Francesca Dego

Francesca Dego is an Italian violinist, writer, and teacher born in Lecco, Italy, in 1989.  (Lecco is about 20 miles north of Milan, Italy, and about 10 miles east of Lugano, Switzerland.)  She is an ultra-Romantic artist known for her iconic interpretations of Nicolo Paganini’s music.  Her debut album (for Deutsche Gramophone) was a recording of Paganini’s 24 Caprices, played on the same Guarneri violin which Ruggiero Ricci used on the very first recording (of the unaccompanied version) of the Caprices, a Guarneri del Gesu from 1734.  That Guarneri was her instrument for many years.  She possesses a very brilliant technique (it has been described as flawless), but her approach is often an operatic one, providing dramatic and poetic sensitivity to everything she plays.  She has stated that violinists often treat Paganini’s concertos like showpieces when in fact, they are infused with vocal drama.  As can be expected, she has toured the world several times and played with every major orchestra.  Dego began violin lessons at age 4 with her father, a writer, journalist, and college professor.  For unknown reasons, the family moved to San Diego, California, when Dego was age 5 and there she studied with Michael Tseitlin at the Fairbanks School of Performing Arts.  It was also there that she made her solo debut at age 7, playing Bach’s first violin concerto.  (A recording or video of that performance may exist, but it’s not posted on the internet.)  A while later, possibly in 1998, at age 9, the family moved to Milan where she graduated from the Giuseppe Verdi Conservatory, having there studied for several years with Daniele Gay, whom she holds in high esteem.  She also studied at the Stauffer Academy in Cremona, the Siena Chigiana Academy (in Siena), and the Royal College of Music in London.  Her teachers have included Salvatore Accardo, Itzhak Rashkovsky, and Schlomo Mintz.  Dego was invited to record on Paganini’s famous Guarneri violin in 2019.  After Paganini’s death, the violin had never been played for more than a few minutes at a time until Dego was granted the distinction of recording, in the span of several days, an entire CD with it.  In various interviews, Dego describes in detail the experience of the recording sessions with the violin, which included a security team of six people, posted around her at all times, including during a recital in Venice.  Dego’s discography is not yet very extensive but it includes 15 CDs – two of those CDs are devoted to chamber music (trios and quartets) and two are devoted to the music of Ferruccio Busoni, including his violin concerto.  She has recorded the complete Beethoven sonatas on three CDs.  Dego has also championed (and recorded) the violin concerto of Friedrich Wolf (better known as Ermanno Wolf-Ferrari), a concerto (published in 1944) which was dedicated to the nearly forgotten violinist Guila Bustabo.  Here is a complete recording of the concerto.  Interestingly, Dego has not commercially recorded the concertos of Bach, Beethoven, Mendelssohn, Bruch, Tchaikovsky, Prokofiev, or Sibelius, although they have been in her repertoire for many years - you can, however, find her live recordings of them on YouTube with different orchestras.  She has recording sessions scheduled for June, 2026, but I don’t know which works she will be recording.  Here is Dego’s recording of Paganini’s 4^th Caprice, considered the most difficult out of the 24.  In addition to being gifted with the looks of a fashion model (Versace provides gowns for her performances), she is also a writer, contributing articles to music periodicals – Strings Magazine, The Strad, Suonare News, and Musical Opinion are among them.  She has also written a book titled Tra leNote (Among the Notes) but I don’t know if it has been translated.  She is now based in London and plays a Francesco Ruggeri violin from 1697.  Here is one quote among many: “My dream is to always be able to work with orchestras and colleagues who inspire me and make it possible to create something special on stage.” 
 

