Favorite Performances

This is a list of my favorite performances or recordings of the standard violin concerto repertoire, and perhaps a couple that are not yet so standard.  The word “favorite” does not necessarily mean “best,” it just means the one I enjoy the most or the one that speaks to me best or the one I favor for reasons I can’t readily explain.  Just as are my choices of violinists who are profiled here, the list is completely arbitrary.  You will notice that Heifetz figures somewhat prominently and perhaps he would have been named even more times but there are many concertos which he – to the best of my knowledge - never recorded: the Barber, Berg, Dvorak, Haydn, Khachaturian, Mendelssohn 1, Saint Saens 3, Schoenberg, Schumann (!!!), Shostakovich, Stravinsky, and Vivaldi.  Heifetz is named 12 times; Isaac Stern is named 1 time,  Gil Shaham is named 2 times; Michael Rabin is named 2 times; all the rest only once.  Not counting Vivaldi, there are 42 concertos included. I also threw in a few concert favorites which are not concertos but are very frequently played. 

Actor                        Pip Clarke

Bach 1                      Vladimir Spivakov

Bach 2                      Isabelle Faust

Barber                      Elmar Oliveira

Beethoven                Arabella Steinbacher

Berg                         Ivry Gitlis

Brahms                     Jascha Heifetz

Bruch 1                     Isaac Stern

Bruch 2                     Jascha Heifetz

Conus                       Jascha Heifetz

Dvorak                     Joseph Suk

Elgar                        Jascha Heifetz

Glazunov                  Ilya Kaler

Haydn 1                    Judith Ingolfsson

Khachaturian            Leonid Kogan

Korngold                  Jascha Heifetz

Lalo 2                       Joshua Bell

Mendelssohn 1         Yehudi Menuhin

Mendelssohn 2         Gil Shaham

Mozart 3                   Arthur Grumiaux

Mozart 4                   JuliaFischer

Mozart 5                   Jascha Heifetz

Paganini 1                Michael Rabin

Paganini 2                Tedi Papavrami

Paganini 3                Henryk Szeryng

Paganini 4                Uto Ughi

Paganini 5                Salvatore Accardo

Prokofiev 1              Jascha Heifetz

Prokofiev 2              Jascha Heifetz

Saint Saens 3           Zino Francescatti

Schoenberg              Zvi Zeitlin

Schumann                Frank Zimmermann

Shostakovich 1        Leonid Kogan

Shostakovich 2        Itzhak Perlman

Sibelius                    Jascha Heifetz

Stravinsky                Hilary Hahn

Tchaikovsky            Tossy Spivakovsky

Vieuxtemps 4           Jascha Heifetz

Vieuxtemps 5           Jascha Heifetz

Vivaldi 1-50             Fabio Biondi

Vivaldi 50-100         Giuliano Carmignola

Vivaldi 100-150       Simon Standage

Vivaldi 150-200       Enrico Onofri

Walton                     Jascha Heifetz
Wieniawski I           Gil Shaham 

Wieniawski II         Michael Rabin 

Zigeunerweisen       Joseph Lendvay 
Zigeunerweisen      Arthur Grumiaux 
Zigeunerweisen       Mischa Elman 

Zigeunerweisen       Leila Josefowicz 
Tzigane                    Jascha Heifetz 

Poeme                      Jascha Heifetz 
Rondo Capriccioso Leila Josefowicz 

Bach Chaconne       Viktoria Mullova 

Why Dilettante went down

This will sound off topic, but.... Most of us have heard that the music web site Dilettante was shut down recently. I can only provide a good guess as to the reason but I bet it is close or right on target: it ran out of money. Many small businesses fail for the same reason – not enough up-front capital. However, there is a difference in this case and that is that the site is (was) an arts site. As such, it needed patrons - the kind that help fuel the top orchestras and ballet companies and museums of the world - not investors and not more members and not more advertisers. Without philanthropy, the arts would be dead. That’s not the way things should be, but, as long as the massive money goes to Frank Sinatra and Liberace and the Beatles and Lady Gaga, that’s the way it is. With patrons by his side, Mozart might have lived a longer life. Bach and Handel and Haydn and Beethoven and Wagner and Stravinsky did. What does any of this have to do with violins? We are all in this together, whether we are on stage front and center at the Met or playing last chair in the second violin section of a small regional orchestra.

