Sophie Heinrich

Sophie Heinrich is a German violinist, writer, and teacher known for being the first female concertmaster of the Vienna Symphony Orchestra (2019 to 2023.)  Prior to that engagement, she was the concertmaster of the Berlin Comic Opera Orchestra (2012 to 2019.)  The Berlin Comic Opera Company produces operas, light operas, ballets, concerts, and musicals and is known for being very innovative.  She has also served as concertmaster in other German orchestras, including the Bavarian Radio Orchestra, the Bavarian State Opera (one of Carlos Kleiber’s favorite orchestras), and the Dresden State Orchestra.  Although she has concertized and taught classes in the U.S., Asia, and South America, Heinrich’s career has for the most part been spent in Europe.  Her webpage is easy to find on the internet.  She began her violin studies at age 4 but I don’t know who her first teacher was.  She later studied at the Hanns Eisler school in Berlin with Antje Weithaas (Director of the Joseph Joachim Violin Competition in Hanover); at the Lubeck University of Music (which is about 150 miles northwest of Berlin) with Thomas Brandis (former concertmaster of the Berlin Philharmonic and pupil of Max Rostal); and received additional instruction from Reinhard Goebel (at Austria’s Mozarteum), Lothar Strauss (concertmaster of the State Orchestra of Berlin), Gidon Kremer, Midori, and the Artemis String Quartet.  For a time (approximately 2010 to 2017), she was Thomas Brandis’ assistant in Lubeck.  Heinrich has won top prizes at various violin competitions, including the Leopold Mozart competition in 1999, and the Max Rostal Competition in 2002.  She was awarded the Possehl Music Prize in Lubeck in 2008.  Besides concertizing as a soloist and chamber music player, Heinrich currently teaches at a private music school in Feldkirch, Germany, the Stella Vorarlberg Private University.  She is also the leader of the string section at the Grafenegg Academy, located about thirty miles from Vienna.  The Academy takes place during the summer at Grafenegg Castle and involves classes in various disciplines in music.  It is open (via audition) to young musicians from all over the world.  Heinrich’s emphasis in teaching is the encouragement of female leadership.  She is, as are most violinists, fluent in three languages.  She has said that her Bible is Bach, her soul is Haydn (and Mozart), and her passion is Tango.  (Incidentally, other classical violinists who love dancing are: Tai Murray, Maxim Vengerov, Stefan Milenkovich, Rusanda Panfili, and Andrew Sords.  Violinists from the past who, in addition to being musicians were also professional dancers, are Jean Marie Leclair and Joseph de Bologne.)  Here is one of Heinrich’s YouTube videos of a recent concert featuring the popular Mozart Turkish concerto.  Heinrich has played a Stradivari violin from 1698, a G.B. Guadagnini from 1753, and a modern violin by David Bague, a well-known luthier from Barcelona.  (Leonidas Kavakos and Ruggiero Ricci also own violins by this violin maker.  Bague has said that he aspires to create instruments to which nobody can be indifferent, which I think is a very noble attitude toward his craft.)

Stefan Milenkovich

Stefan Milenkovich (Milenkovic) is a Serbian violinist and teacher born (in Belgrade) on January 25, 1977.  He began studying at an extremely young age – age 3, just like Jascha Heifetz.  His first teacher was his father – again, just as Heifetz’ father was his first teacher as well.  As have other famous violinists – Bronislaw Huberman, Bronislaw Gimpel, Leonora Jackson, Julia Igonina, Hilary Hahn, Natasha Korsakova, and Chloe Hanslip among them - he has performed for world leaders, including President Reagan, President Gorbachev, and Pope John Paul II.  By age 6, he had already given his first public concert.  By 1994, he had played over 1000 concerts.  He was only 16 years old.  Ruggiero Ricci played over 5000 concerts by the time he retired at age 85.  That is probably a world record, although I am not sure about that.  At the rate he was going, Milenkovich would have to play until age 57 before he would surpass the 5000 number; however, few concert artists nowadays play more than 50 concerts per season.  Also in that year (1994), Milenkovic graduated from the University of Belgrade.  He then began studying in New York with Dorothy Delay at Juilliard.  In 2003, he began teaching at that same school.  He was 26 years old.  All the while, he was concertizing all over the world.  He has been known to dance - in the fashion of Maxim Vengerov - during special recitals.  Three other violinists that I know of are (or were) also very good dancers; Jean Marie Leclair,  Andrew Sords, and Tai Murray.  As does Simone Lamsma, Milenkovich loves violin competitions and has won a number of them or placed in the top three, including the Indianapolis, the Queen Elizabeth, the Yehudi Menuhin, the Paganini, and the Spohr competitions.  He has recorded several CDs which are easy to find on the internet.  Currently he teaches at the University of Illinois at Champaign-Urbana (about 130 miles south of Chicago) and at the University of Belgrade (since December 26, 2011.)  Here is one of many YouTube videos of him – it features Sarasate’s Zigeunerweisen. Milenkovich currently plays a modern violin - a 2006 violin by Chicago luthier Peter Aznavoorian.  