Rodney Friend

Rodney Friend is an English violinist, teacher, and author born (in Bradford, England) in 1939.  He is best known for being the concertmaster of three of the world’s best orchestras – the New York Philharmonic, the London Philharmonic, and the BBC Symphony.  He began his violin studies at age seven.  I do not know who his first teacher was. At 12, he received a scholarship to study at the Royal Academy of Music in London.  His main teacher was Frederick Grinke, a Canadian violinist who played for Churchill, Truman, and Stalin at the famous Potsdam Conference in the summer of 1945.  Friend later studied with Endre Wolf, Yehudi Menuhin, and Henryk Szeryng.  One usually-reliable source says he also later studied at the Royal Manchester College of Music.  In September, 1964, Friend became the concertmaster of the London Philharmonic.  He was 24 years old.  He played the Britten concerto in his first solo appearance with this orchestra.  However, by then, he had made his London debut playing the Sibelius concerto with the Halle Orchestra (in 1961) at the Festival Hall with John Barbirolli on the podium.  Friend played with the London Philharmonic for 12 years. In 1975, he was invited to be the New York Philharmonic’s concertmaster.  He was 35 years old.  He had already made his American debut with this orchestra playing the Britten concerto.  He probably began his tenure as concertmaster in New York in the fall of 1976.  On March 10, 1977, in his new role as concertmaster, he soloed with the orchestra, this time playing Karol Szymanowski’s first concerto.  Erich Leinsdorf was on the podium.  In 1981, Friend returned to England and became the concertmaster of the BBC Symphony.  In that year also, he became professor of violin at the Royal College of Music.  He was 42 years old.  Since 1990, he has devoted his time to teaching, writing, judging international competitions, and playing and/or directing chamber music concerts.  He formed the Solomon Trio in 1991.  In 2006, Friend’s two-volume work entitled The Orchestral Violinist (a study guide for orchestral players) appeared.  It has been acclaimed by many critics.  In 2010, he founded the Cambridge International String Academy at Trinity College.  In 2015, he joined the Royal Academy of Music faculty.  In 2019, his pedagogic work entitled The Violin in Fifths was published.  Many sources say it is a unique study guide.  It is easily found on the internet.  Among other violins, Friend has played (and might still be playing) a Giuseppe (Battista) Guarneri violin dated 1696 (not a Del Gesu.)  (According to a usually-reliable source, for a time, he also played a Guarneri Del Gesu dated 1731.) Needless to say, he has recorded (as an orchestral violinist) practically the entire orchestral repertoire.  He has also appeared in every important concert hall in the world and worked alongside the most eminent conductors and soloists of the twentieth century.  Here is a very charming YouTube audio file of one of his commercial recordings as soloist. 

Franz Benda

Franz Benda was a Czech violinist, teacher, writer, and composer born (in Benatek, Bohemia) on (approximately) November 22, 1709.  It has been said that his 1763 autobiography is an excellent source for information regarding the lives of many important musicians of his time, including the great J.S. Bach.  Benda was one of many family members who became indistinguishable from the musical arts, down to the present day, in the same vein as the Bach family.  This musical tradition (or music dynasty) was started by Franz Benda’s father, Jan Benda.  In addition, the family gave rise to at least two female composers, a rarity in those days.  Franz Benda spent much of his career working at the court of Frederick the Great, the Prussian (German) King – in fact, Benda died the same year as his benefactor.  Benda received his earliest music education from his father.  At age nine, he was engaged as a singer at the St Nicholas Monastery in Prague.  At age 10 he ran away from home and settled in Dresden where he also found work in the choir of the Royal Chapel.  He also began to study the violin while there.  At age 12 he returned home and joined the choir of the Jesuit College in Prague.  In 1726, at age 17, he began playing violin in orchestras engaged by various members of the nobility situated in or near Vienna – in effect, he was a free-lance violinist since he also played for social events such as weddings and fairs.  In Vienna, he continued to study the violin, most notably with a court musician named Johann Gottlieb Graun, a violinist who had studied with the famous Italian violinist Giuseppe Tartini.  Two years later, Benda moved to Warsaw with a group of musician friends and was eventually appointed concertmaster of the Chapel orchestra in Warsaw.  He remained there until the orchestra was dissolved after their patron died.  Benda moved to Dresden after that.  He was either 22 or 23 years old by that time.  Finally, he entered the service of the Crown Prince Frederick (who later became Frederick the Great) in 1733 – one source says 1732.  He was either 23 or 24 years old.  Henceforth, he participated in countless concerts with the King, often working alongside C.P.E. Bach who was the King’s harpsichordist for many years.  Although he spent most of his time in Potsdam, Benda met J.S. Bach while working in Dresden.  (One source states that Benda played 50,000 concertos over the course of forty years – an utterly ridiculous statement on the face of it.)  Benda was appointed concertmaster of the orchestra in 1771 – he was 62 years old.  Three of his brothers eventually joined him as members of the orchestra.  For at least two decades between 1740 and 1760 (approximately), Benda toured Germany as a soloist while in the employ of his patron.  He also had many violin pupils, among them being Johann Peter Salomon, the man who became Haydn’s impresario in London.  In addition to exercises and study books for the violin, Benda composed many symphonies, concertos, and sonatas, many of them (understandably) for flute.  YouTube has some files of his recorded output.  His composition style bridged the gap between the Baroque and the Classical epoch.  Franz Benda died on March 7, 1786, at age 76, five months before his famous benefactor.  