Most Dangerous Orchestra in the World?

This afternoon, NPR had a segment on their show (All Things Considered) about the UACJ (Universidad Autonoma de Ciudad Juarez) Orchestra.  Juarez is, of course, one of the most dangerous cities in the world, if not the most dangerous.  Violence has gotten out of control – to a point way beyond what anyone anticipated - and the authorities are overwhelmed.  The violence is amplified by the fact that, more often than not, it is unpredictable.  In that context, about five years ago, a symphony orchestra was formed by a young but experienced conductor from Mexico City, the Juarez University, and about 45 intrepid musicians from Chihuahua City, Ciudad Juarez, and the U.S.  Northern Mexico had few trained classical musicians so finding players from this side of the border was crucial. Everything we now play is being heard live for the first time. We played Beethoven’s Ninth two years ago – that was a premiere for Juarez.  We did Beethoven’s Fifth – same thing. We played Carmina Burana two weeks ago – same thing.  From Bach to Vivaldi to Mozart to Puccini – everything is a premiere.  We presented the Nutcracker ballet last year for the first time and (the demand was so great) we had to add an extra performance this year.  Every opera we have ever done is a first for Juarez – we double as a pit orchestra and we have already played eight or nine different operas.  We are not the Berlin Philharmonic (not even close) but everything we play is received enthusiastically – mostly to sold-out houses in a theatre that accommodates 1800 concert goers.  The theatre is just eight minutes from the border (by car) but there is no guarantee you’ll make it there (and back) safely.  Since many of the American players have frequent engagements in the U.S., the orchestra’s schedule has to be designed so as not to interfere with concerts on this side.  Last Spring, due to several well-publicized murders, more than half of the American contingent refused to venture South again but replacements have been found (though we could use two more viola players.)  The great irony in all this is that while our audiences in Juarez cheer wildly after concerts there, our sparse audiences here – in the safest city in the U.S. – only applaud politely.  I give our magnificent Juarez audiences lots of credit because I know that beyond the courage it takes to play the concerts, it takes courage to attend them.  (Violin photo courtesy of Daniel Houck)

What if

If the great composers were still alive today, would they still be writing great music? Or, would they be caught up in the minimalist, atonal, and serial movements? I'm talking about Handel, Mozart, Tchaikovsky, Beethoven, Bach, Verdi, Brahms, Vivaldi, Haydn, Stravinsky, Sibelius, Bizet, Schubert, Puccini, Prokofiev - those men.

Francesco Geminiani

Francesco Geminiani was an Italian violinist, composer, and music theorist born on December 5, 1687 (Bach was two years old.) He studied with Alessandro Scarlatti, Carlo Lonati, and Arcangelo Corelli. From 1711 (from age 24), he was concertmaster of the opera orchestra at Naples. In 1714, he went to London where, in 1715, he played his violin concerti (with Handel at the keyboard) at the court of George I. He went to Paris for a time but returned to England in 1755. He is best known for three sets of concerti Grossi - 42 concertos in all. Geminiani also wrote and published The Art of Playing the Violin (1751), Guide to Harmony, solos for the violin, three sets of violin concerti, twelve violin trios, The Art of Accompaniment on the Harpsichord, and The Art of Playing the Guitar. Geminiani was also a collector and dealer of fine art though not always successful in this endeavor. I do not know if recordings of his complete works have been produced. He died in 1762, at age 75 (Bach had been dead for 12 years already.)

