Alexandra Soumm

Alexandra Soumm is a Russian violinist, teacher, philanthropist, and poet born (in Moscow) on May 17, 1989.  She is one of the best known Russian violinists living (and based) in France and has performed with practically every French orchestra and in every French venue.  When her parents left Russia for France, she was only 2 years old.  As far as I know, her main teacher has been Boris Kuschnir, with whom she studied (according to one very reliable source) for almost fourteen years.  Soumm also frequently participates in music festivals, though mostly in Europe.  She began her violin studies with her father (a violinist) at age 5.  Her first public appearance took place at age 7 in Ukraine with her mother at the piano.  (Her father is Ukrainian and her mother is Russian.)  She entered the Vienna Conservatory, where she began studying with Kuschnir, at age 10.  Two years later, Soumm made her formal debut in Vienna’s Konzerthaus (in 2002) and has been concertizing ever since.  She won the Eurovision Competition in Lucerne, Switzerland, in 2004, at age fourteen.  According to one source, she dropped out of high school when she was 16 years old in order to devote herself to the study of the violin full time and more intensely.  In 2011, Soumm began presenting masterclasses wherever she performed.  She made her U.S. debut in November, 2013, with the Detroit Symphony.  She played the Sibelius concerto - Leonard Slatkin was on the podium.  A few days after that appearance, she made her debut in Chicago, although not with the Chicago Symphony.  She played Mozart’s third concerto with the Illinois Philharmonic.  David Danzmayr was on the podium.  She was 24 years old.  She has twice appeared at the Hollywood Bowl with the Los Angeles Philharmonic, before an audience of about 20,000 people – August 15, 2014, playing the Tchaikovsky concerto and August 20, 2015 playing the Bernstein Serenade.  Playing for huge audiences is something which violinists of a former generation (including Yehudi Menuhin, Jascha Heifetz, and Bronislaw Huberman) used to do there (at the Hollywood Bowl) and in New York at Lewisohn Stadium with the New York Symphony or the New York Philharmonic.  Soumm is fluent in the German, French, English, Spanish, and Russian languages.  Although her discography is not at all extensive, she has performed in almost every famous venue and with every major orchestra (and conductor) in the world.  Soumm used to play a 1785 (or 1782) G.B. Guadagnini violin but I do not know if she is still playing it.  She has also played a Gioffredo Cappa violin constructed in 1700 (approximately.)  Since 2018, Soumm has been associated with the Musica Mundi music school (and festival) which is based in Belgium.  She has stated that one of the key ingredients for learning to play well is an insatiable curiosity.  A direct (and very interesting) quote from a recent interview follows: “A lot of people just play nicely, but that is not the idea because when Beethoven or Tchaikovsky composed their music, they gave their life to it and so should we.” Here is a YouTube video of a Bach concerto played by Soumm with the Galicia Symphony Orchestra. 

Sascha Jacobsen

Sascha Jacobsen was a Russian violinist and teacher born (in Helsinki, Finland) on December 10, 1895.  Jacobsen’s birthdate is also given as November 29, 1895 and December 11, 1895.  Little is known of his early life.  It has been said that he grew up in St Petersburg.  He has been often confused with another violinist (from Philadelphia) named Sascha Jacobson.  A humorous song written by George Gershwin in 1921 includes his (first) name (along with those of Jascha, Toscha, and Mischa – Russian violinists Heifetz, Seidel, and Elman, respectively.)  It is known that he enrolled at Juilliard in 1908 where his main teacher was Franz Kneisel.  He graduated from Juilliard (Institute of Musical Art) in June of 1914 (some sources say 1915.)  He was 18 years old.  (A fellow-student of his was Elias Breeskin.)  In February of 1915, Jacobsen played parts of Lalo’s Symphonie Espagnol at an Aeolian Hall concert.  On November 27, 1915, he made his official recital debut at Aeolian Hall playing (among other things) Saint Saens’ third concerto.  After the announced program was concluded, he had to play numerous encores and he received very favorable reviews the following day.  He first soloed with the New York Philharmonic on March 9, 1919 (at age 23) playing Bruch’s first concerto with Walter Damrosch conducting.  Jacobsen concertized as a soloist between 1915 and 1925.  He began teaching at Juilliard in 1926.  After being hired, he almost immediately formed the Musical Art Quartet which disbanded in 1945, after almost 20 years of concert activity.  Recordings of this quartet are not hard to find.  Jacobsen also did solo recordings, although mostly of short works for violin and piano.  A well-known recording of his is the Chausson concerto for string quartet, violin, and piano with Jascha Heifetz as violin soloist.  You can listen to that recording here.  He moved to Los Angeles (California, USA) in 1946 and taught at the Los Angeles Conservatory but at other music schools as well.  From September 1947 and May 1949, he was guest concertmaster of the Los Angeles Philharmonic.  Some sources say he was concertmaster up to 1952 but I could not confirm that.  It has been said that Albert Einstein was one of Jacobsen’s pupils.  (Einstein also took lessons from Toscha Seidel.)  Jacobsen’s most famous pupils are probably Julius Hegyi and Zvi Zeitlin.  Among the violins he played are the Red Diamond Stradivarius (1732), the Cessole Stradivarius (1716), the Windsor Stradivarius (1717), a GB Guadagnini (1779), another GB Guadagnini (1772), and a Del Gesu Guarnerius constructed in 1732.  Jacobsen died on March 19, 1972, at age 76.  