Vanya Milanova

Vanya Milanova is a Bulgarian violinist, teacher, painter, and author born on January 12, 1954.  According to at least one source, she was the first female violinist to record, in 1985, at age 31, the complete (24) Caprices for solo violin by Nicolo Paganini.  That sounds rather unusual but it just might be true.  (see comment below)  I didn’t bother to confirm it by checking further.  Surprisingly, she is the first Bulgarian violinist about whom I have written and that is highly unusual too.  Milanova is also known for having a huge repertoire.  Her career has taken her around the world several times and she has performed with most of the world’s great orchestras and with some of the leading conductors of her generation in over fifty countries.  Although her discography is not extensive, there are quite a few YouTube files of her live performances.  Milanova took third prize in the 1973 Paganini Violin Competition (in Genoa, Italy) and third prize in the 1974 Tchaikovsky Competition (the same one where the late Eugene Fodor took second prize.)  She was known as a child prodigy - her main teachers were Peter Arnaudov (State Music Academy) in Bulgaria and Yfrah Neaman (Guildhall School of Music) in England.  Her 2016 autobiography is titled Wit and Wisdom of a Violinist but is presently out of print.  Many of her abstract paintings can be seen on her Facebook page.  Milanova has taught at Bilkent University in Turkey, among other schools.  Here are two YouTube files of her performances, including the complete recording of the Paganini Caprices.  

Carl Nielsen

Carl Nielsen (Carl August Nielsen) was a Danish violinist, composer, conductor, writer, and teacher born (in Norre Lyndelse, on the island of Funen) on June 9, 1865.  Although now remembered almost exclusively as a composer – in fact, Denmark’s greatest composer - he spent many years earning his livelihood as a violinist as well as an Army bugler.  His parents were most likely his very first teachers, although it was not their intention that he become a professional musician.  In late 1879, he became a bugler and trombonist for the army.  He was 14 years old.  Nevertheless, he continued to study the violin, sometimes performing at barn dances.  In 1881, he began studying privately with Carl Larsen, a custodian at the Odense Cathedral.  After receiving a release from his army job, he entered the Royal Danish Academy of Music in Copenhagen in 1884 - one source calls this the Copenhagen Conservatory.  His violin teacher there was Valdemar Tofte, a very obscure violinist and teacher.  He left (or graduated) from the conservatory in late 1886.  He was 22 years old.  In 1887, he joined the second violin section of the Royal Danish Orchestra and remained there for about 16 years – one source says this happened in 1889.  Later on, he was also hired to conduct the orchestra every once in a while.  In 1910, he was officially appointed assistant conductor.  However, he had to give up this post in May of 1914.  All the while, he had been giving private violin and piano lessons simply to improve his income.  His opus 1 was premiered when he was 23 years old – September of 1888.  In 1916, he took a teaching post at the Royal Danish Academy of Music.  He was 50 years old.  He continued to teach there until he died.  Outside of Denmark, among the works that continue to be very popular are his symphony number 4, the violin concerto, the Aladdin Suite, the Helios overture, and his string quartet number 4.  He produced well over 100 works during his lifetime.  He also wrote - aside from voluminous correspondence - a set of short essays in 1925 and a memoir of his youth in 1927, both available in English translations.  Nielsen died on October 3, 1931, at age 66.  