Francois Francoeur

Francois Francoeur was a French violinist and composer born on September 8, 1698 (J.S. Bach was thirteen years old.) He was first taught violin by his father, an orchestral bass player (and member of the King’s 24 Violins – 24 Violons du Roy), then entered the Royal Academy of Music (Paris) at the age of 15. After appearances in the major European cities, he returned to Paris and eventually joined the King’s 24 Violins also (1730.) In 1739, he was appointed music instructor at the Opera and Opera Inspector in 1744. He moved up to Manager of the Opera in 1753 and then became Music Master to the King (1760.) Along the way, he composed 10 operas, a few ballets, two books of violin sonatas, and other small works – music which is quite forgotten and almost never performed nowadays. It has been said that his compositional style fell somewhere between Baroque and Classical. Francoeur died on August 5, 1787, at age 88 – four years later, Mozart would be dead, too.

Ginette Neveu

Ginette Neveu was a French violinist born on August 11, 1919 (Heifetz was 18 years old.) She was considered one of the greatest of her time, despite a career that was cut short. Neveu was a child prodigy whose first teacher – at age 5 - was her mother, an accomplished violinist. She made her debut at age 7 in Paris with the Colonne Orchestra (at the Sorbonne Amphitheatre.) Further study at the Paris Conservatory, with George Enesco, and with Carl Flesch, completed her training. She is remembered for having beaten David Oistrakh (who came in second) when competing for the top prize at the Henryk Wieniawski Violin Competition in 1934. She was 15 years old. After that, except for the interval during World War Two, during which she did some recording, she never stopped concertizing. She toured the U.S., Australia, Russia, Poland, Germany, South America, and Canada. Her London debut, however, did not come until 1945. Her brother, Jean-Paul Neveu, was often her accompanist. Her favorite composers were Bach, Beethoven, and Brahms. It is said she possessed an intense, powerful sound. There are several videos of her playing on YouTube. Her last concert, at which she played the Sibelius violin concerto, was with the Halle Orchestra – October 20, 1949. A week later, en route to the U.S., Neveu, age 30, died in a devastating plane crash, October 27, 1949. Her brother was with her.

Julia Fischer

Julia Fischer is a German violinist, pianist, and teacher born on June 15, 1983 (Perlman was 38 years old). She was a child prodigy. Fischer began her violin studies at age 4. At age 9, she entered the Munich Academy of Music where she studied with Ana Chumachenco. At age 12 (1995), she won the International Yehudi Menuhin Violin Competition. She began concertizing soon after. She made her Carnegie Hall debut in 2003. It has been publicized that to honor the 250th anniversary of Mozart’s birth, Fischer played on Mozart’s own violin (a Pietro Antonio Dalla Costa) in Salzburg. Her discography is fairly extensive already and her reviews are always full of superlatives. Her recordings of Prokofiev, Glazunov, Mozart, Tchaikovsky, and Bach have won accolades from reviewers. She plays with a ferocious technique but an unpretentious, alluring sound. YouTube has many videos of her performances. A little over a year ago, Fischer played Grieg’s piano concerto in Frankfurt, Germany. On that occasion, she also played the B minor violin concerto by Camille Saint Saens. Fischer uses a Guadagnini from 1742. She is also currently teaching at the University of Frankfurt. Unfortunately, she has a reputation for being very rude and arrogant with colleagues. 

Vivaldi

Antonio Lucio Vivaldi was an Italian violinist, conductor, teacher, and composer born on March 4, 1678 (7 years before J.S. Bach was born). He was nicknamed the Red Priest because he was ordained while in his early twenties (though he almost never served as such) and he had reddish hair. He wrote over 500 concerti (approximately 350 of these are for solo instrument and strings, and of these about 230 are for violin; the others are for bassoon, cello, oboe, flute, viola d'amore, recorder, lute, and mandolin. Approximately 40 concerti are for two instruments and strings, and approximately 30 are for three or more instruments and strings), 46 operas, 73 sonatas, lots of chamber music, and lots of sacred music. His most famous work is The Four Seasons, written in 1723 and premiered in Paris on February 7, 1728. Vivaldi died (in Vienna) on July 28, 1741, at age 63.  It has been said that he made much money but squandered it and died a pauper. (Bach would live another nine years.)