Andrew Sords

Andrew Sords is an American violinist and teacher born (in Newark, Delaware) on June 4, 1985.  As do violinists Hilary Hahn and Joshua Bell, Sords writes a blog to keep his wide audience informed about things related to his career; he also writes about his unique view of many other things as well.  I will say that his website is worth visiting for the blog alone although you will see so much more.  His repertoire includes two of my favorite and (unfortunately) seldom-played concertos – Bruch’s second concerto in d minor and the Schumann concerto.  In fact, I think the time will come when every concert violinist will take on both of these neglected concertos and perform them as regularly as the Brahms and Tchaikovsky.  Incidentally, the Schumann concerto was in danger of never surfacing thanks to a low opinion of it given to Clara Schumann (Robert Schumann’s widow) by none other than Joseph Joachim.  Sords has a very active solo concert and chamber music career which has taken him all over the globe.  He has given concerts with over 100 (different) orchestras, including the well-known major ones, and played the most important venues in every continent.  That may well be a record for any violinist but even those numbers, of course, will continue to increase.  Sords began to study violin privately at about age 6.  His first teacher was Liza Grossman.  However, his first instrumental studies were actually on piano, which he still plays.  He thus joins a number of concert violinists who have been quite proficient as pianists - Fritz Kreisler, Louis Persinger, Jascha Heifetz, Arthur Grumiaux, Andor Toth, Arabella Steinbacher, and Julia Fischer just to name a few.  Sords later studied at the Cleveland Institute of Music and Southern Methodist University.  His main teachers were Linda Cerone (pupil of Ivan Galamian), David Russell, and Chee-Yun (Kim Chee Yun – pupil of Dorothy DeLay.)  As do violinists Maxim Vengerov and Tai Murray, Sords enjoys and has a deep appreciation for dancing and has even participated in the famous “Dancing With The Stars” show for a charity benefit.  He was the first classical artist to do so.  That may seem unusual but French violinist Jean-Marie LeClair was actually a professional dancer, choreographer, and violinist in the early 1700s.  Sords is also unique in that he plays a modern violin constructed in 1912 by Belgian violin maker Augustine Talisse, a violin maker I had never heard of until now.  Albert Markov, Tai Murray, Christian Tetzlaff, Giora Schmidt, Judith Ingolfsson, Pip Clarke, Ilya Kaler, and Alina Pogostkina are among the growing number of concert violinists who are gravitating to modern instruments which, as you may know from reading this blog, I also favor.  Sords’ performances are typically characterized by music critics as being “utterly radiant.”  You can see his Facebook page here.  His most recent audio release is the New Age music CD with composer Sean Christopher.  

Tor Aulin

Tor Aulin was a Swedish violinist, conductor, and composer born (in Saltsjobaden) on September 10, 1866.  I have never heard any of his music but it is said to have traces of the influence of Grieg and Schumann which is to say that it sounds nice.  Here is a YouTube file of his second violin concerto - the one in a minor.  Scant information is available about him on the internet so I do not know at what age he began his violin studies.  From 1877 to 1883, Aulin studied at the Stockholm Conservatory of music aka the Royal College of Music in Stockholm.  He then studied an additional two years with violin virtuoso Emile Sauret in Berlin, at the Berlin Conservatory (probably the Stern Academy) from 1884 to 1886.  He also studied composition and conducting with Philipp Scharwenka in Berlin though I’m guessing not at the same school since Scharwenka had a private conservatory of his own.  In 1887, Aulin founded the Aulin Quartet, the first professional string quartet in Sweden.  He was 21 years old.  From 1889 to 1892, Aulin was concertmaster of the Royal Swedish Opera in Stockholm.  He spent some time conducting the symphony orchestras in Stockholm and Gothenburg as well – it is very likely that Sweden had no full-time orchestras prior to 1900.  I do not know if he was permanent director with any Stockholm orchestra but he did have a post with the Gothenburg Symphony from 1909 to 1912.  The Aulin Quartet was disbanded in 1912.  He championed the works of his fellow countrymen, Franz Berwald and Wilhelm Stenhammar and premiered some of Stenhammar’s violin works.  Aulin composed a number of works for orchestra – including three violin concertos – and numerous works for chamber groups and solo instruments, including works for violin and piano.  A YouTube file of his third violin concerto (in c minor - dedicated to Henri Marteau - published in 1904 and now in the public domain) can be found here.  I do not know if it has ever been heard (in a live performance) outside Sweden.  Recordings of some of Aulin's violin (with orchestra) works can be found here.  He also wrote cadenzas for at least two of Mozart's violin concertos.  Aulin died on March 1, 1914, at age 47 - the First World War had not yet begun.  Today, at least outside of Sweden, Aulin remains a very obscure musician.  