Uto Ughi

Uto Ughi is an Italian violinist, teacher, writer, and conductor born (in Busto Arsizio) on January 21, 1944.  His name has been closely associated with the National Academy of Saint Cecilia (in Rome) for many years.  He is a high-profile promoter of musical culture all over the world, but especially in Italy, as is Vladimir Spivakov in Russia.  Ughi has founded several music festivals along the way.  His discography covers most of the standard violin repertoire.  Because he came of age in the 1960s, he has had a chance to work with some of the legendary names in the conducting world (who are for the most part now dead) as well as the most current luminaries of the baton.  He began his lessons at age 4.  His father was an amateur violinist but his first formal teacher was a nameless violinist from the opera orchestra of La Scala.  At age 7, Ughi gave his first recital in Milan.  Though it’s hard to believe, according to one source, he played some Paganini Caprices as well as the ubiquitous Bach Chaconne at that recital.  Ughi studied for ten years at the Chigiana Music Academy in Siena (Tuscany.)  He also took lessons from George Enesco for a time.  He began his uninterrupted concertizing career in 1959 – he was 15 years old.  Among his pupils are Augustin Hadelich and Sayaka Shoji.  Ughi’s recording of Paganini’s fourth concerto is my favorite recording of that particular concerto.  Here is a YouTube video of one of his performances.  He has also recorded a seldom-played work – the Schumann concerto.  Here is the first movement from that recording - the second and third movements are here.  Between 1987 and 1992, he was the principal conductor of the Orchestra of the St Cecilia Academy.  Ughi has owned or played the Kreutzer Stradivarius (the one from 1701 – there are 4 Strads named Kreutzer), the General Kyd, the Ole Bull, and a Guarneri from 1744.  

Orchestra musicians

I often wonder what orchestra musicians in the times of Corelli, Vivaldi, Bach, Zelenka, Handel, Mozart, Beethoven, Brahms, Bizet, Verdi, Berlioz, Paganini, Rossini, Puccini, Sibelius, Tchaikovsky, Poulenc, Stravinsky, and Prokofiev thought about their music when it was being played for the first time.  Orchestral music is an art that requires many collaborators.  It’s not just one man and his piano.  What thoughts passed through their minds as they labored to understand and decipher, and practiced and rehearsed what the composers had just written?  Did the manuscripts contain a lot of misprints?  Was the music illegible?  Did they even have enough light to see the notes?  Did they have enough rehearsal time to learn the music?  Composers frequently finished their work at the last minute.  Was the conductor clueless?  Was the music any good?  Did they hesitate to speak out?  Were they just there to do a job and go home?  Were they all free-lancers?  Organized, standing (civic) orchestras did not come into existence until about 1800.  Did they take on other work to make ends meet?  Did they ever praise or encourage a composer?  Did they think they got paid enough for their services?  What did they think about the aristocracy?  Did they ever think they were making history?  Did they drink on the job?  Was the music even well-played?  Did they care about that?  What did they think of Bach’s Mass in B minor or Handel’s Messiah?  What did they think of Mozart’s Haffner Symphony or his Don Giovanni?  When Beethoven’s Fifth Symphony was premiered, who played in the orchestra?  What did they think of Brahms’ Second Symphony?  What did they say about Bizet’s Carmen?  What did they think of Paganini and his impossible concertos?  What did they say about Tchaikovsky when he conducted?  Who was playing in the orchestra when the riot took place during Stravinsky’s Rite of Spring premiere?  Did orchestral musicians think about their audiences at all?  Did the audiences think about them at all?  Only God knows.  Even among the very best-known orchestras in the world – the New York Philharmonic, for instance - the rank and file musician is invisible.  With some luck, the concertmaster’s identity and abilities might be known, but only to a few.  The rest of the players are anonymous.  They don’t even talk to the conductor, except perhaps about innocuous topics (and only now and then), but certainly not about the music at hand.  Perhaps it’s no different than it is in other enterprises or industries which hire dozens or hundreds or even thousands of people.  We know Mozart and Schumann and Wagner and Berlioz wrote quite a bit about their work and their lives.  Many other more contemporary musicians have also written books about their experiences – Arnold Steinhardt, Leopold Auer, Louis Kaufman, Albert Spalding, Isaac Stern, Joseph Szigeti, Ivry Gitlis, Ned Rorem, Henri Temianka, Carl Flesch, Yehudi Menuhin, Nathan Milstein, Steven Staryk, Ida Haendel, Charles Munch, Riccardo Muti, Igor Stravinsky, Mischa Mischakoff, Leonard Bernstein, Michael Charry, and Gunther Schuller, to name a few.  They are all higher-profile musicians.  What about the guy in the third stand of the cello section, or the third trumpet player, or the woman in the fourth stand of the first violin section, or the assistant principal in the viola section, or the second horn player?  Except for when they play, they keep quiet.

