Franz Vecsey

Franz von Vecsey (Ferenc Vecsey) was a Hungarian violinist, conductor, and composer born (in Budapest) on March 23, 1893.  He was a child prodigy in the early part of the last century but is for the most part now forgotten.  There are a few YouTube audio files which attest to his unbelievable artistry at a very young age.  Bela Bartok served as his piano accompanist for a time.  The Sibelius violin concerto was dedicated to him (in 1905) when he was only 12 years old.  Although he did not premiere the concerto, he first played the Sibelius concerto one year later.  His first teacher was his father, Lajos Vecsey.  He studied with Jeno Hubay from age 8.  It has been said that he became Hubay’s favorite pupil.  (Eugene Ormandy and Joseph Szigeti also studied with Hubay.)  His debut took place on May 17, 1903 in Berlin.  He was ten years old and on that occasion played the Beethoven concerto while Joseph Joachim conducted the orchestra.  Afterward, he studied with Leopold Auer in St Petersburg, Russia.  Jeno Hubay dedicated his third violin concerto (probably his best-known among the four he composed) to Vecsey.  Later, after concertizing for about ten years, Vecsey married into an aristocratic family, as did four or five other famous violinists (Teresina Tua, Johanna Martzy, Cesar Thomson, and Georges Enesco come to mind.)   He managed his career from a palace in Venice.  It has been suggested that he became psychologically scarred after serving in the Austrian army during World War One and that his career suffered as a result.  He was very interested in a conducting career in the mid-1930s but became seriously ill just about then and died after an unsuccessful operation in Rome.  Vecsey’s compositional output consisted mainly of miniature violin works, one of which is Le Vent (Caprice number 1), a rather difficult work which is still very popular today.  A 1716 Stradivarius instrument was among the violins he played.  It is now owned by an Italian philanthropic foundation, which also owns other great and valuable string instruments.  Here is a YouTube audio file where Vecsey plays a Paganini caprice.  Vecsey died on April 5, 1935, at age 42.  

Stefi Geyer

Stefi Geyer (Steffi Geyer) was a Hungarian violinist and teacher born (in Budapest) on June 28, 1888.  Although a very popular and distinguished violinist in the early part of the century, she is better known for her relationship to Bela Bartok, one of the greatest composers of the 20^th Century.  Bartok dedicated his first violin concerto (composed in 1907 but not published until 1959) to her, although she never performed it in public.  It is said she had the only copy of the score and did not release it until very late in her life, after Bartok had died.  Her violin studies began at age three – her father was her first teacher.  From age seven she studied with Kalman Adolf, an obscure violinist.  At age ten she began studying at the Budapest Academy of Music with Jeno Hubay, one of the most respected violinists and teachers of the time.  Geyer began concertizing in Hungary and Austria at age twelve.  Her studies with Hubay ended in 1902.  She was fourteen years old.  She toured Europe frequently and was admired for her intelligent and elegant interpretations of a very wide repertory.  She moved to Vienna in 1911.  In 1919 she settled in Zurich.   She was very busy playing throughout Europe, giving over 100 concerts in the 1922-23 season alone.  She toured the U.S. in 1924, although not for the first time.  Geyer taught at the Zurich Conservatory from 1934 to 1953 (one source says 1923 to 1953.)  In 1935 she was appointed concertmaster of the Sacher Chamber Ensemble.  She became the concertmaster of the Collegium Musicum in Zurich in 1941.  Beginning in 1938, she would often play in the orchestra of the Lucerne Festival.  She played a 1742 Guarnerius (del Gesu) violin known as the Soldat.  The violin has an interesting history.  Her recordings from the 1930s are numerous but somewhat hard to find.  Here is a YouTube audio file of one of her recordings from the year 1927.  Geyer died in Zurich on December 11, 1956, at age 68.  