Bronislaw Gimpel

Bronislaw Gimpel was a Polish violinist, conductor, and teacher born (in Lviv, Ukraine) on January 29, 1911.  Although he was a very active and successful artist for many years, today, Gimpel is almost totally forgotten.  Perhaps fame is fleeting after all unless you can tie it to something transcendental.  Corelli and Vivaldi had their concertos; Tartini had his Devil’s Trill Sonata; Paganini had his caprices; Kreutzer had his Beethoven Sonata; Clement had his Beethoven concerto: Rode had his Caprices; Joachim had Brahms; Auer had his students; Flesch had his scale book; Mischakoff had Toscanini; Stern had his Carnegie Hall; Briselli had his Barber concerto; any number of famous violinists had their original concertos or recital pieces to be remembered by – Viotti, Spohr, DeBeriot, Wieniawski, Vieuxtemps, Conus, Sarasate, Kroll, Bazzini, Achron, Kreisler – Huberman had his Israel Philharmonic; Heifetz, Kogan, Rabin, Kaufman, and Ricci had their fabulous techniques and recordings, and so on and so forth.  Alma Rose’, a very ordinary violinist, became the conductor of an infamous orchestra in a concentration camp (where she also died) so we shall know her name forever.  Josef Hassid had a one-and-a half-year career (between the ages of 16 and 17), but he became mentally ill, was in an asylum for seven years, underwent a lobotomy, and died at age 26, so his name will live on.  Tie yourself to something that will live beyond your lifetime and perhaps you’ll be remembered past your own generation – if that means anything to you.  Gimpel began to study violin with his father at age 5.  He entered the Lviv Conservatory at age 8.  His main teacher there was Moritz Wolfstahl, someone about whom I do not know anything.  Gimpel made his debut playing Mendelssohn’s concerto at that same age.  The concert was a complete triumph for the young child.  At age 11, he traveled to Vienna to study with Robert Pollack (aka Robert Pollak, one of Isaac Stern’s teachers) at the Vienna Conservatory.  His brother (Jakob, the piano player) was already there.  At age 14 (1925), he soloed with the Vienna Philharmonic playing Karl Goldmark’s concerto.  Some critics compared him to Bronislaw Huberman, another child prodigy.  From age 15 until about age 19, he concertized in Italy, Europe, and South America.  In Italy, he got to play for royalty and the Pope.  Then he went to Berlin for further study at the Advanced School for Music.  His teacher there was Carl Flesch.  I don’t know how long he studied with Flesch but in 1937, Gimpel came to the U.S.  At the invitation of Otto Klemperer, he served as concertmaster of the Los Angeles Philharmonic.  He also conducted the philharmonic from time to time and was very active in the musical life of the city.  In 1942, he enlisted in the Army and after the war, he resumed his solo career.  He was 34 years old.  From 1942 to 1950, he served as concertmaster, conductor, and soloist of the ABC Radio Symphony in New York.  He then formed the Mannes-Gimpel-Silva Piano trio and enjoyed outstanding success with that ensemble.  In 1956, he relocated to Europe.  It has been said that he gave over 100 concerts in a single year in Germany alone.  He was playing concerts in Russia as well.  He formed the Warsaw Quintet in 1963 and played with that group until about 1967.  In that year, he returned to the U.S. and taught at the University of Connecticut from 1967 to 1973.  In Connecticut, he founded the New England String Quartet.  From 1973, he taught at the Royal Northern College of Music in Manchester, England.  All the while, he continued to concertize, which is pretty much standard practice for all conservatory violin teachers or professors.  Gimpel was a member of various chamber music ensembles throughout his career, not just the ones already mentioned.  In 1978, he returned to the U.S. once again.  It is not well-known that toward the end of his life, he instructed three youth symphonies in Caracas, Venezuela.  He also had a pilot’s license.  In his last public performance – at the time, of course, he didn’t know it would be his last – he played the Tchaikovsky concerto and he later said it was one of the very best performances of his career.  He was 68 years old.  He made numerous recordings which can easily be found on the internet – a few are posted on YouTube.  He played a 1730 Santo Serafin violin and a J.B. Vuillaume constructed in 1845.  The Santo Serafin is now owned by a first violinist in the San Francisco Symphony – Mariko Smiley.  I don’t know where the Vuillaume is.  It has been said of Bronislaw Huberman that he died in his sleep and it’s been said of Gimpel as well, who died, in Los Angeles, on May 1, 1979, at age 68.  