Max Rostal

Max Rostal was an Austrian violinist, arranger, and teacher born (in Teschen) on July 7, 1905 (Heifetz was four years old.)  He is not particularly well-known for anything other than that he had a long teaching career and was under-rated as a violinist.  He began his violin studies at age 5.  He began playing in public from age 6 (1911.)  From the age of 8, after arriving in Vienna, one of his teachers was Arnold Rose, concertmaster of the Vienna Philharmonic for many years.  (When Fritz Kreisler - as a teenager - applied to the Vienna Philharmonic, it was Arnold Rose who turned him down.)  In 1920, his mother took Rostal to Berlin, along with his siblings. There, he took private lessons with Carl Flesch, when Flesch was still teaching there.  According to at least one source, Rostal was often compared to Bronislaw Huberman, Fritz Kreisler, and Eugene Ysaye. Rostal made his formal debut in Berlin on February 3, 1923. He was 17 years old. Although he played pieces by Reger, Vivaldi, Dvorak, and Paganini, the main work on the program was the violin concerto by Alexander Glazunov. In 1925, he won the Mendelssohn Scholarship.  Another obscure violinist who won this prize was Leonora Jackson in 1897.  In 1926, Rostal moved to Vienna, where he made a living mostly by giving private lessons.  In 1927, he was offered the position of concertmaster of the Oslo Philharmonic. In 1928, he returned to Berlin to become assistant to Carl Flesch at the Berlin Music Academy. From 1930 to 1933 he taught at the Advanced School for Music in Berlin.  Rostal organized the Rostal String Quartet in 1930. The quartet enjoyed great success for the duration of its existence (three years.)  In April of 1933, he was dismissed from his teaching position and subsequently (in 1934) moved to England, where he established himself, primarily as a teacher. From 1944 to 1958, he taught at the Guildhall School of Music in London and played many concerts broadcast over the BBC.  He then taught in Cologne (Germany) from 1957 to 1982.  Simultaneously, he was a violin teacher at the Conservatory in Bern, Switzerland (1958-1985.)  Several recordings of his are posted on YouTube and it is said that his few recordings are now treasured by collectors.  Many critics have also said that he had a very individual style.  He was especially praised for his interpretation of Bartok’s second concerto (as is Silvia Marcovici nowadays) and was known to champion contemporary music.  Rostal premiered Alan Bush’s violin concerto in 1949, a work which has not been heard from since.  He also edited quite a few works for violin and wrote a method book as well.  These works can easily be found on the internet.  A violin (and viola) competition (begun in Bern in 1991 and now held in Berlin) is named after him.  In 1944, Rostal was instrumental in organizing the Carl Flesch violin competition (which ran from 1945 until 1992. Raymond Cohen was the first winner of that competition.)  Among his pupils were Thomas Brandis, Sergiu Luca, Norbert Brainin, Yfrah Neaman, Desmond Cecil, Edith Peinemann, and Igor Ozim.  His Guarnerius del Gesu is now owned by the Stradivari Society (Chicago, USA.)  Max Rostal died in Switzerland on August 6, 1991, at age 86.

