Participation on discussion on Paganini performers

December 2, 2008 at 06:33 PM ·

Dear friends,

I will tray to include in discussion on the "Who is the best performer of Paganini"? I think the best are Vasa Prihoda, Vasco Abadjiev and Rudjiero Ricci. My favorite is Vasco Abadjiev because his play is with very briliant tone and phenomenal technic. His records are available in You Tube!! They are with no high quality but  with godlike spark of virtuoso, my be as in Paganini!!

Replies (28)

August 3, 2010 at 12:42 PM ·

For sure, not Bach...  None of these violinists you named could match the young Menuhin in the Paganini first conccerto. In my opinion, the greatest virtuoso for Paganini was Leonid Kogan. Because he had a great sound and an outstanding musicality. I own a multitute of recordings of Bach solo works and Paganini Caprices. The best right now, including beauty of soud, musical lines and originality, faithfulness toward the original scores is James Ehnes. He recorded twice the 24 Caprices and his last recording, issued in september 2009 towers them all. And he can perform them perfectly in the concert hall. He played all of them in Salzburg last year and had the best reviews ever. The polyphony in his Bach is amazing...Perfect bow technique...Grand rendition of the Chaconne. Playing Bach solo works is much more difficult tha any piece of Paganini. The violinists you have mentionned were not very accurate in their playing, compared to Kogan. Even Oistrach,who was a great musician but not reknown for a Paganini specialist.,gave outstanding performances of Paganini works when he was young. The cantilena is a primordial aspect in Paganini's music and a great sound is needed for such an accomplisment...

Of course, Vasa Prihoda was very famous for his rendition of Nel cor piu non me sento, with piano accompaniment. He recorded it twice. The second recording is the best and available on youtube. Ricci was not only outstanding in Paganini. Alike, Kremer, he performed many works neglected by all the others in the violin repertoire and in that sense,was truly original. His masterclasses were very much attended and his sense of humor was great. He is a true communicator and in constant research for achieving the best in violin playing.

August 3, 2010 at 01:16 PM ·

Leonid Kogan is the best performer of Paganini!

August 4, 2010 at 11:01 AM ·

 prune bun is better.

August 4, 2010 at 12:27 PM ·

I pefer prune too!!! they are exquisite... Look, I enjoy listeneing to lesser known violinist and I love both above- mentionned...But the question is: the best in Paganini and Bach!!!! This, I do not agree with. I could tell you that the best Paganini I have ever heard in a concert hall was played by Ruben Agaronian, a student of Yankelevith, during the early 70,s ,who played a jaw dropping Nel cor piu non me sento...He  is not famous at all today and completely forgotten nowadays... Heard Phillip Hirshon too!!!

August 4, 2010 at 06:14 PM ·

John: you are so lucky to live in Old England... I am planning to make a trip out there with my brother Mickael in about two years... He went there many many times and gave me beautiful pictures...

August 4, 2010 at 06:25 PM ·

And I would add,the more I think about it, you are absolutely right. Why do we listen to these unfamous violinists of the past? Because they display such an individual sound,which is not the case today. Most today sound quite alike. I think about Georges Enesco: he was not Heifetz, but in te castle of the lesser known, here is one that touches me deeply... and so many others.

Hristo is bringing up a very interesting subject, and we should be grateful. We have talk so much about Heifetz and Kogan,and forgot about the others...

August 4, 2010 at 07:23 PM ·

 Greetings,

Enesco iswell known and loved among the fine Japanese players of today.  Hirschorn will never be forgotten, thanks in part to you tube.

Cheers

buri

August 4, 2010 at 07:52 PM ·

Check out this guy - Guiseppe Gaccetta.

He was apparently a direct link to the Sivori method, Paganini's only student, the method is considered the lost secret technique of Paganini.  Involves hanging weights from your bow arm at one stage!

Some sources indicate that the first instrument  Paganini studied was the guitar, hence his unique approach to LH technique. Not the modern guitar though, the smaller classical guitar in Italy at the time is what is now known as a half size guitar.

http://www.musicherie.com/Artisti/Gaccetta/CDGaccetta/CDGaccetta.htm 

August 4, 2010 at 08:13 PM ·

"He was 70 when he recorded these Caprices,  not having played for 40 years."