Gyorgy Garay

Gyorgy Garay was a Hungarian violinist, teacher, and music editor born (in Rakospalota) on December 2, 1909.  He is now a very obscure violinist who was well-known in his day.  His first teacher was Joseph Bloch at the Budapest Academy of Music.  Garay was 9 years old when he started his studies.  Three years later, he was a student of Oscar Studer.  In 1925, he began studying with Jeno Hubay and graduated a year later.  Interestingly, his public debut took place in Vienna (1926.)  He made his debut in Hungary (Budapest) in 1927.  Garay soon gravitated toward a career in chamber music, playing violin in the Hungarian Trio from 1927 to 1930.  Between 1930 and 1933, he was first violinist with the Garay Quartet.  In the 1930s, he developed a second career as a soloist in Europe.  Between 1940 and 1945, he was a violinist with the Fovarosi Orchestra in Budapest.  He became principal violinist at the Hungarian State Opera House in 1945 and stayed until 1951.  From 1951 to 1960, he was concertmaster of the National Philharmonic (State Concert Orchestra) – this orchestra may or may not be the same orchestra which exiled itself (to Germany) in 1956 and became the Philharmonia Hungarica.  From 1949 to 1961, Garay was also a violin teacher at the Franz Liszt Academy of Music in Budapest.  In 1960, he became concertmaster of the Radio Symphony in Leipzig (MDR Symphony Orchestra.)  While there, he also taught at the Mendelssohn Academy of Music.  Henceforth, he performed less and less as a soloist.  He gave many premiere performances of new works (mostly by Hungarian composers) and recorded some of these works as well.  Here is one of several of his audio files on YouTube - the violin concerto (1973) by Wilhelm Neef.  Garay died (in Leipzig) on May 15, 1988, at age 78.  His violin was a Stradivarius of 1733 – as far as I know, it bears no name.  It is now played (and perhaps owned) by well-known Hungarian violinist Antal Zalai.  

Daniel Stabrawa

Daniel Stabrawa is a Polish violinist, teacher, and conductor born (in Krakow) on August 23, 1955.  He is very well-known as the concertmaster of the Berlin Philharmonic and easily one of the best concertmasters in the world.  In addition, as almost all concertmasters have done for centuries, he performs as soloist or chamber music player as often as he can.  Stabrawa began his violin lessons at age 7.  He later studied with Zbigniew Szlezer at the Music Academy in Krakow.  He entered the Paganini violin competition in 1978 and came in a respectable sixth place.  He became concertmaster of the Polish Radio Symphony in Krakow in 1979.  He was 24 years old.  He probably worked somewhere else prior to this but I don’t know where.  In 1980 he again entered the Paganini violin competition and again came in sixth place.  He first joined the Berlin Philharmonic in 1983.  He was 28 years old.  Herbert Von Karajan was chief conductor back then.  Three years later, Stabrawa was appointed concertmaster – actually one of three concertmasters.  (German orchestras usually hire three concertmasters considered equals – they are known as first concertmasters.  They also hire two or three concertmasters of lower rank.  It is very unusual for all three first concertmasters to be present for even a few concerts; however, it is also highly unusual for all three first concertmasters to be absent at the same time so this arrangement guarantees that a first concertmaster is always available to play.  Therefore, an associate or assistant concertmaster rarely gets to sit in the first chair.)  In 1985, Stabrawa began playing – as first violinist – in the Philharmonia Quartet (with Christian Stadelmann on second violin, Neithard Resa on viola, and Jan Diesselhorst on cello - Dietmar Schwalke replaced Diesselhorst in 1999. All are Berlin Philharmonic players.)  Here is a YouTube video of the quartet playing a movement from the second of Beethoven’s Opus 59 quartets.  The quartet recently completed recording all of Beethoven’s string quartets.   Stabrawa taught at the Orchestra Academy of the Berlin Philharmonic for fourteen years - from 1986 to 2000.  In 1994, he took an interest in conducting.  He began conducting the Capella Bydgostsiensis Chamber Orchestra in 1995 (possibly 1994) and conducted it for at least seven years, although I do not know if he is still conducting that ensemble.  It resides in Bydgoszcz, Poland, about 225 miles northeast of Berlin and 175 miles northwest of Warsaw.  He has been quoted as saying that he actually conducts very little, which is understandable given the heavy concert schedule maintained by the Berlin orchestra.  He has stated: “If you can direct, that helps a lot as concertmaster.  Orchestra musicians have always felt they could do better than the conductor.  But when you stand in front, you realize: Conducting's like playing the violin, you have to have an incredible technique; you need to know how it works.  Every little wrong movement is transferred to the orchestra.  Conducting is as hard as playing violin.”  In 2008, he founded the Stabrawa Ensemble Berlin.  As far as recording, Stabrawa has recorded most of the orchestral repertoire as a concertmaster, though he has also recorded some solo works.  His solos in Korsakov’s Scheherazade are second to none (and I should say I have heard quite a few.)  His sound has always been described as being very beautiful.  You can judge for yourself here (in a short video, playing one of Jeno Hubay’s concertos with his Berlin colleagues) and here, playing a Wieniawski piece (Opus 20.)  This one features him with Nigel Kennedy playing a little-known duo concerto by Vivaldi. Stabrawa has played a violin by Francesco Ruggeri from 1674 and might still be playing it - of that I am not certain.  