Natasha Korsakova

Natasha Korsakova is a Russian violinist and writer born on January 24, 1978 (Itzhak Perlman was 32 years old and Jascha Heifetz was 77 years old.)  She is the only concert violinist that I know of who is fluent in five languages.  (The only other violinists who were fluent in that many languages were Henryk Szeryng and Otakar Sevcik.)  She is also the only one who has an exclusive concert dress designer (Laura Biagiotti) and the only one named artist-of-the-year in two different countries (Italy and Chile.)  It is noteworthy that while female concert violinists are moving towards more glamorous fashions, (witness Sophie Mutter, Sarah Chang, and Akiko Meyers), the males are becoming more ungraceful and casual, perhaps even grotesque (witness Joshua Bell, Leonidas Kavakos, and Nigel Kennedy.)  It has been said that Korsakova is very bold and charismatic.  Her violin studies began at age 5 and her first public performance took place at age 7 in Moscow.  However, her first teacher was not her father but her grandfather (Boris Korsakov), although she later studied with her violinist father (Andrej Korsakov, who studied with the legendary Leonid Kogan.)  She later studied in Germany with Ulf Klausenitzer and Saschko Gawriloff (at the Advanced Music School – Musikhochschule - in Cologne – 1995-1999.)  Nevertheless, her orchestral debut was back in 1985 with the Voronezh (Russia) Orchestra.  (This orchestra has been associated with several leading Russian conductors, including Evgeny Svetlanov, Kiril Kondrashin, Emin Khachaturian, Neemi Yarvi, and Alexander Dmitriev, and regularly plays in Moscow and St Petersburg.  It has also accompanied innumerable major artists: among them, Emil Gilels, Gidon Kremer, Vladimir Spivakov, Igor Oistrakh, Yuri Bashmet, Alexander Zhukov, Maxim Vengerov, and Mikhail Pletnev.)  She spent the first seventeen years of her life in Russia where her musical lineage goes back about six generations and includes composer Rimsky-Korsakov (1844-1908), her great-grand uncle.  Korsakova has already toured (practically) the entire world and, of course, played in most of the world’s prestigious concert halls, with top conductors and major orchestras.  She has recorded several CDs which are available on the internet at ArizonaRecordings (and through ITunes and other electronic download venues) and there are several videos of her playing on YouTube.  She also delves seriously into chamber music and far flung music festivals, as do all concert violinists nowadays.  In the year 2004 she performed the Tchaikovsky concerto in Berlin for the 15th anniversary of the fall of the Berlin wall.  In 2008, she played a special concert in Vienna the night before the official opening of the European Football Championships.  She has also been invited to play for the Italian State President and his guests at the Palazzo Quirinale in Rome.  In 2010, she premiered and recorded (with the Czech Philharmonic) two concertos written for and dedicated to her – one by Robert Vinson (Concerto in F) and the second by Daniel Schnyder (Mozart in China.)  Korsakova has played a Vincenzo Panormo (also known as Vincenzo Trusiano) violin but is currently playing a Giovanni Pressenda (Turin, 1843) from the collection of Giovanni Accornero, Italian expert on luthiers, author, and instrument collector and dealer.  In 2011, she and Swiss violinist Manrico Padovani (the first Swiss violinist to have recorded the 24 Paganini Caprices) will record several double concertos by Alfred Schnittke, J.S. Bach, Arvo Part, and Antonio Vivaldi. 