Yes, I can hear why he hadn't played for 40 years!!

August 4, 2010 at 09:20 PM ·

John: I still have the program of the 1972 program of the international violin competition in Montreal: they spelled it at the time Agaronian... Well, we had Charles Dutoit for so many years with the Montreal Symphony... Yes ,the influence is strong...But we like Elgar, Walton as well and many other great English composers. Of course we like German and Russian music. Montreal Orchestra has a wide reputation in the world and many of the greatest conductors are invited all year to perform with the musicians. Now, the music director is Kent Nagano and next year, we will have a new concert hall, especially built for the orchestra, all in wood. It will be great for the acoustic and to welcome foreing  ( I dont remember how to speel it- oupps) orchestras. I know the New-york phil. is interested and several others. Pavo Jarvi and Hilary Hahn were here a couple of days ago... We have many summer festivals and the best soloists, orchestras and conductors are attending at Lanaudière Festival...

Ah! those french guys and their mispelling. Still read Shakespeare and Joyce. Love English litterature and movies...Glenda Jackson in Russell's old movies, Vanessa Redgrave and so many others I will not name because of the spelling!!!

August 4, 2010 at 09:42 PM ·

My Italian is pretty rusty, but as far as I can understand Gaccetta's recording of the 24 Caprices was made in 1931, as he was 17 years old and had played the violin for 4 years. AFAIK the first complete recording of the 24 Caprices:  Pretty impressive IMO, also considerating it was recorded on wax...

As for Abadijev, I never have listened to a recording of his solo Bach (anyway this music is too complex to have a "best" interpret IMO) or Paganini, but after listening to his "Introduction and Tarantella" by Sarasate I was really amazed, top-class playing from the first to the last note, can really be compared to all the real greats IMO   

August 4, 2010 at 11:56 PM ·

John: I believe he wished it to be so. I have seen an interview of him saying that only Martha Argerich really deserves to be a soloist and few others. He was a perfectionist. Have you heard the violin and piano sonata of Guillaume Lekeu played by him? It is sublime. He is maybe the very last indivdual violinist in the rank of Heifetz and Kogan... He never had the chance to play on a great instrument and never played in the U.S.A., more specifically in the big town of New-York.  Big mystery...Maybe there was no room for such a phenomenal player...

August 5, 2010 at 04:16 PM ·

Isn't this a silly discussion? What would a Bach fiddler have in common with a Paganini one? It is like saying, "Who plays the best Tchaikovsky and kosack folktunes?" It is a totally different set of skills.

An Personally I wasn't too impressed with Abadjiev. His Bach is one dimentional with only one kind of frasing, and his Paganini lacks the same things + tonal variation.

August 6, 2010 at 12:41 PM ·

I'm sorry, but I don't agree. Again, that is just my personal opinion and my opinion is based on the fact that I have listened to quite a few recordings in my days, and played most of these pieces.

His Brahms lacks imagination, unflexible vibrato and flat dynamics. Except for the accents that are almost always late and too powerful. Just listen to the third movment.

The Paganini 1 has a good tempo, but that's it. His staccato only works for the downbows, he must be missing almost half the notes on the upbow, it is almost legato. Try to follow the repeted ote in the bass voice or try to hear the A-string on the up-bows. And where are his tone on the thirds? And again - he uses almost no variation in dynamics.

There is no piece in this collection that makes me think that he was a great violinist. Decent, yes. Good? Perhaps. Great? No

August 6, 2010 at 01:56 PM ·

About Philippe Hirschhorn, those unfamiliar with his art should urgently get the 3 cds box issued by Doremi with live recordings of the Brahms, Sibelius, Berg, Tchaikowsky and, live at the QEB competition,  Paganini 1st concertos. Also contains Tzigane, Brahms' 3rd sonata.

Cyprés has issued the complete recital he gave in Brussels after he won the price and a double cd with some of the above and the Beethoven concerto.

