM · I heard her recording of the Paganini the other day (Hahn). She plays a lot of passages that are frequently cut or so I thought.

It didn't seem inordinately slow.

November 4, 2007 at 07:34 AM · So to get back to the original poster's question:

It would appear that a major characteristic of Hilary Hahn's playing is that it generates a lot of argument.

November 4, 2007 at 04:23 PM · leila josefowicz : most beautiful violinist in the world

November 4, 2007 at 10:43 PM · Greetings,

a while back I wa sin an orchestra with a very natural and musical soloist callled Ayu Wakabayashi playing Mozart 3. The conducter and some of the players were extremely anal and kept pestering her for the precise tempo. Eventually she just smiled and said @look, it may get faster, it may get slower. On the day, ypou play it as you feel it, so will I and we can make music together.` Thankfully, her cadenzas were normal...

Cheers,

Buri

November 5, 2007 at 04:00 AM · Corwin:

In the last movement, she plays it complete. Many people take assorted cuts. As I said, the second slowest version of the complete version I've heard takes about a minute less. Of course, I haven't heard them all. So maybe someone out there plays it slower.

Kevin

November 5, 2007 at 08:15 AM · Buri,

Your story reminds me of the time I heard Yehudi Menuhin playing in Tokyo in perhaps 1982/3, and the whole orchestra insisted on keeping its own time like a metronome, they just refused to follow his timing. It was most unpleasant. It was as if the group felt it had the right to override him.

It was a Japanese orchestra but I do not remember which. I guess he was the nail who stuck out.

December 2, 2007 at 03:34 AM · I like that Hahn plays the last movement of the Paganini slowly. It gives it a sense of clarity. I can hear everything, unlike some recordings of faster tempos where clarity seems to be an issue.

December 2, 2007 at 03:40 AM · Check out the Ricci interview by Mrs. Niles...I love his take

December 2, 2007 at 05:17 AM · Heifetz has great technique but his musical interpretations I don't like. He plays it convincingly enough,but I still don't like it. His recordings are REALLY fast so his music not as expressive as others.

December 2, 2007 at 10:54 PM · Greetings,

>I like that Hahn plays the last movement of the Paganini slowly

Did she play it slowlyt? I`m to lazy to make a metronome comparison with others. I just remember thinking at the time she was at a fair lick but much more precise than most players.

Cheers,

Buri

December 7, 2007 at 05:45 AM · Joe S:

Hahn's interpretation is certainly distinctive and you are right to comment on the slow tempo (actually for the whole piece, not just the last movment). Some people will find these tempi an interesting take, perhaps feeling that they add clarity or are more vocal. Others will find them on the insipid side.

But your ears aren't failing you about the tempo. Don't let others question that. If someone needs a metronome to figure that this is a slow performance he either doesn't know other performances or is a very poor listener!

Kevin

December 8, 2007 at 03:32 AM · Early Elman - visceral and cantorial; plays to the subconscious; a songfulness that evokes lost worlds (like how a particular smell allows one to relive childhood moments).

December 9, 2007 at 03:37 AM · Greetings,

KG , your rematrk was offensive. It might actually beworth taking a look at things a little more deeply before mouthing off next time.

I do often ask my advanced students to sit down with a metronome and compare recordings of great works. They do this for two reasons. Firt t see what a great range of tempos is possible and second to see howthe greta player salways varied tyempo to a large extent while keeping an undelrying pulse.

This raises the question what does one mean by a `slow tempo?`Actually if it is used in a negative asense which some of you seem to be doing inrelation to Hahn then it can perhaps be based on two criteria. The first is objective and concerns whether the tempo is appropriate for the rate of harmonic change. The second is subjective and asks if the player has failed to grasp the character of the piece tempo wise. According to neither of these criteris is Hahn `slow.`

Is she slower than otehr players? If one actually botehred to make some comparisons (before being rude) one might find for example that Hahn overall takes only a little longer than Kogan for the whole work. Indeed, the first movement is only ten seconds slower. The last soudn somewhat slower but amm check reveals it is surprisingly close. Ocassionally only a couple of mm points under Kogan. However, there is a considerbale disparity in performance time since Hahn takes nearly 1 and a half mintes more than Kogan That is worth questionning. The most noticeable differenc is that Hahn makes a couraegous artistic decision to play the middle lyrical section far more broadly and cantible than Kogan. It adds weight and grandeur to the whole cocneption. However, this does not jsutify the genralizatons that havebeen made about her tempos so far by any means. Whereelse does this time dis@parit crop up. Check out the rhetorical triplet 16th passages. Hahn takes the time to express them muscvially. Frankly Kogan rushesthrough them, dazzling technique aside. Once again in the accompanied passage sHahn is tempo wise almost the same as Kogan. Another place, ther is a gP lastin 3 or 4 bars. Thisis outrageously long. Hahn has the integrity to play it exactly as written. Kogan doesn`t bother. In fact on the whole Kogan`s performance , although justifiabl;y calle dlegendary does rush through a lot of passages. It is not a fast tempo, it is hurrying. Do some comparisons in perfomance time and individual movements with other players and suddenly one realizes that Hahns tempo is up there. Midori takes a lot longer. Szeryng sounded almost patrician in comparison although I am going on his live demonstrations here.I think he played the later cocnertos better than number one.