Peter Stojanovic

Peter Stojanovic (Petar Stojanovic Lazar) was a Serbian violinist, composer, and teacher born (in Budapest) on September 7, 1877.  He is largely forgotten.  Several sources have him studying with Jeno Hubay in Vienna and Budapest.  I am not aware that Hubay taught in Vienna but I do know he was at the Budapest College of Music and Budapest Conservatory from 1886 onward.  At the Vienna Conservatory Stojanovic studied with Jacob Grun, who was also concertmaster of the Vienna Opera Orchestra.  Grun was Joseph Joachim's close friend and colleague.  In 1925, Stojanovic was appointed professor of violin and composition at the conservatory in Belgrade.  He was 48 years old.  Stojanovic also concertized throughout Europe as a soloist and with his string quartet.  He later founded the Music Academy in Belgrade.  Among his compositions are 5 violin concertos, 2 viola concertos, 1 horn concerto, one flute concerto, 2 ballets, 2 tone poems, 3 operas, and diverse chamber music.  His most famous pupil is probably Robert Virovai, another obscure violinist.  Stojanovic died (in Belgrade) on September 11, 1957, at age 80.  The world of classical music had changed drastically by then and he had already become so obscure that the Grove Dictionary of Music (edition of 1953) has no mention of him.  You can listen to one of his violin concertos here.  

Joseph Bohm

Joseph Böhm (Josef Bohm) was a Hungarian violinist and composer born (in Budapest) on March 4, 1795.  He is best known for having been the Director of the Vienna Conservatory and the teacher of famous violinists; Joseph Joachim, Jeno Hubay, Jacob Grun, Heinrich Ernst, Eduard Remenyi, and Jacob Dont among them.  He is also considered the founder of something called the Viennese School of violin playing, whatever that means.  His first teacher was his father, concertmaster of the Pest Theatre Orchestra.  Later, he studied with Pierre Rode.  Bohm made his public debut in Vienna in 1816.  He was 21 years old.  He toured Europe as a soloist for several years.  In 1819, he became the first violin professor at the Vienna Conservatory.  Vienna was the musical capital of Europe at the time.  In 1821, Bohm established a string quartet.  He also became a member of the Court Orchestra - the Imperial band.  He continued to tour but retired from concertizing in 1827.  He retired from the Conservatory in 1848, but only because the Revolution caused it to close its doors.  He was 53 years old.  He continued to play in the Court Orchestra until 1868.  He was 73 years old by then.  He worked with Beethoven but how much time he spent in his company is unknown.  Beethoven never dedicated any works to him.  Bohm’s quartet sort of premiered Beethoven’s string quartet number 12 (opus 127, written in 1825), which turned out to be the first of Beethoven’s late quartets.  The actual premiere took place on March 6, 1825, under the direction of violinist Ignaz Schuppanzigh.  That performance was a flop and Beethoven was very displeased.  Beethoven then asked Bohm to take charge of a second premiere which took place in late April, 1825.  That second premiere was, by all accounts, an unqualified success.  Beethoven was by this time completely and irrevocably deaf but he could tell how things went by watching the movement of the performers.  Bohm played none other than the Prince Khevenhuller Stradivarius of 1733 (from 1820 until the day he died – 56 years he had it.)  Upon his death, the violin went to his nephew (Louis Bohm) and eventually (in 1930) ended up in the hands of another famous violinist – Yehudi Menuhin.  Bohm died (in Vienna) on March 28, 1876, at age 81.  Beethoven had been dead 49 years.