 The excerpt with him watching his perf. of Chausson is part of a one hour documentary that was shown on Arte (or Mezzo?) some 10 years ago. He was already ill, diagnosed with a brain tumor and looking backwards at his life and career. Extremely moving

August 8, 2010 at 10:38 PM ·

I'll look for these guys on youtube, but to say who is the 'best' is, in my mind, impossible to say. Who you like the most, is another thing. If we listened to Paganinni play his own caprices, today, would we say he was the best?  Well, of course, but it depends on whose standards.

 

August 8, 2010 at 10:54 PM ·

BUT

I listened to Vasco Abadjiev, on youtube. He has the Cantabile in the palm of his hands (no pun intened), and that Italianesque musicality, now outdated in a way, and what I mean by that is that a lot of violinists play the Paganini concerti like they're playing Tchaikovsky (e.g., in my opinion Sarah Chang).  I cannot believe that was what Paganini intened, to me it's actually ugly, too techy, no Cantabile, no Italianesque, so in that sense, yes, Vasco is far superior, but then...that's only my opinion...perhaps arguable, but my opinion nonetheless. 

August 9, 2010 at 09:33 AM ·

Mr Toma -

The thing he lacks, in my opinion, is cantabile... He doesnt take care of his frasings at all, almost invaribly he cuts of notes in sub-frases to convey a bigger picture. That is bad taste to me. And he only uses bowpressure to make accents, and at times on the wrong places. Compare to other bel canto players like Campoli or Prihoda and you will see what I mean.

And about his Paganini sounding like Tchaikovsky, I'll bet that it did! Because it sounds just like his Brahms :)

Again, only my opinion...

August 9, 2010 at 09:57 PM ·

The first Capriccio is written Andante and is seldom playedt hat way...It is much more effective as indicated and allows more freedom to the performer to be imaginative...

August 10, 2010 at 01:25 PM ·

Ossy Renardy, aged 18,did record the complete Capriccios for Remington in 1939, with piano accompaniment. He is the only one so far who played the first one as indicated. God save the King and Nel cor più non me sento lasts variation are also more effective played that way. I believe that most violinists do have a lack of control in that kind of "jeté". Looking at Paganini's original and first edition of the cappricios, it is obvious that his bow technique was highly developped,more than today's players. James Ehnes is the only violinist I know who plays the original version, and his last recording issued in october 2009 is truly outstanding and towers all the other versions, not only because of the technical passages wich are done with an uncommon ease, but also because of the beauty of sound and the cantilena. He played all of them in Salzburg in August 2009,before the recording session, and had fantastic reviews...

August 10, 2010 at 02:41 PM ·

The intro by Barbieri about the tempo of andante must be viewed through his eyes. He played the first caprice at 1:47 back in 1982. That is about middle in the bunch.

Some timings for comparison. I have not looked through my lp's or cassettetapes where there are no tinmings written out, and these are not all of my cd's either, but enough for a general grasp of tempos:

Abadjiev  2:12

Accardo 1970  1:45
Accardo 1977  1:47
Accardo 2003  1:50
Augustyn  1:48
Barbieri 1982  1:47
Becker-Bender  2:04
Benvenuti  1:42
Bradley   1:48
Chumachenco 1990 1:53
Chang   2:08
Epstein   1:52
Ehnes   1:49
Ehnes 2009  1:46
Erhli    2:08
Fedotov   1:38
Fischer   1:47
Garrett - Canino 1:55
Gringolts Pag comp 1:52
Kaler   1:56
Kamio   2:08
Kavakos 1989  1:49
Kawaciuk  1:57
Kim, Soovin   1:55
Koelman   1:44
Kwak   2:02
Malikian  1:57
Markov   1:56
Midori   1:50
Milenkovic  1:58
Mintz   1:38
Oistrakh, Igor 1973 1:46 
Paetsch   2:01
Papavrami   2:04
Pasquier   1:49
Perlman   1:38
Pikaizen live 1984 2:01
Quarta 2002  1:52
Rabin 1950  1:45
Rabin 1958  1:56
Renardy 1941  1:34 (Does 2 cuts)
Renardy 1953  1:44
Ricci 1949  1:35
Ricci 1956  1:44
Ricci 1988 live  1:45
Ricci 1988 studio 1:51
Ricci Dynamic  1:47
Rogliano  1:38
Schmid 1995  1:47
Schmid live  1:38
Shimizu   1:59
Tchakerian  1:58
Turban   2:05
Vasile   2:01
Yang Tian-Wa  1:48
Wawrowski  1:51
Zehetmair 1992  1:45
Zehetmair 2009  1:55
Zhislin   1:47
Zimmermann  1:49
Zukofsky  2:01
 