What I concluded from this interesitn exercise was that the greatnes sof Hahns achievemet ies in having such a massive control of technique even compared to some older greta players she can expand every note within a rapid tempo and appear to be a great dela more leisurely than she really is. Whetehr or not you like her temperament or sound is entirely another issue and completely personal.

Cheers and two fingers,

Buri

December 9, 2007 at 07:07 AM · Sorry steve... gotta agree with whoever KG is.

Ms. Hahn's entire concept of the violin is one of total control, and that manifests itself very strongly her tempos.

I've now seen her live a few times. I realize that it might only be a few seconds slower than any given recording, but there's fast notes, you can pack a lot of them into 1 second. Also, with the more difficult rep, a few notches on the metronome can make a huge difference in making something easier to play in a controlled way.

I don't think KG was making a qualitative statement, but you really can't argue that Hahn's tempos are always slower. She executes her concept of the work flawlessly, so it's exactly what she wants to do.

Cheers and two fingers reversed.

December 9, 2007 at 07:12 AM · Music, like Vivaldi's Four Seasons, is a recipe of life. Sometimes fast tempi are on the menu, sometimes slow. And what kind of day are you having?

It's the story, and treatment, that define the outcome on some level. Sometimes it's spring, sometimes, it's winter.

December 9, 2007 at 08:05 AM · Greetings,

Pieter you make some good points but i don`t think you really looked at what I said. If you wnat to say Hahns tempos are always slower then you have to make a comparison or relativety and that show that shi is not as slow as a number of top recordings.

At the endof the day tempo is tempo. However much you wnat to screw around with rubato it is possible to make a reasonale objective staement about how one perosns tempos compare with anothers overall. Hahn does not qualify as slow.

Cheers,

Buri

January 11, 2008 at 12:46 AM · Heifetz's playing is technically brilliant, but not musically brilliant. I think it's his wonderful techniques (intonation, vibrato, bowing, etc) what makes him sound good. But that's just me

He plays everything fast.

January 11, 2008 at 02:20 AM · are you sure it's not musically brilliant? ;)

January 11, 2008 at 10:22 AM · Heifetz often played slightly faster then the orchestra, and that doesn´t sound very musical in general.

January 11, 2008 at 09:27 PM · to me, Hilary Hahn's playing is very similar to Francescatti's...

January 11, 2008 at 10:00 PM · "to me, Hilary Hahn's playing is very similar to Francescatti's"

Francescatti´s vibrato was different in general and Hilary has got better technique and intonation then Francescatti ever had if you ask me.

January 11, 2008 at 10:02 PM · ^I still prefer Francescatti

January 12, 2008 at 12:21 AM · I miss the old school players such as Mischa Elman, Szigeti, Milstien, Oistrakh, Gingold, Rabin. Today we culture extreme technicians but few have the musicality of the old players. Do you agree? When we play Bach, who do we emulate? We have in so many ways lost the personality of the violin, I am not to say it has not totally gone away. It is the strive for perfection which becomes jaded. Are we to be perfect consistent robots or are we to strive for our individual personal voice? It is so hard these days in many music schools to find oneself through their instrument. Do you agree?

January 12, 2008 at 01:06 AM · Hillary hahn commented on this video that Elman's vibrato was made by putting his finger flat on his fingerboard. Also, elman's very short, so he had to bend down to go to higher positions

January 12, 2008 at 03:05 AM · What I see coming out of conservatories now are automatons. No emotion or the "emotion" is rehearsed and planned. Technically brilliant, but boring to listen to. They also look oh so serious, c'mon people, lighten up and enjoy your playing, stop looking like you're contemplating a new physics formula after overeating some hot mexican food.

January 14, 2008 at 01:56 PM · Dear Mr. Randall,

>What I see coming out of conservatories now are automatons. No emotion or the "emotion" is rehearsed and planned. Technically brilliant, but boring to listen to. They also look oh so serious, c'mon people, lighten up and enjoy your playing, stop looking like you're contemplating a new physics formula after overeating some hot mexican food.

I find your opinion to be a crass generalization and almost offensive. Would you be so kind as to potentially broaden my perception of the music scene, prove it?

January 14, 2008 at 02:21 PM · You're right Ray. Heifetz and Oistrakh looked so at ease while playing. Not a hint of contemplation of seriousness. We should follow their tremendous examples of intellectually and emotionally uninvested playing.

You've really unlocked the key to that world.

January 24, 2008 at 03:53 AM · Hilary Hahn- Pure sound, and likes to slam her bow on the string to create that sound

Sarah Chang- Wobbly vibrato

Milstein- Sharp tone, not too much sentiment

Oistrakh- heartfelt tone, unique vibrato, human quality

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

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