TCHAIKOVSKY Violin Concerto Nathan Milstein Chicago Symphony Hendl 1963
Вставка
- Опубліковано 5 вер 2024
- Tchaikovsky Violin Concerto
Nathan Milstein, violin
Chicago Symphony Orchestra
Walter Hendl, 1963
Nathan Milstein (violinist, born December 31, 1904, Odessa, Russia; died: December 21, 1992) As a young child in his native Odessa, Russia, he was forced by his mother to take violin lessons "to keep him out of mischief," a route being taken by a neighbor with her equally "wild" little son. By the time he was 11, his playing had been heard by legendary violinist Leopold Auer who invited him to become one of his pupils at the St. Petersburg Conservatory of Music. The classic violinist, who ranks among such beloved elder statesmen of music as Rudolf Serkin and the late Arthur Rubinstein and Pablo Casels, was the last active member of the great early crop of Auer pupils, a group that included Mischa Elman, Efrem Zimbalist, Jascha Heifetz, and Toscha Seidel, among others. In 1922 when he was doing joint concerts with Vladmir Horowitz in Kiev, a concert manager described his impression of him: "I saw him first in a rather disheveled way. He wore an overcoat obviously borrowed from someone with a sort of lady-like collar, and his hands were wrapped in some rags." He se ed oddly out of place compared to the elegant Horowitz. Yet their difference did not affect their friendship or their join musicianship. Nathan Milstein was born in Odessa on December 31, 1904. His fist major teacher in Odessa was Stolyarsky, with whom he studied until the summer of 1914. (One of his fellow students was six-year old David Oistrakh.) Young Milstein arrived in St. Petersburg in 1915 during the first year of World War I to become a pupil of Auer. "Every little boy who had the dream of playing better than the other boy wanted to go to Auer," he has said. "he was a very gifted man and a good teacher. I used to go the Conservatory twice a week for classes. I played every lesson with 40 or 50 people sitting and listening. Two pianos were in the classroom and a pianist accompanied us. When Auer was sick, he would ask me to come to his home." This ended when Auer went to Norway in 1917. A few students accompanied him. Nathan was not among them. He returned to Odessa to try to eke out a living as a violinist. It was in 1921 that he went to Kiev and met Horowitz, who attended one of his concerts. Their joint concert tour followed. Both men became famous in their native land before leaving Russia for a concert tour of western Europe in 1925, a giant step in both careers. In the three years after his Paris debut before he came to the United States for the first time, Milstein gave performances throughout the Continent in recitals and with leading symphony orchestras. He made his American debut with the Philadelphia Orchestra under Leopold Stokowski on October 17, 1929. It was followed by a concert with the New York Philharmonic on January 23, 1930. Eventually he settled in New York and became an American citizen. Following World War II, he reestablished his concert tours of the principal European music centers where he was greeted by full houses and hailed as "one of the world's greatest musical figures." In the 1930s, it was generally his "superlative technical skill" or the "sheer beauty" of his violin tone which won him the most praise. During the following decade he began to be hailed as "one of the select few who are profound interpreters as well as dazzling virtuosi." One top critic noted: "To listen to Nathan Milstein... is to listen to a musician versed in the manifold aspect of his art, to a poet with his feet in the solid earth while spiritually reaching the clouds." He celebrated the 50th anniversary of his first American performance in 1979 at Carnegie Hall as part of a national tour, displaying again his virtuosity of simplicity. Milstein was also a composer. His works include violin arrangements of music for other instruments by Liszt, Chopin, and Moussorgski; cadenzas for the concertos of Beethoven, Brahms, and Paganini. Best known recordings are Tchaikovsky's D-Major Violin Concerto, Bruch's G-Minor, and Mendelssohn's E-Minor concertos, Lalo's Symphonie Espagnole, and sonatas by Mozart, Beethoven and Bach. His many honors include the Legion of Honor from France, the Cross of Honor, Austria, a 1975 Grammy Award for classical-instrumental soloist and the reputation as one of the foremost violinists of his generation.
---- DISCLAIMER ----
No copyright infringement intended. I do not own this video, nor do I make money from it. Everything belongs to its respective owner. I just wish to share this music with everyone. If anyone has a problem with this video, please let me know and I will take it down.
Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Starting at 7:00 minutes in Milstein pulls in harmonics and in listening to tons of recordings of this concerto he is the only one I have heard do this. The Master.
The most excellent performance!Extra fat is eliminated, and his violin resonates with air.
That is a very knowledgeable comment! Spot on!
He gets the sound of the instrument with a light touch and finesse - the complete opposite of most players these days. I really miss his old school style of playing which as you intimate, lets the instrument sing freely rather than the sound being pummeled out of it.
Ok, so no one plays like that these days....AMAZING!!
more is the pity.
Inimitable interpretation, nobility of expression, fluency of articulation, all perfectly balanced.
Not only that, even the recording despite the age brings out the individual parts far better than any other I have heard. The cello parts especially are extremely clear as opposed to the rumble we hear in most recordings.
A violinist for the ages !
La prise de son est inégale, dans une acoustique sèche de plateau télé. Le son sublime du grand Artiste passe quand même : UN MUST.
Oui, c'est le meilleur interprète que j'ai jamais entendu
Milstein, a sublime master of his instrument! Where technical brilliance meets sheer musicality! Having heard a dozen Tchaikovskys, not heard better!
Thank you for the post!
Jamshed K Delvadavala
Mumbai.
This is what I call an ideal performance in every possible way. Certainly my favourite performance of this piece.
The great, timeless violinist! Thank you for sharing video.
Creo que el maestro Milstein, junto con D. Oistrack y J.Heifetz forma el trío de los mejores violinistas de los últimos tiempos
❤❤❤🌹
12-31-23. Happy Birthday, Dear Maestro Milstein ! We miss you and your magnificent artistry.
Wonderful
🌺🌷🌹🌺🌷🌹
3mv 23:17
straordinario.... ma Heifetz e' un altro pianeta
Milstein was far more musical than Heifetz, in my opinion; with Heifetz I get the sense of a showman or competitor that had to be 'the best', rather than a pure musician.
@@TB-us7elI will say to you what Glitis said: close your eyes and listen to Hrifetz
Недавно слушал Чайковского в исполнении Шеринга...это было чудо !!!
Я сам родился в 1963 году и эта запись мне ровесница...одно скажу - слабенько звучит - ни звука , ни русской широты...очень суетливо. Вообще, трактовка неинтересная.
В Советском союзе тогда был и остался недосягаемый для всех Давид Ойстрах - вот где высота !!!
Ainda existe hoje, União Sovietica?