August 10, 2010 at 02:47 PM ·

And Marc - there are quite a few violinist that play original bowings if you like that kind of playing :)

And I can recommend Julia Fischers new recording with all my heart, It is the best in recent years!

August 10, 2010 at 03:23 PM ·

Julia's is excellent and faithful to the original. But I much prefer Ehnes tone , which is more colorful and his bravura. The real challenge is to be able to perform them live and sound as good, if not better , than a recording. And this, alike the solo Bach, is something rather different. Ehnes is always constant in that particular aspect and sounds always better in the hall than"canned"... Same for Hilary Hahn who performs live the most challenging repertoire (Ernst Elgorking-Last Rose of summer). I prefer Julia in the standard repertoire, like the Brahms concerti. This recording of her just drives me wild.

August 10, 2010 at 10:57 PM ·

Mattias: Compare to other bel canto players like Campoli or Prihoda and you will see what I mean.

Mattias, I listened to the two violinists you mentioned, but I cannot agree with you at all on this, even regarding Prihoda, who does quite nicely with Paganini.  Just my humble opinion, limited by much, needless to say. A lot to learn in this post, definitely enjoy learning from this.

 

August 11, 2010 at 12:08 AM ·

As stated by so many reviewers and famous musicians like Shubert, Paganini was not only appreciated during his career for his unmatch virtuosity at the time,but for his uncommon cantilena. Ghur, who wrote "L'Art de jouer du violon de Paganini" and published his quite exhaustive study during the lifetime of Paganini, insisted on the slow movements and his cantilena always sustained by "a tremulant motion of the left-hand ". This was continuous vibrato as I understand it and was a way of playing that Spohr considered to be of bad taste. It is obvious when you read the book of Spohr on violin playing that he did not understand the motion,and that he performed it alike a trill, being short and circumstantial... He was followed by Vieuxtemps, Joachim and Ysaïe, until Kreisler changed everything concerning that particular matter...

Ghur said that fellow violinists did not understand Paganini's cantilena and his particular way of oscillating the left-hand,imitating tthe famous singers. In most Paganini performances,there were always opera singers assigned to perform with him. In fact, Paganini himself imposed bel canto in all his appearences, because for him,the violin was like a mezzo soprano. He befriend Rossini, La Malibran, and many of his pieces are based on famous opera excerpts.

Shubert said "I have heard an Angel" referring to the Adagio of the second concerto (La Campanella). Some reviewers, accustomed to the senza vibrato adagios performed by others,thought that Paganini was playing fast in the slow movements because of the intense vibrato and the operatic "fioritures" featured in his adagios...

September 7, 2010 at 07:57 PM ·

 