Steven Staryk

Steven Staryk is a Russian (Ukrainian) violinist, writer, actor, and teacher born (in Toronto, Canada) on April 28, 1932 (Heifetz was 31 years old.)  He may well be – after Ferdinand David - the most famous concertmaster in history.  In fact, in England, he was called (by The Strad) the king of concertmasters.  However, as are a few other concertmasters, he is also a concertizing virtuoso.  He has also appeared, as has Ivry Gitlis, in feature films.  (A well-known incident in his career occurred in 1951, when he was denied permission to enter the U.S. (from Canada) due to his supposed ties to Communism.  He was at the same time also black listed by the Toronto Symphony.  Details are available here.)  He began his study of the violin at age 6 with John Moskalyk and attended the Harbord Collegiate Institute in Toronto.  Later on, he studied with Eli Spivak (a student of Adolf Brodsky) and Albert Pratz at the Royal Conservatory of Music (Toronto.)  Among his other teachers have been Mischa Mischakoff, Oscar Shumsky, and Alexander Schneider.  Staryk has also been the recipient of many awards proffered by Canada to its most distinguished citizens and artists.  He made his recital debut at age 14 on Canadian radio.  At 17 he made his orchestral debut with the Royal Conservatory Orchestra playing Paganini’s first concerto at Massey Hall.  Thereafter, while freelancing as a studio and solo musician he was also a section player in the Toronto Symphony (1950–1952) and in the Canadian Broadcasting Company (CBC) Symphony Orchestra (1952-1956.)  In 1956, Thomas Beecham invited him to lead the Royal Philharmonic (England), the youngest concertmaster in its history (age 24.)  In 1960, he was the concertmaster for the CBC Symphony Orchestra’s recordings of works by Stravinsky conducted by Stravinsky.  Staryk has also been concertmaster of the Concertgebouw (1960-1963), Amsterdam Chamber Orchestra, Chicago Symphony (1963-1967), and the Toronto Symphony (1982-1986.)  (His longest tenure as concertmaster of any orchestra has been four years.)  However, even as he led hundreds of orchestral concerts, he was also concertizing worldwide.  An especially busy concertizing period came between 1967 and 1972.  He has taught at the Amsterdam Conservatory (1960), Northwestern University (1963), American Conservatory (Chicago), University of Victoria (1973), Vancouver Academy of Music (1972), University of Western Ontario (1977), Royal Conservatory of Music (Toronto, Canada - 1975), University of Toronto (1978), University of Washington (Seattle - 1987), and the University of Ottawa (1975.)  In 1968, he became the youngest full professor at Oberlin College Conservatory in Ohio (USA.)  Staryk has recorded over 190 works (up to the year 2003) and has compiled a 30 CD set which is available on the internet - known as the Staryk Anthology.  He is easily in the top five of recorded violinists – including Ruggiero Ricci, Louis Kaufman, and Jascha Heifetz.  This discography has been highly praised and his sound has been compared to Heifetz’.  An unusual bonus is Staryk’s recording of seldom-heard Caprices by Rode, Dancla, Fiorillo, Kreutzer, Locatelli, and Sevcik.  As a chamber music player, Staryk has played with the Oberlin String Quartet, Quartet Canada, the CBC String Quartet, and the Staryk-Perry Duo (with pianist John Perry) with which he recorded the complete Beethoven sonatas.  Staryk also served as the first Canadian adjudicator for the Tchaikovsky Competition in Moscow in 1982.  Many works have been dedicated to him and been premiered by him.  In 1987, Staryk played the part of Vivaldi in the two-hour documentary drama film about the famous violinist-composer.  There are several videos of his playing on YouTube.  He has owned and played many different violins - the Muntz Strad (1736), the Hochstein Strad (1715), the Wieniawski Strad (1719), the Rode Strad (1721), the Sacconi Guarnerius (1740), a Ruggieri, a Goffriller, a Guadagnini (1768), and a 1610 Maggini among them.  In 2000, Staryk co-authored a book with Thane Lewis about his life as a professional musician, Fiddling With Life.  One of his students is Lenny Solomon, (leader of the group Bowfire.) 

Louis Kaufman

Louis Kaufman was an American violinist born on May 10, 1905 (Heifetz was four years old.) He was probably the most recorded violinist of all time, though Heifetz and Ricci can claim the same thing. He played for the soundtracks on as many as 500 movies and also made 125 recordings on 30 different labels. It has been said that his tone was similar to Heifetz’. Kaufman began to study at Juilliard with Franz Kneisel at age 13. His solo debut took place at Town Hall in 1928 and was very successful. He played viola in the Musical Art Quartet for seven years (1926-1933.) Among his chamber music colleagues were Jascha Heifetz, Pablo Casals, Mischa Elman, Fritz Kreisler, and Efrem Zimbalist. His 1947 recording of Vivaldi’s Four Seasons brought Vivaldi’s music to the general public’s attention, though violinist Olga Rudge (Ezra Pound’s mistress) is given credit for rediscovering Vivaldi in Italy, just as Mendelssohn is credited with rediscovering Bach’s music. (Alfredo Campoli is credited with the first recording of the Four Seasons - in 1939 from a radio broadcast - and Bernardo Molinari with the second - in 1942.) A YouTube post of Kaufman playing the third concerto of Camille Saint Saens is available here.  If Heifetz had recorded the Saint Saens concerto, it might have sounded something like that.  Kaufman also championed the works of many contemporary composers, Francis Poulenc and Darius Milhaud among them.  Even while he worked for the movie studios, he concertized around the world.  Among the hundreds of movie soundtracks his violin is heard in are Casablanca, The Grapes of Wrath, Cleopatra, and Gone With The Wind. Kaufman was also the first to record Samuel Barber’s violin concerto. His autobiography, published in 2003, is titled A Fiddler’s Tale. Kaufman died on February 9, 1994, at age 88.