Eugene Ormandy

Eugene Ormandy (Jeno Blau) was a Hungarian violinist, conductor, and arranger born (in Budapest) on November 18, 1899.  Since he became a famous conductor, hardly anyone remembers that he played violin.  He enjoyed the longest tenure (unlikely to ever be surpassed) of any American conductor – 44 years with the Philadelphia Orchestra.  Nobody seems to know where the name “Ormandy” came from – he only adopted it after coming to the U.S. in 1921.  He began studying violin at the Royal Academy of Music (the Franz Liszt Academy) at age 5 then studied with Jeno Hubay (from age 9) for a number of years graduating at age 14, though some sources say at age 17.  Eddy Brown was a fellow student of his – in fact, when Brown and Ormandy competed in the Budapest Concerto Competition, Ormandy took second prize and Brown took first.  He then also studied Philosophy and received a degree in that subject in 1920.  For a time, Ormandy served as concertmaster of the Bluthner Orchestra in Germany and made recital and concert appearances as well.  In the U.S., he started out playing second violin in the Capitol Theatre Orchestra in New York City.  This was a rather large orchestra comprised of about 75 players of which Elias Breeskin, the notorious gambler and future father of Olga Breeskin, was concertmaster.  However, being a superlative violinist, Ormandy was soon promoted to concertmaster.  He was 22 years old.  Though he had been trained as a concert violinist, he never got a chance to concertize in this country since he quickly developed a taste for conducting.  Nevertheless, he recorded as a solo violinist between 1923 and 1929.  I do not know where those recordings can be found; perhaps among his archives at the University of Pennsylvania.  Among other conductors who entirely abandoned the instrument are Neville Marriner, David Zinman, Pierre Monteux, Charles Munch, Orlando Barera, Theodore Thomas, and Jaap Van Zweden.  Though he conducted the New York Philharmonic in 1929, Ormandy’s big break came on October 30, 1931, when he was asked to substitute in Philadelphia for an indisposed Toscanini – the ill-tempered Italian conductor.  Many a big career has been launched under similar circumstances.  It is known that Arthur Judson, another violinist who abandoned the violin (in favor of concert management), helped him to establish his career.  In 1931, he was appointed conductor of the Minneapolis Symphony and stayed until 1936.  That year (1936), he was appointed to his post in Philadelphia where he stayed for 44 years (1936-1980.)  He actually shared the post with Stokowski for the first two years.  Though he conducted many U.S. premieres, he never came close to Theodore Thomas’ record of 112 works premiered with the Chicago Symphony.  His most historic recording might be the three Rachmaninoff piano concertos he recorded with the composer at the keyboard.  His recorded legacy is very extensive and can be easily accessed on the Internet.  The Philadelphia Orchestra under Ormandy was the first to tour China (1973) and the first to appear on American Television (1948.)  He sometimes guest conducted other orchestras too - the New York Philharmonic, the London Symphony, and the Metropolitan Opera among them.  Ormandy died (in Philadelphia) on March 12, 1985, at age 85.  He died of pneumonia, just as did Theodore Thomas eighty years before him. 