Gentlemen’s,

It is fantastic that you have taken part in the discussion, aroused by
Christo, about Vasko Abadjiev. First I have to say that I’m sorry not to be
born in England to speak your perfect language \not only by that\ and you
have to put up with my Bulgarian-English. After reading all, it is obvious
that it is impossible to be determined who is playing better a certain
musical style, not to say who is the greater, because the ‘Greatests’ are
different as personalities and way of playing. The ideal consists, if single
fantastic played parts, taken from everybody, are connected together by our
essence! I’ve taken in consideration many perfect performers in building up
my conception about the performance of many works that way, without denying
somebody. Although a work is estimated pure individual, it may be influenced
and by an unique performance too! But your way of estimation is based only
on your own pure individual perception, so it is not suitable to speak about
whose performance and who is the greatest, but only about ‘who I like
better!’. As a rule, to play every evening life a 'Nel corpio non mi sento'
like the easy of Serenade by Schubert means that one is not ‘ordinary’, dear
Mattias – never mind you like, or dislike his performance, or the way of
producing his tone!! There are and some other reasons too, connect with the
appreciation of the ‘Greatnesses’. One is that I always know who I’m
listening to from the old generation, whether Hubermann, Kreisler,
Kulenkampf, Tibeau, Menuhin, Schneiderhan, Francescatatti, Haifetz, Ricci,
Oistrah, Kogan, Weimann. Because they are so different and with very
explicit expressed individuality of tone creation and conception of style!
But I can not tell the same about the younger one. Some of them are perfect
violinists and musicians, indeed too, like Julia, but it seems they to be
build up from a same mould, basically about their tone creation – trying to
play ‘on the cord’ and with very much expressive vibrato in fast rate of the
frequency and amplitude, sometimes connecting only with the moving of the
single finger, which causes a constant short breaking up of the cantilena,
instead with a constant, independent trembling of the wrist vibrato like the
human voice. They discern from some nuances of temperament, of course, but
have not that peculiar imposing personality of the olds. And Vasko can not
be compared with them all and is an exception too! I can listen him and from
the moon, but will know him still from the first bar, because he is, as
personality and quality of tone, different and from all others olds. There
is some crystal clear sound of his cantilena with a constant, I would say
‘classical’ vibrato with not big, but modest amplitude and frequency. And
with a specific clarity of every single tone of fast legato passages, as if
they are played not by fingers, but by little mallets. Of course, only to be
different does not mean that you are great. It is in relation and with the
tone creation, connected with ‘Einschwing’ ‘Ausgleich’ und ‘Ausschwing’
Vorgaenge’ \processes of the beginning, changing the loudness and ending of
tone producing – beg your pardon that I do know only the German
terminology\, bow technique and the connection between bow pressure and
frequency and amplitude of vibrato, and individual conception of the music
and sense of style, of course! And still something which can not be grasped
and said exactly! Vasko has all that when playing Paganini and Bach very
serious, or with different nuances of stressing the culminations of the
musical line, applying more or less rubato - without any changes of the
conception in every recital! And with acoustical sense too, because the
music of Bach is connected and with the church reverberation, neglected by
many violinists and conductors when playing home, in chamber or in concert
halls. As though he had ever lended an ear to the answer of the
reverberation of the cathedral to listen the echo of his chords. And it is
very boring to listen to a Bach, played without that sense of listening to
after some chords!

The first stage of appreciation of a performer to the top is only after your
own conception. This was with the beginning of our development we had
experienced in the conservatoire. We had a favorite single performer of
every concerto and have denied everybody who played it different. Later,
like sound director and sound engineer, I came to the highest second stage
of musical development. To grasp the conception of the performer and to
judge in what an extent he has realized it or not! At this point may be
appreciated the perfection and the greatness of a performer. If you dislike
something, it must be connected and with the ability to show him in what a
way to play better – never mind instrumentalists, or singers! And I did it
36 years and with the Greatest. But that does not mean that I had to deny
everybody who did not share my conception and to try to impose it! To deny
Vasko’s phenomenality only because of different conception, dislikeness, or
manner of playing is, beg your pardon, not high professional. Because the
music is the single art which can be expressed by different interpretation
and this is what makes it eternal. And that is also one of the reason why we
are listening to innumerable times one and the same work we know it still
from childhood, has studied to play it, recorded and transmitted it and
listening to by TV and Radio. The greatness of the performer is to see and
create some new features to it! And Vasko is doing this in a classical and
virtuous a way!