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.  

Artur Rodzinski quote

"Every violinist is a Misha or Sasha who has been built up by his parents to be a Heifetz and sweep the world.  In the second fiddle section he has to play tremolo—ta-ta-ta. A soloist never plays tremolo. How do I make them like the ta-ta-ta?  By building their self-respect, by calling them to my room, by endless talks…  [Hearing a great soloist] brings back their childhood memories of how they planned to be soloists.  Orchestral work is maybe 75 percent psychology."  Said to an interviewer by Artur Rodzinski, conductor of the Cleveland Orchestra, the New York Philharmonic, the Los Angeles Philharmonic, and the Chicago Symphony. 

This quote pretty much sums up the view held by conductors and players alike. The Misha and the Sasha he mentions probably refers to Misha Elman and Sasha Jacobsen, just spelled a little differently. I'm guessing about that, of course. 

Sidney Weiss

Sidney Weiss is an American violinist, teacher, and conductor born (in Chicago) on June 28, 1928.  There is not too much information about him on the internet.  He is best known as one of the former concertmasters of the Los Angeles Philharmonic.  He is also known for making violins, although I don’t know how many he has constructed.  I don’t know at what age he began studying but I do know he later studied at the Chicago Musical College.  Later still he attended De Paul University (Chicago.)  From 1956 to 1966 he played in the Cleveland Orchestra – in the first violins but I don’t know how far up.  He was 28 years old when he joined.  George Szell was the conductor back then.  From 1967 to 1972 he was concertmaster of the Chicago Symphony.  He then left for Europe with his pianist wife and toured Europe with her as the Weiss Duo while also serving as concertmaster of the Monte Carlo Philharmonic (the Orchestra of the Monte Carlo Opera) between 1972 and 1978.  In 1979 he came to play with the Los Angeles Philharmonic as concertmaster.  He remained until his abrupt departure in early May, 1994.  He soloed with the orchestra on several occasions, one being April 15, 1981 (with the Sibelius concerto and Simon Rattle - before he became a very famous conductor - on the podium) and another on March 21, 1991 (featuring the Korngold concerto, Lawrence Foster conducting.)  Among other orchestras, he has conducted the Glendale Symphony (1997-2001) and participated in numerous recording sessions in Los Angeles as well as undertaken tours as the violinist with the Weiss Duo.  You can find a few of his recordings here.  Sample sound files are available here and here.  One of them is of the Mendelssohn concerto for violin and piano, a seldom heard work.  As far as I know, his best-known pupil is Armen Anassian.  

Camilla Wicks

Camilla Wicks is a Norwegian (some would say American) violinist born on August 8, 1928 (Heifetz was 27 years old.) She is well-known for her exceptionally thoughtful and insightful interpretations, her inspired phrasing, and the extremely wide range of her repertoire. Most of her recordings are now collectors' items - her recordings of many rare Twentieth Century works (many of them Scandinavian) are significant, illuminating, and incandescent (some would say stunning.) She began her violin studies with her father at age 3. At age 7, she made her debut with orchestra in Long Beach, California, playing Mozart's D major concerto. She learned Bruch's g minor concerto at age 8 and the Paganini D major concerto at age 9. A year later, her family moved to New York where she began studying with Louis Persinger at Juilliard. With Persinger as her piano accompanist, she made her debut at New York's Town Hall in February of 1942. Two years later, she made her debut with the Los Angeles Philharmonic with the third concerto of Saint Saens. Her Carnegie Hall debut came in April of 1946 with the New York Philharmonic - she played the Sibelius concerto on that occasion - Artur Rodzinski, the notorious conductor, was on the podium. Wicks continued to concertize extensively in the U.S. and in Europe until about 1958. She then stopped playing altogether and even sold her "Duke of Cambridge" Stradivarius. After devoting much time to her five children, she returned to her career in 1966, though she only played sporadically. Among other schools, Wicks has taught at the University of Michigan, Rice University, and the San Francisco Conservatory of Music. She retired from teaching in 2005.