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.  

Tai Murray

Tai Murray is an American violinist and teacher born (in Chicago) on May 22, 1982.  She is known for having recently recorded what is now considered the standard by which all other recordings of the Ysaye solo violin sonatas will be judged - as a young student, she participated in masterclasses with a direct disciple of Ysaye: Josef Gingold.  Murray is also known for having privately played a violin “in the nude” – an unvarnished violin, that is.  That violin was created for her in 2007 by Mario Miralles, one of the best violin makers in the world.  It has been said he has a ten-year waiting list.  I do not know why Murray played it - not in a concert, of course - before it was finished - possibly because Miralles wanted to hear how it was coming along while still in the workshop.  Luthiers find it easy to disassemble and re-assemble violins.  Of course, the violin is now fully varnished although Murray actually used her (circa) 1690 Giovanni (aka Joannes or Johannes) Tononi violin to record the six Ysaye Sonatas.  (Johannes Tononi was the father of the more famous luthier, Carlo Tononi, one of whose violins Jascha Heifetz owned and played - in fact, the Tononi violin was the instrument he played in his famous Carnegie Hall debut.)  Murray began her violin studies at age 5 with Brenda Wurman and shortly thereafter entered the Sherwood Conservatory of Music (founded in 1895) in Chicago.  Even though money was very scarce (a financial condition which befell many nineteenth century child violinists and their families, including the hyper-famous Bronislaw Huberman), by age 8, she had transferred to the University of Indiana where she studied with Mimi Zweig, Yuval Yaron, and Franco Gulli.  At age 9, she made her public debut, playing Mozart’s fourth concerto (in D) with the Chicago Symphony.  (Notorious Czech violinist Vasa Prihoda also made his public debut with this concerto.)  She played Lalo’s Symphonie Espagnol with the Utah Symphony (and Joseph Silverstein) at age 16.  The reviews were very favorable.  Her intonation was said to be “superhuman” and her bowing technique “magical.”  The Strad has said that she displays “sophisticated bowing and vibrato.”  You can observe (and enjoy) her superlative handling of the bow on several YouTube videos.  Another music critic described her sound as being imbued with “steely sweetness.”  It is truly almost impossible to describe sound with words but I think that comes close.  You can hear for yourself here.  Murray received her Artist Diploma from Indiana University’s School of Music at 18 then moved on to Juilliard in 2001.  There, she studied with Joel Smirnoff (former first and second violinist of the Juilliard String Quartet and now President of the Cleveland Institute of Music.)  She graduated from Juilliard in 2006 - some sources say 2004.  Meanwhile, she had been concertizing.  On February 3, 2001, she soloed with the San Antonio Symphony, playing the Glazunov concerto.  Michael Morgan was on the podium.  She was 18 years old.  Since then, she has gone on to concertize as a soloist with some of the world’s major orchestras, as a recitalist, and in conjunction with several prestigious chamber music ensembles, including the Chamber Music Society of Lincoln Center.  In addition to the Tononi and Miralles violins, she has played a 1727 Guarnerius Del Gesu, on loan from the Juilliard violin collection.  Murray is now based in Berlin, indulging in her passion for languages – she has already immersed herself in French, Japanese, and German.  That, unbeknownst to the general public, is not an unusual activity for violinists.  That and chess.  Murray has said that when not performing, she practices into the wee hours of the morning.  She likes to be where people have a “sense of shared general curiosity, a certain crackle-and-pop that drives things.”  (I love that quote.)  Aside from Maxim Vengerov, she is the only violinist I know who loves to dance Tango, although she also dances swing and salsa, and loves ballet.  (Murray’s portrait is courtesy of Marco Borggreve, a European photographer who photographs the world of music.) 