Tedi Papavrami

Tedi Papavrami is an Albanian violinist, teacher, and actor born (in Tirana, Albania) on May 13, 1971.  Although it can most assuredly be said that he possesses a quite fantastic technique and formidable artistic insight (second to none, in my opinion), he is much better known in Europe than in the U.S. and therefore has a lower global profile than he might otherwise.  Besides being a musician and actor, he is also a writer.  In addition, he has transcribed various works written for other instruments for his use as violin pieces.  Among them are several Scarlatti piano sonatas.  Nowadays, that activity is rare among violinists, though it was commonplace in the old days – say, prior to 1945.  Papavrami first studied with his father – Robert Papavrami, a violinist and violin teacher – from age 5.  At age 7, he enrolled at the Jordan Misja School of Art in Tirana.  He made his orchestral debut at age 8, playing Sarasate’s Gypsy Airs (Zigeunerweisen.)  At age 11, he played Paganini’s first concerto with the same orchestra – the Tirana Philharmonic.  Soon thereafter, he was offered a scholarship by the French government to study at the Paris Conservatory.  He was 12 years old.  His teacher there – among others - was Pierre Amoyal.  Papavrami graduated from the Paris Conservatory at age 15.  He studied further with Zino Francescatti and Viktoria Mullova.  According to one source, he also received a degree – I don’t know in what field of study – from the Lausanne Conservatory in 1987.  By 1986, he had already established his base, so to speak, in Paris, France.  Here is a YouTube video of his performance of Paganini’s second concerto.  I’ve already heard nearly all of the recordings of this concerto that are out there and this one is the best among them.  Papavrami has concertized around the world since completing his formal music studies but spends scant time in the U.S.  He is also one of a handful of violinists who have played recitals composed entirely of the 24 Paganini Caprices.  In 2003, he was engaged to play a principal role in the French film, Dangerous Liaisons, with Catherine Deneuve and the notorious Natasha Kinski.  In 2008, he was appointed violin professor at the Geneva Conservatory in Switzerland and has been living in Geneva ever since.  In 2002, Papavrami was named official French translator by the publisher of the works of his countryman, Ismail Kadare.  His recordings on the Naxos and Aeon labels have been praised by every music critic.  His first major recording (for Naxos) was released in 1997.  It features both Prokofiev concertos.  Papavrami’s transcriptions - for solo violin - of the Domenico Scarlatti Sonatas have been published but I know not by whom.  Papavrami is also the violinist of the Schumann Piano Quartet - with violist Christoph Schiller, pianist Christian Favre, and cellist Francois Guye.  Their magnificent recording of the piano quartets of Ernest Chausson and Gabriel Faure can easily be found on the internet.  Papavrami's violin is one constructed especially for him by French violin maker (luthier) Christian Bayon.  

Gerard Poulet

Gerard Poulet is a French violinist and teacher born (in Bayonne) on August 12, 1938.  His father (Gaston Poulet), with whom he began his violin studies, was also a violinist.  His career has been mainly spent in Europe though he has performed in almost every continent.  He entered the Paris Conservatory at age 11 and graduated at age 12.  His main teacher there was Andre Asselin.  As did Bronislaw Huberman before him, he had many teachers: Zino Francescatti, Nathan Milstein, Yehudi Menuhin, and Henryk Szeryng were among them.  Poulet made his debut at age 12 playing the Mendelssohn concerto.  He recorded the third concerto of Mozart at age 14 with his father on the podium.  At age 18, he won the Paganini Competition in Genoa, Italy.  As do all winners of that competition, he got to play Paganini’s violin, the famous Cannone.  He later dedicated a good deal of time to teaching at the National Conservatory in Paris.  In 2007, he began teaching at the University of Arts in Tokyo.  He might not be there any longer since I could not locate his name on any faculty roster.  Poulet played the 1720 Henri Marteau Guarnerius from 1975 until about 1988 and that violin is supposedly now owned by Maxim Vengerov, though I could not find a single public source to confirm that.  His most famous pupils are most probably Renaud Capucon and Vineta Sareika.  