Midori

Midori (Midori Goto) is a Japanese (some would say American) violinist, teacher, and writer, born on October 25, 1971 (Perlman was 25 years old.) She began violin lessons with her mother at age three. Her first public performance took place at age seven. After she and her mother came to the U.S. (1982), she began studying at Juilliard with Dorothy Delay. Her New York debut took place with the New York Philharmonic under Zubin Mehta that same year. She has been concertizing ever since. YouTube features a popular home video of her performance at Tanglewood (1986) when her E string broke twice while she played. In 2000, she graduated from New York University, having earned a Bachelor’s degree in Psychology and again in 2005 a Master’s Degree in the same field from the same school. Nowadays, Midori spends a lot of time teaching - she has founded several educational programs for children. She has also taught at USC (Los Angeles - Heifetz used to teach there) and the Manhattan School of Music, among other schools, and is the recipient of several prestigious awards. However, her discography is not extensive and she has yet to record (or release) the Beethoven and the Brahms concertos, two war horses of the violin repertory. She wrote a memoir (Simply Midori) which was published in 2004. She has played (and perhaps still plays) the famous 1734 Huberman Guarnerius. A wonderful CD  and DVD of her Carnegie Hall recital (1990) are still available. Here is a sample from the DVD posted on YouTube. 

Albert Spalding

Albert Spalding was an American violinist, composer, writer, and teacher born (in Chicago) on August 15, 1888 (Brahms was 55 years old.) It has been said that he was the first American-born violinist of international stature. Aside from being a superlative virtuoso, he is remembered for many different things. Spalding was an early recording pioneer, playing for over 100 recordings, mostly for the Edison Company. He was also a member of the armed forces twice – during World War One and World War Two, serving in what today would be known as the Intelligence branches. Spalding premiered Barber’s violin concerto (February, 1941) when the violinist who commissioned it (Iso Briselli) refused to play it. He wrote two violin concertos (among other things), though they are no longer played. In the 1920s, he was one of the first to play classical music concerts on the radio. His uncle was a Hall-of-Fame baseball player (pitcher) who began a world famous sporting goods company. Spalding began his violin studies at age 7. His first lessons were in Florence, Italy. He also studied in New York, Paris, and Bologna. At the age of 14, he received his degree and title of Professor of Music from the Bologna Conservatory. He made his public debut in Paris at age 16 (1906) with the third Saint Saens Concerto. With the composer on the podium, Spalding played the same concerto in Florence a year later and received much praise. He then appeared in London and Vienna. On November 8, 1908, he made his American debut in New York (with the New York Symphony, under the baton of Walter Damrosch.) In 1909, he toured the U.S. with the Dresden Philharmonic. He was 21 years old.  From that point forward – except for the two breaks taken to serve during World Wars One and Two - he concertized throughout the world. Spalding retired in May of 1950, just after having played with the New York Philharmonic for an audience of 20,000 in New York. He taught at Boston College and Florida State University. Spalding also wrote his autobiography (1946) and a novel (1953.) He died unexpectedly in New York on May 26, 1953, at the age of 64.

Olga Rudge

Olga Rudge was an American violinist and writer born (in Youngstown, Ohio) on April 13, 1895 (Brahms was 62 years old.) Today, she is mostly remembered for her relationship to Ezra Pound, an often misunderstood poet-musician, and for having lived more than 100 years (1895–1996). As far as I know, Rudge never studied at a conservatory but became a violin virtuoso nonetheless and began her career as a soloist in 1918. She often played before distinguished political dignitaries but stopped concertizing after the Second World War. She was also instrumental (during the 1930s) in bringing the works of Vivaldi to international attention and acclaim. She discovered over 300 Vivaldi concertos which had been lost or forgotten. Rudge died on March 15, 1996, at age 100.