Jean-Marie Leclair

Jean-Marie Leclair (Jean-Marie Leclair, the Elder) was a French violinist, composer, dancer, lace maker, and teacher born (in Lyon) on May 10, 1697 (Bach was 12 years old.)  He is frequently mentioned as having founded the French violin school of violin playing, whatever that may be.  His three younger brothers were also musicians.  Leclair is now remembered as one of the very, very few violinists who died a violent death – he was assassinated at age 67.  The culprit was never found out.  He studied dance and violin in Turin but also made a living as a lace or braid maker, his father’s profession.  Little is otherwise known about his early years.  In 1716, he was a dancer with the Lyons Opera and married a fellow dancer in the same opera company (Marie Rose Casthanie) on the first of February that same year.  He was 19 years old.  He became a principal dancer with the Turin Opera in 1722.  In October of 1723, he returned to Paris – which he had previously visited on and off - and played at the Concerts Spirituel, where he was well-received.  He also published his Opus 1, a set of violin sonatas that same year.  The publication was sponsored by a wealthy patron (Joseph Bonnier) to whom the works were, understandably, dedicated.  In 1726 he again visited Turin where he worked as a dancer and choreographer with the Turin Opera and took violin lessons from Giovanni Battista Somis.  In 1728, he returned to Paris.  Leclair’s wife died in that year and he remarried in 1730.  She (Louise Roussel) was an engraver who, beginning with his Opus 2, published all of Leclair’s works from that point forward.  In 1733, he was hired by Louis XV (to whom Leclair dedicated his Opus 3) as a court musician.  He gave up that post in 1737 after quarreling with a colleague (someone named Jean-Pierre Guignon, also known as Giovanni Pietro Ghignone.)  From 1738 until 1743, he worked three months out of the year at The Hague for the Princess (Anne) of Orange, a former harpsichord pupil of Handel.  He dedicated his Opus 9 to her.  (Some sources give these years as 1737 to 1742.)  In Holland, he also met and probably took lessons from the great (and mysterious) violinist Pietro Locatelli.  From 1740 until he died, Leclair worked for the Duke of Gramont as principal violinist and director of his private orchestra, although he spent a few months in Spain in 1743 where he played for some aristocrat called Infante Don Felipe, a fan of French music.  Leclair dedicated his Opus 10 to Don Felipe.  Although his output was comparatively small, he has on occasion been referred to as the French Corelli, the French Vivaldi, and even the French Bach.  He broke up with his wife in 1758 and went to live in an unsavory and dangerous neighborhood in the outskirts of Paris, where he had purchased a small house.  He was 61 years old.  It has been suggested that the Duke of Gramont would certainly have provided comfortable lodgings for him so the reason he chose these undesirable circumstances for himself remains a mystery.  On the morning of October 23, 1764, Leclair’s gardener found him in a pool of blood, dead from three stab wounds in the back.  Since the stabbing probably took place the prior evening, his date of death is usually given as October 22, 1764.  He was 67 years old.  An investigation produced three suspects but nothing was ever proved against anyone.  Many consider Leclair the first French violin virtuoso.  His best known pupil is probably Pierre Gavinies.  Although he composed almost exclusively for the violin, he did write an opera (1746) which is even now occasionally performed.  Much of his music is available through numerous recordings.  Many of his ballets and works for voice and for the stage were either lost or destroyed by Leclair himself. 

Maxim Vengerov

Maxim Vengerov (Maxim Alexandrovich Vengerov) is a Russian violinist, teacher, writer, and conductor born on August 20, 1974 (Itzhak Perlman was 28 years old.) He is known for his phenomenal technique, extroverted playing, high fees, and tango dancing. He began his study of the violin at age 5 (fairly typical for a violinist) in his home town of Novosibirsk. Two years later, he continued his studies at the Special Music School in Moscow. Three years after that, Vengerov began his studies with Zakhar Bron (in Novosibirsk) and continued with him for about the next six years, part of those six years at the Royal Academy of Music in London. By this time, he had won first prize in the Carl Flesch Violin Competition in London (1989 – at age 15). He has been giving master classes, concertizing, and recording ever since. Vengerov has played on three or four different Stradivarius violins, the Kreutzer being one of them (I do not know which one – there are four Stradivarius violins named Kreutzer - from 1701, 1720, 1727, and 1731. See comments below.) Some of his many recordings have won top prizes and high praise from critics. Vengerov took a nine-month sabbatical in 2005, during which he learned jazz improvisation and the electric violin – in the style of Leila Josefowicz, and Nigel Kennedy – and during which he (despite the sabbatical) also played 50 recitals. Sometime during June of 2007, Vengerov stopped playing altogether in order to deal with a shoulder ailment and to concentrate on teaching and conducting (he has been studying conducting since 1998.) Vengerov has been teaching at the Royal Academy (London) since 2005, but at other schools as well – in the style of Daniel Barenboim. There are many Vengerov videos on YouTube and several fan pages on Facebook.