It seems, Mattias, that you are a very good violinist too, after having
played the Vasko’s repertoire. So, I’m surprised that you have not grasped
the way of his playing violin – by constant hitting with the bow the strings
which is more difficult to do without producing a noise, like an ordinary
violinist, but only pure sound. Everybody can make an arpeggio blur by a
saltato-legato, based only on one accent down-up with the bow, but do try to
play it spiccato-legato by every tone single hitted sharp and clear with the
bow, leaping all the time high over the strings!! So, it is obvious that the
tempo can’t be very fast. Or try his recouche – lasting equally to the top
of the bow \die Spitze\ doing every tone clear like spilled hazelnuts on
marble floor! And his double flageolets – clear, always in tune and sure
like being played separate by two violinists! Or the clear distinction of
every single tone of his pizzicato, made only with the fingers and bow. I’ve
played all great violin concertos, had and ‘staccato volante’ only from
up-down, but tried never to learn that ‘Nel’ only because of that dammed
doubled flageolets, recouche and pizzicato only by fingers which may cause
to run blood from the top of them. And what for? – Only some very hard
variations of a simple elementary melody which the boys are whistling on the
streets, without any applications to the other serious repertoire, with
exception of some of Paganini’s – so, senseless great efforts for little
use! It is needed months severe every day work for having them sure and
Vasco has to be respected only for that toil of managing to work out so
precise that specific, so rare applied technique – instead being called
‘ordinary’. \I made 3 hours, or so, montage of that flageolets of the third
part of his first concerto of a former student of our conservatoire who
ventured to play it. But Vasko played them of his many recitals always
without any kicks with the easy of whistling - to be called ‘ordinary’! \.
It seems that only violinist can estimate and respect a violinist, having in
view how many years are needed to be worked out some of that bow
‘specialties’ \I worked out 10 months - 2 hours every day - ‘staccato
volante’ until the trembling of the nerve began to produce 100 notes in bow
up-down for some seconds and stopped to work out and the ‘down up’,
considering it as not needed boasting violinist vanity. Haifetz have them
both\. It can be applied, at least in more nice pieces than those double
flageolets. The system of teaching improves and the changing of the bow,
doing it hardly audible too! \But I will not advise every violinist to try
to learn it, because it is highly individual, depending only on a certain
nerve structure which can not be foreseen at the beginning and can not be
achieved and at the end of your life. Many great violinists do not possess
it, like our concertmaster of the Philharmony – a famous virtuoso, which I
teased behind his back with Paganini concerto passage, he cursed me, but at
the end begging me smiling to do it to see how it runs, saying that I have
been born with it. If you do not succeed, you will have at least the
advantage to improve the changing of the bow without being heard and your
portato-detache, important of playing Bach, instead with that boring
constant pressed detache, without implying the spring of the bow; and a very
effective martele too \.

I have all reasons to deny Vasko, after my way and conception of playing
being contrary different – with never hitting the string, all accent on it
and without any glissando by going to highest positions – he is doing it
rare too - and with more rubato playing with deeper dynamical nuances. But
how could I, when had admired him, having never in mind my conception?

I knew Vasko personally. Had recorded him, when he came only once in the
studio of the Bulgarian Radio and I’m sorry that the editor did not want he
to record Paganini, but only the ordinary Sarasate. So, the records you have
heard are done by the worst acoustical conditions in overloaded with
listeners halls, practically without any reverberation time, by technicians
with a single mike, put on one meter, or so, distance.

And the records of the mentioned Greats were victims of three reasons too.
1. The flaw of the first condenser mikes that had a resonance in 70 Hz has
created the wrong consideration that the big reverberation of a hall is a
great shortcoming for recording. And that changed the conception of the
acoustics of concert halls and studious too. 2. So, there were build up dead
studios with reverberation time below 1 sec, and concert halls like Playel
in France - below 1. 5 seconds, in which the orchestras and instruments
began to sound awful in comparison with Gewandhaus and Vienna conception! 3.
The old recording staff had no idea and about the contemporary way of
recording - to recreate and mix up the sound of the three acoustical fields
in a hall – of the direct sound; of early reflections, and if they are
exceeding 30 milliseconds time delay gap, to recreate them by mikes, distant
from the supporting ones about 6 meters; and of the diffused field over 2
sec. which, in my country, exist only in Bulgaria Hall when empty and after
rain! – Not to speak about the contemporary multychannel digital consoles
with filters from 32 to 10 000 Hz and with compressors and limiters, when
not competent used, bringing more harm than favour of the dynamical nuances
and diminishing the range pianissimo\fortissimo of the records to 15
decibels instead of 55, 60 - I’m listening to very often on ‘Mezzo’. And
digital devices for artificial reverberation. That gives a great advantage
of the ton quality to the contemporary violinists. At that time we had only
a 4 channel portative Siemens without any filters, and the records are
giving some wrong impression about the real tone with more high frequencies,
because of that most direct sound! It is strange that although my ears were
some centimeters near to the violin, I’ve never heard in my life in the room
such abominable hissing and sharp tone reproduction, but here is not the
place to be spoken about!