Edith Lorand

Edith Lorand was a Hungarian violinist, singer, and conductor born (in Budapest) on December 17, 1898.  She is remembered for the great number of recordings she produced for German labels of the 1920s and 30s – Odeon, Parlophone, and Beka.  Her specialty was salon music of that era – it included opera music arrangements, dance music, popular songs, and light classical pieces.  That was during a time when live music was played at the more elegant hotels and restaurants all over Europe.  Up to a point, her biography reads somewhat like Alma Rose’s.  She studied to be a concert violinist but her ambition (and abilities) took her in a different direction.  Though her mother was an accomplished pianist, her father was not a musician.  Her first public performance was at a charity concert in Budapest at age six.  Lorand graduated from the Royal Music Academy in Budapest where she studied with Jeno Hubay.  She also later studied with Carl Flesch – either in Berlin or Vienna.  She made her debut in Vienna and Berlin in 1920.  She was 22 years old.  One source states that critics of the day compared her to Fritz Kreisler and Pablo Sarasate.  Lorand also became fluent in French, Italian, and English.  She made Berlin her home and base of operations until 1934.  After her debut, Lorand played as a concert soloist a few times and founded and recorded with a quartet and a trio (which included Gregor Piatigorsky, the cello player) but soon found her calling as conductor of a 15-piece all-male orchestra called the Edith Lorand Orchestra.  The orchestra, but especially Lorand, enjoyed great success throughout Europe.  They made regular radio broadcasts in Holland, Austria, Sweden, Germany, and England, and even appeared in movies.  The orchestra performed in the most important theatres as well, not just hotels.  It has been said that she became a symbol of female emancipation.  By the late 1920s, she was one of the top stars of the record industry.  In France, she was known as the Queen of the Waltz and in England as the Female Johann Strauss.  On April 1, 1930, she signed a three year recording contract with Lindstrom AG, which called for her to produce at least 144 tunes per year, averaging six two-sided records per month, with a fee of at least 36,000 Marks per year (about $107,000 in today’s dollars.)  Despite her great popularity and success, she had to flee Germany for Hungary in 1934.  In Hungary, she organized her All-Gypsy Orchestra which toured as far as the U.S.in 1935, where one of her concerts took place in Carnegie Hall.  In December 1937, she had to flee Hungary for the U.S., where she established herself in Woodstock, New York.  She was 39 years old.  Her orchestra in the U.S. (with different musicians, of course) was called the Viennese Orchestra.  Her success here did not come close to what she had in Europe but she managed, playing as far afield, in September of 1939, as the Palace Hotel in San Francisco, where composer Ingolf Dahl became her pianist for a short while.  She had a reputation for being demanding and autocratic.  In 1945, she was engaged to play in Vienna for an extended time but returned to the U.S. afterward.   In May 1960, she returned to Berlin, intending to resettle and restart her career.  However, on November 23, 1960, she died in New York, at age 61.  Many of her recordings are easily found on the internet and a very old video of her conducting a fast rendition of a famous waltz is available here.  Lorand played a 1744 Guarneri Del Gesu which later ended up (for 15 years) in the hands of Richard Burgin (of the Boston Symphony) and is now in Europe.  She must have taken very good care of that violin because it has been described as being in stunning condition and appearance.  A 1775 Guadagnini was also hers for a while.  That violin is now being played (though not owned) by Seattle violinist Maria Larionoff. 

Robert Virovai

Robert Virovai is a Hungarian concert violinist born (in Duravar, Yugoslavia) on March 10, 1921.  Except for this blog profile, he is today almost totally forgotten.  He began his violin studies with his mother at age 6.  By age 8, he was studying at the Belgrade Conservatory with Peter Stojanovich, a Serbian violinist, teacher, and composer.  He spent four years there.  He then studied, from the age of 13, with Jeno Hubay at the Budapest Conservatory.  Hubay later said of him, “Virovai plays so beautifully as to astonish even me.”  Some sources say Hubay declared him his best pupil.  He lived in New York City for a while but later spent most of his career in Europe.  He made his U.S. debut (playing a rented Stradivarius) on November 3, 1938, at age 17, with the New York Philharmonic.  He played Vieuxtemps’ Fourth Concerto in d minor (Opus 31) and all critics agreed he was sensational, one of them declaring that “his attack was positively ferocious.”  He later played a solo recital at Carnegie Hall on December 17 of the same year.  Virovai was soon placed among the front ranks of violinists.  It was said that his playing was “remarkable for speed, accuracy, and beautiful tone.”  He toured the U.S. for two or three years after that, playing with the most important orchestras.  Then he dropped out of sight, spending most of his time in Europe.  As far as I know, he has never commercially recorded anything, though that would be extremely unusual since recording technology had a progressive surge in the 1950s when Virovai would have been in his thirties.  Most violinists reach their apogee between thirty and fifty years of age.  Why there is no record of a discography is a mystery.  Perhaps I just don’t know where to look.  Later on, Virovai played and taught in Switzerland, where he now lives.  As a youth, Virovai was fluent in four languages – German, Hungarian, Croatian, and Slovenian.  Perhaps today, he is fluent in a few more. 