Edouard Colonne

Edouard Colonne (Edouard Juda Colonne) was a French violinist and conductor born (in Bordeaux) on July 23, 1838.  He is best recognized as the founder (actually, co-founder) of the Concerts Colonne and what became known as the Colonne Orchestra in Paris, in 1873.  He was an orchestral violinist for at least ten years but is now almost exclusively remembered as a conductor and concert promoter, in the style of Theodore Thomas.  He began his music studies at age 8, but not on the violin.  He entered the Paris Conservatory at about age 17 but did not study with any famous teachers there.  While going to school, he played in the orchestra of the Lyric Theatre.  In 1863 he won first prize for his violin playing and had already (in 1858) won first prize in harmony.  He was engaged as concertmaster for the Paris Opera orchestra in 1858 – he was 20 years old.  He also played second violin in the Lamoureux Quartet at the same time – Charles Lamoureux played first violin.  Possibly (actually, very probably) simultaneously, he also played in Jules Pasdeloup’s orchestra.  In 1867, he came to New York to play in an orchestra for a newly founded comic opera company; while in New York, Colonne later led an ensemble called Niblo’s Garden Orchestra which until now I had never heard of.  He returned to Paris in 1871 and conducted a hotel orchestra for a while.  In 1873, he founded – together with a music publisher – the orchestra that would become the Colonne Orchestra.  His concerts became known as the Concerts Colonne.  This name was used until the 1960s – about ninety years.  At first, the orchestra presented its concerts at the Odeon Theatre and later at the Theatre of the Chatelet.  Colonne was known to champion the music of Hector Berlioz, Richard Wagner, Gustav Mahler, and Camille Saint Saens.  It has been said that Pierre Monteux was Principal violist of the Colonne Orchestra.  Other famous players who played in his orchestra for a time were Julius Conus and Jacques Thibaud.  Colonne gave the Paris premiere of Tchaikovsky’s fourth symphony in 1878, the year it was completed.  The orchestra toured Spain, Russia, Portugal, Germany, and England.  Among the musical luminaries who conducted the orchestra in performances of their own works were Serge Prokofiev, Gustav Mahler, Richard Strauss, Peter Tchaikovsky, Claude Debussy, Edvard Grieg, and Maurice Ravel.  In 1892, Colonne became conductor and adviser at the Paris Opera.  He was 54 years old.  In 1907 (one source says 1906), he was one of the first to record with an orchestra.  It has been said that he was hard on his players.  Colonne was a pioneer in that his program books were the first to include program notes.  Perhaps they included advertisements as well though I’m not at all sure about that.  He died (in Paris) on March 28, 1910, at age 71.  

Hans Sitt

Hans Sitt (Jan Hanus Sitt) was a Hungarian violinist, violist, teacher, conductor, and composer born (in Prague) on September 21, 1850.  When he was born, Brahms had not yet even begun to make a name for himself – when he died, Stravinsky had turned the musical firmament upside down.  Although Sitt was a prolific composer, he is better remembered – if at all - as a teacher.  Unfortunately, he had no outstanding students who would have turned him into a legend.  Louis Zimmermann was probably his most famous pupil.  Sitt’s father was a violin maker, a luthier.  Sitt entered the Prague Conservatory (Czechoslovakia) at age 11 and studied with Moritz Mildner and Antonin Bennewitz, among others.  He graduated in 1867, at age 17 and almost immediately was engaged as concertmaster of the Breslau Opera Orchestra in Wroclaw, Poland – Wroclaw is one and the same as Breslau.  It is about 120 miles northeast of Prague.  Sitt stayed for six years and then served as concertmaster of an orchestra in Chemnitz (Germany) for another six years.  Chemnitz is about 60 miles northwest of Prague and 35 miles south of Leipzig, Germany.  Sitt enjoyed a very brief career as a touring virtuoso and served as conductor of several orchestras in Europe – I don’t know which orchestras – including some in France and Austria.  In 1883 (some sources say 1884) he began his teaching career at the Leipzig Conservatory.  It was here that he was invited to be part of the Brodsky Quartet as a violist, with Ottokar Novacek on second, Adolph Brodsky on first, and Leopold Grutzmacher on cello.  He left the conservatory in 1921.  He had been there almost forty years.  From 1885 to 1903 he conducted the Bach Society Chorale in Leipzig.  His violin studies – although not as well-known as the Kreutzer or DeBeriot or Rode books - are still in use today.  He was one of the first to systematize the study of scales – in thirds, sixths, octaves and tenths.  He composed six violin concertos, two cello concertos, three viola concertos, many concert pieces for violin, viola, or cello, and a few chamber music works.  One of his piano trios is available here.  He probably played a very fine violin but I don’t know what that was.  Sitt died on March 10, 1922, at age 71.