Videos of Kreisler Playing

July 18, 2018, 2:13 AM · Anyone know of any videos of Kreisler playing live? I can't seem to find any.


Thanks

Replies (7)

July 18, 2018, 6:11 AM · Hi,

Apparently, there is only one, which a short clip of a silent film. You can find it under "Kreisler silent film" in YouTube. Unfortunately, it seems under all accounts that nothing else is available, sadly.

Cheers!

August 3, 2018, 10:09 AM · It has always seemed obvious to me that we can catch "glimpses" of our teacher's playing in our own playing. And it is certainly the observation of many that the students of well-known violinists and teachers share some of their mentors' technique, sound, and interpretation. No?

If so, then if there isn't a video (or audio) of some great violinist of the past, is it possible that we can glean something of their sound from the playing of their students who lived into the recording era?

I'm thinking in particular of Zino Francescatti. He is certainly immediately recognizable in terms of his technique, vibrato, and approach to music. He had pupils; but to my knowledge (and I may be wrong about this since I'm not sure who they are), no one ever sounded like Francescatti before or after his presence on the scene.

Consider this:
Zino Francescatti's major teacher was his father, Fortunato, who was a pupil of Paganini's only regular pupil, Camilio Sivori.

Is it possible that when we listen to Francescatti we are getting very indirect but actual glimpses of what Paganini (who died in 1840, well before the invention of recordings) actually sounded like?

Any thoughts?

Cheers,
Sandy

Edited: August 3, 2018, 11:10 AM · The teacher of the principal cellist in one of my orchestras was a pupil of Casals. When our cellist temporarily vacated her leader's chair to perform the Lalo cello concerto with us recently I was hearing a clear reminder of the Casals vibrato and tone in her performance.
August 4, 2018, 1:48 AM · Sander - Not a chance. Milstein, Seidel and Heifetz sounded totally different, and none of them sounded like their teacher.

Pikaizen and Kremer sounded nothing like Oistrakh.

The list can go on and on.

August 4, 2018, 10:14 AM · Mattias:
Good point, and I certainly don't consider my comments universal.
However, think about the recognizable ways that Erick Friedman is similar to Heifetz, and that Igor Oistrakh is similar to his father. I'm not saying that the pupil is an "exact copy." I'm just saying that there are likely characteristics (technical and interpretive) that may very well be even subtly similar. That's one of the ways all of us are influenced by great teachers in any field. So why should that not be so for musicians?
Anyway, thanks for your comments. Healthy differences of opinion are one of the things that make this a great website.
Cheers,
Sandy
August 4, 2018, 11:24 AM · I agree about Friedman (he had a carrer before he came to Heifetz, it would be interesting to hear some tapes of that :) )
But also Pierre Amoyal and Rudolf Koelman where students of Heifetz...

And Igor was not primarily a student of David, but rather of Stolyarsky (as was his father and many others that doesn't sound like King David).

While I do believe that it is possible to sound as your teacher, I find it quite unlikely, and a very unreliable way to use to guess how older violinists sounded.

Edited: August 4, 2018, 2:32 PM · I completed degrees in a social science discipline in which 8-12 years of study is typical. Among my friends and acquaintances, I've noticed some students begin to assume the verbal and non-verbal mannerisms of their mentor (of the same gender) about the time they're getting ready to go on the job market. An interviewer once said as much about me, which I wasn't sure to take as a compliment. Even so, I've never found anyone's writing to echo the writing tics or mannerisms of their mentors even though they share intellectual interests and approaches.

That's to say that maybe some similarities creep up among students when one is not fully aware or thoroughly rehearsed? Probably wouldn't be evident on recordings or in performances, unless it was deliberate.

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