Johanna Martzy

Johanna Martzy was a Hungarian violinist born on October 26, 1924 (Heifetz was 23 years old.)  She is remembered for her short career.  Martzy began studying violin at age six.  Soon afterward she started lessons with Jeno Hubay at the Liszt Academy in Budapest and continued with him until 1937.  By age 13 she was already touring Hungary and Romania.  Her debut, playing the Tchaikovsky concerto, took place in 1943 with Mengelberg conducting the Budapest Philharmonic.  In October of 1947, she won first prize in a competition in Geneva, Switzerland.  In February of 1949 she made her debut in Amsterdam (again with the Tchaikovsky concerto), accompanied by the orchestra of the Concertgebouw.  Once established, Martzy enjoyed great success throughout Europe.  Her first appearance in England was in 1953.  Her New York City debut, with the New York Philharmonic, came in November 1957 playing Bach’s E Major concerto, an unusual work with which to debut.  In December 1958, she played the Mendelssohn concerto with this same orchestra with Bernstein at the podium.  Bernstein had just been appointed chief conductor of the Philharmonic.  She continued touring worldwide until 1976 though by 1969 she had effectively slipped from the limelight.  Some say it was because she had by then married a very rich man – Daniel Tschudi – and lacked any financial incentive to stay active.  She did comparatively little recording – Bach, Mozart, Beethoven, Mendelssohn, Brahms, Dvorak, Bartok, Stravinsky - though many tapes of radio broadcasts still exist.  Rumors have circulated that she chose to give up her recording career rather than give in to Walter Legge (EMI’s Director.)  Martzy mostly played a Carlo Bergonzi violin (1733) though she also owned a 1733 Stradivari (previously owned by Kreisler and Huberman) and a Peter Guarnerius - Carl Flesch’s old violin.  She died in Switzerland, her death virtually unnoticed, on August 13, 1979, at age 54. 

Ilona Feher

Ilona Feher was a Hungarian violinist and teacher born on December 1, 1901 (Heifetz was born the same year.) She is remembered as a teacher rather than as a violinist. Many biographical writings mention her striking beauty. She studied with Jeno Hubay at the Franz Liszt Academy (Budapest) and began concertizing at an early age, until the Second World War interrupted her career. For a number of years after the end of the war, she played exclusively in Eastern Europe. In 1949, she moved to Israel, where she lived and taught for the rest of her life - nonetheless, she gave master classes all over the world as well. Shlomo Mintz is among her well-known pupils. I do not know if she ever did any recording - commercial or live. I'm estimating that Feher died on January 1, 1988, at age 87.

Chloe Hanslip

Chloe Hanslip (Chloë Elise Hanslip) is an English violinist born on September 28, 1987 (Perlman was 41 years old.) She began violin lessons at age 2. She first played in public at age 4 and at age 5 was encouraged (by Yehudi Menuhin himself) to enroll at the Yehudi Menuhin School. By age 10, she had played in some of the most prestigious venues in the U.S. and Europe. She also studied with Russian violinist Zakhar Bron in Germany (1995.) At 13, she was the youngest recording artist ever to be signed to Warner Classics (England); however, she is not the youngest violinist to be professionally recorded – that honor goes to Sarah Chang (and EMI Classics.) Hanslip has won numerous awards and scholarships and played privately for English royalty since July, 2001 – the most recent such recital in 2008. She recorded Jeno Hubay’s long-neglected first and second violin concertos in June, 2008 – Naxos will release the CD tomorrow, September 29, 2009.