I’m surprised, Mattias that you are speaking about wrong accents and musical
line. It is impossible, because Vasko belonged to the school of all
mentioned ‘Greats’ and he was surrounded by constant admiration of all
Europe and has maddened and us, Bulgarians, too, with his perfect artistic
playing, intonation and modesty. Everybody called him Vasko and spoke him in
Du, not in Sie form. Sometimes he used to be up of playing and played, as if
he was watching himself from a distance, thus creating a sense of coldness.
But it was impossible he to play out of tune and one single tone, or with
flaws in virtuous passages, because his technique was inborn to him from 6
year old boy! And it is not typical of his CD, produced now. Once I had
transmitted such a way played Brahms concerto of his. When at the end I came
to say him: ‘Hallow’, he looked at me with his ridiculous smile and asked me
sardonically: ‘It was good, isn’t it?’. But after seeing my embarrassment
what to say he laughed and said; ‘Now I’ll show you how I can play’, turn
abruptly and went on the stage. And then I heard the real Vasko in the 10th
Hongarian dance by Brahms. There was a sudden explosion of Gypsy passion of
vibrato still at the first chord, spilled out in the broad melody of coveted
dream for love, with the expression of sudden and vast contrasts of tempos
and moods. I’ve never heard this dance played with such most genuine
expressed different feelings and moods. And the same has happened and with
our best conductor Dobrin Petkov. \His unique performance of Tchaikovsky’s
‘Pathetic’ has caused in my presence the conductor and composer of modern
style Vassil Kazandjiev to cry enthusiastic: ‘I have never heard in my life
this simphony in such a concentrated and deep manner without any hysteria
which happen to some conductors!’. It had evoked and the admiration of the
English conductor Sian Edwards. She has graduated additionally and Leningrad’s
conservatoire by the professor of Temircanov Misin, is up by Tchaikovsky and
was amazed that in Bulgaria had existed such a great conductor. You may have
his CD after getting in touch with his daughter Anna Dobrinova –
bgiss@yahoo.com \. After being reproved of an indifferent played Paganini
the 1st, Vasko, slight exasperated, has said to him: ‘Let’s go in your home
to show you how I can play Paganini’. And Dobrin, who had also played it and
studded in London conservatoire by Paul Beard, told me; ‘Such a wonder I had
never heard in my life!’.

I haven’t seen a violinist to wait to play not until the last bar of the
introduction with his violin hanging down, but until the last time. Then in
a fraction of a second it is shooting like rocket under his skin \he was
playing without ‘pillow’\ and the Re of Brahms is hitted by the bow. I was
stunned also like Oistrah from his sonata 2 by Bach, but did not stopped to
play like him Bach two years. The building up of its musical lines with the
different intensity of the vibrato and pressure of the bow and its
intonation are remarcable and all voices of its tremendous fugue are
explicit without any additional noises, although hitted hard by the bow like
ax. He has the advantage of all Greats his vibrato to be independent from
the movement of the fingers and possessed all possible bow and finger
technique to be considered ‘ordinary’!

This is all objective in short which can be said about his amazing constant
technique and consistency of style in his performances! \To listen to many
times four perfect ‘Nels’, played in different recitals and to ponder hard
which to prefer for CD – that is Vasko! – The same problem I had with the
two times recorded every part of Beethoven‘s violin concerto with Ricci\.

 Author   STEFAN VLADKOV tone expert of Bulgaria National Radio

September 8, 2010 at 06:07 PM ·

Yes. Not only alphabet is the reason! At 1878 russian army started a big war against Turky Imperia( so called Osman imperium). The goal was the liberation of the slavs, as bulgarian are, from the 500 years long power of Osmans. So on this time is a start of the Third Bulgaria State.  

September 9, 2010 at 05:16 PM ·

I read in Abadjiev biography on youtube that 'his family settled in Berlin at the beginning of WWII..wow!! I suppose they would go to Tehran should they live now?

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