Jenö Hubay

Jenö Hubay (Eugen Huber) was a German (some would say Hungarian) violinist, composer, and teacher born on September 15, 1858 (Brahms was 25 years old.) He first studied with his father, concertmaster of the opera orchestra in Budapest. At age 11, he made his first public appearance, playing a concerto by Viotti. Two years later, he began studying with Joseph Joachim in Berlin, where he remained for five years. In 1878, he made his Paris debut. He then undertook a course of study with Belgian violinist Henri Vieuxtemps. Beginning in 1882, he taught for four years at the Brussels Music Institute (some say it was the Brussels Conservatory.) He returned to Hungary in 1886 and took a post as head of the Budapest College of Music, where his father used to teach. (He also held a violin teaching post at the Budapest Conservatory at the same time.) Soon thereafter, he (and David Popper) founded the original Budapest String Quartet, which ceased to exist in 1913. Brahms frequently played chamber music with this group. (The subsequent Budapest Quartet was founded by other players in 1917 and was disbanded in 1967.) Together with Popper and Brahms, Hubay premiered Brahms’ third Piano Trio (1886.) Among his many pupils were Joseph Szigeti, Eugene Ormandy, Peter Stojanovic, and Stefi Geyer (Bartok’s girlfriend.) Hubay wrote four violin concertos, the first and second of which – as far as I know - are played only by English violinist Chloe Hanslip. In fact, Hanslip’s Naxos recording of the first and second concertos will be released this month. The third concerto is played (and has been recorded) by Israeli violinist Hagai Shaham. In addition, Hubay wrote several operas and symphonies which have been utterly neglected, except perhaps in Hungary. Among violinists, he is remembered for his short violin encore pieces, one of which is the popular Hejre Kati. Livia Sohn and Benjamin Loeb did recently record Hubay’s Fantasy on themes from the opera Carmen and that recording (also on the NAXOS label) is very much available everywhere on the internet. Aside from that, Hubay’s considerable output lies dormant somewhere. Hubay died on March 12, 1937, at age 78 (Heifetz was 36 years old.)

Joseph Szigeti

Joseph Szigeti was a Hungarian violinist born on September 5, 1892 (Stravinsky was ten years old.) He has never been one of my favorites, though he has been praised by many famous violinists and musicians. It has been said many times that his tone left something to be desired, and that his playing seldom seemed effortless, although his interpretations seemed to have been well thought out, cerebral and intellectual exercises. He began his studies at the age of six but eventually ended up at the Franz Liszt Academy in Budapest under the tutelage of Jeno Hubay. He began playing many concerts in public while still studying and actually made his Berlin debut at age thirteen. In his late teens, he met Busoni (the piano player), who almost instantly became a great musical influence on him. Somewhat coincidentally, a little later on, while recuperating at a hospital in Geneva, he met Bela Bartok, with whom he remained friends until the end of Bartok's life (1945). In 1917, he was appointed violin teacher at the Geneva Conservatory of Music. He married around that same time (1919) - he and his wife settled in the United States in 1940, but returned to Geneva in 1960. Szigeti retired from playing that same year but continued to teach. He published his violin method book (whom nobody uses any more) in 1969. There are many recordings by him of standard and not so standard pieces in the violin repertoire. You Tube also has several videos of his playing. He appears to have been a pedantic teacher and tutor, focusing much attention on minute details of playing. He died in Geneva, Switzerland on February 19, 1973, at age 80.

Tibor Varga

Tibor Varga was a Hungarian violinist and conductor born on July 4, 1921 (Heifetz was 20 years old.) Like so many other great violinists, he was a child prodigy. He studied with Carl Flesch and Jeno Hubay at the Franz Liszt Academy in Budapest. Varga joined a select group of distinguished Hungarian violinists who came before him – Joseph Joachim, Leopold Auer, and Carl Flesch. He could play the Mendelssohn concerto (e minor) from age ten and began his recording career at age 13. At 14 he began concertizing in Europe. In 1947, at age 26, he moved to London and later became a British citizen. Nevertheless, he later (from 1955 on) spent a great deal of time in Germany and Switzerland. Varga worked with the world’s leading orchestras and conductors before starting a long teaching career. A music school he founded in Germany underwent several transformations before he died. A pupil of his became the first female member of the Berlin Philharmonic (1982.) Tibor Varga died in Switzerland on September 4, 2003, at age 82.