Mmmm bravissamo!!! My dad played this for his audition for the West Australian symphony orchestra! How could they say no!!??? Btw notice his bowing techniques.....brilliant
Re Milton Kaye Jascha Heifetz, in California, asked his violinist friend Sascha Jacobson if he knew of an accompanist who would travel with him on short notice for a USO tour. Jacobson telephoned Paul Bernard, the second violinist in his Musical Arts String Quartet, to ask his advice. Bernard was in New York where he worked at the classical music radio station WOR with Milton Kaye. Kaye had performed regularly on WOR since 1932, playing everything from piano concertos to accompaniments for other musicians on frequent live radio broadcasts. Bernard thought highly of Kaye and recommended him. As a student at the Juilliard School, Kaye had accompanied some of Jacobsen’s students. Now that Bernard suggested him, Jacobsen remembered Kaye. Both agreed that Kaye would be a good choice for Heifetz. Bernard quickly found Kaye and said, “Hey, I just heard that Jascha is looking for a pianist.” “Jascha who?” Kaye asked. “What do you mean Jascha who,” Bernard shot back, “there’s only one Jascha. HEIFETZ!” Kaye was stunned. The chance to play with Heifetz was the last thing he ever expected. And the timing was perfect - he had just signed up as a pianist for the USO. So Bernard arranged for Heifetz to telephone Kaye. It was set for 8:00 p.m. the next evening, and Bernard warned Kaye to be waiting by the phone. Heifetz would call only once. The call came at precisely 8 o’clock. “Sascha Jacobson and Paul Bernard both think highly of you,” Heifetz told him. “I will be in New York soon and, if you are interested, perhaps I could hear you play.” With his heart racing, Kaye managed to reply: “It would be a privilege.” The audition took place at Heifetz’s suite at 5th Avenue and 59th Street. Heifetz led him to the piano, which was stacked with music. To Kaye, it looked like there must be 300 pieces there. Heifetz took the top piece off the stack, the Londonderry Air (“Danny Boy”) and put it on the piano rack. Kaye glanced over it, took a deep breath, and launched into the introduction, but when the violin was supposed to enter there was silence. Kaye froze. Why wasn’t Heifetz playing? But Heifetz said, “Go on, go on!” Kaye realized that Heifetz wanted to see how he would play the accompaniment without him. So he tried to guess how Heifetz would play. He sensed Heifetz’s approval. After letting Kaye play the entire piano part alone, Heifetz said, “Alright. Now, let’s start again.” This time Heifetz played along, but he was still testing Kaye. He played with exaggerated and unpredictable rubato as if to say, “Follow me, if you can!” As it turned out, Kaye could. His years of experience on the radio playing with unpredictable musicians on short notice had served him well. Heifetz seemed pleased. One by one, they proceeded to read through the stack of music on the piano. As they did so, Kaye noticed that Heifetz had carefully marked every piano part. The smallest diminuendos, crescendos, and accelerandos were penciled in. Heifetz had even written in the fingerings that he wanted the pianist to use. They played for hours. When they got through the stack, it was dark outside and Heifetz had himself a pianist. Before Kaye left that day, Heifetz warned that he expected only the best from him. “If you are an artist, you do things correctly,” Heifetz explained. “Not half way - fully.” He paused and looked at Kaye. “Do you want to be an artist?” he asked. Kaye nodded. “Then no approximation,” Heifetz said. The blood must have drained from Kaye’s face, because Heifetz then offered some revealing words of comfort: “If you think I am tough on you, remember, I am twice as tough on myself.”
@solowcello Thanks for that excellent story. It would be great, however, if you would mention your source. Also, you wrote "Jacobson" and "Jacobsen". So which is it, actually? Thanks! ;)
His projection and tone is stupendous.
Shumsky was one of the greats. He deserves/ deserved more recognition.
Yeah! splendid, splendid, splendid, wonderful Fritz Kreisler. I was moved so much. when I was 21years old, I also studied it.
(soon be 91yrs.Japanese)
萩原さん、本当にありがとうございました！
I hope you turned 91 and are still listening
My gosh, his playing fits Kreisler soo well
Mmmm bravissamo!!!
My dad played this for his audition for the West Australian symphony orchestra!
How could they say no!!???
Btw notice his bowing techniques.....brilliant
What a wonderful accompanist!
@greggoryrice7046
Yes, indeed. It's highly doubtful that anyone could accompany Kaye better than Shumsky does!
What a sound !!! , a great concert artist. 👏🏻
Indeed!
So great, you found all this stuff and put it up. shumsky was one of the very top violinists
Maravillosa ejecución del Prestigioso Violinista; interpretando la Obra Maestra de manera Magistral .
OUT OF THIS WORLD
Yes！
Unbelievable clarity of sound and thought
Just amazing! Thanks for sharing🙏
He was about 58 years old here. Amazing 😮
A magisterial artist, The American Master. I would love to see the whole recital.
There are nine pieces. All uploaded now. King Oscar, 🤝
Thank you so much.@@yi-wenjiang835
So powerful. Beautifully played.
Thank you for posting.
The interpretation I prefer
Гений на гении, гением погоняет.
I've heard it played a lot; this I like because it sounds more mature than the fiddlers that just play it for flash.
Who are those less mature fiddlers? Name a few…would you?
Yes please commit so I can compare for myself
Re Milton Kaye
Jascha Heifetz, in California, asked his violinist friend Sascha Jacobson if he knew of an accompanist who would travel with him on short notice for a USO tour. Jacobson telephoned Paul Bernard, the second violinist in his Musical Arts String Quartet, to ask his advice. Bernard was in New York where he worked at the classical music radio station WOR with Milton Kaye. Kaye had performed regularly on WOR since 1932, playing everything from piano concertos to accompaniments for other musicians on frequent live radio broadcasts. Bernard thought highly of Kaye and recommended him. As a student at the Juilliard School, Kaye had accompanied some of Jacobsen’s students. Now that Bernard suggested him, Jacobsen remembered Kaye. Both agreed that Kaye would be a good choice for Heifetz.
Bernard quickly found Kaye and said, “Hey, I just heard that Jascha is looking for a pianist.” “Jascha who?” Kaye asked. “What do you mean Jascha who,” Bernard shot back, “there’s only one Jascha. HEIFETZ!” Kaye was stunned. The chance to play with Heifetz was the last thing he ever expected. And the timing was perfect - he had just signed up as a pianist for the USO. So Bernard arranged for Heifetz to telephone Kaye. It was set for 8:00 p.m. the next evening, and Bernard warned Kaye to be waiting by the phone. Heifetz would call only once. The call came at precisely 8 o’clock. “Sascha Jacobson and Paul Bernard both think highly of you,” Heifetz told him. “I will be in New York soon and, if you are interested, perhaps I could hear you play.” With his heart racing, Kaye managed to reply: “It would be a privilege.”
The audition took place at Heifetz’s suite at 5th Avenue and 59th Street. Heifetz led him to the piano, which was stacked with music. To Kaye, it looked like there must be 300 pieces there. Heifetz took the top piece off the stack, the Londonderry Air (“Danny Boy”) and put it on the piano rack. Kaye glanced over it, took a deep breath, and launched into the introduction, but when the violin was supposed to enter there was silence. Kaye froze. Why wasn’t Heifetz playing? But Heifetz said, “Go on, go on!” Kaye realized that Heifetz wanted to see how he would play the accompaniment without him. So he tried to guess how Heifetz would play. He sensed Heifetz’s approval. After letting Kaye play the entire piano part alone, Heifetz said, “Alright. Now, let’s start again.” This time Heifetz played along, but he was still testing Kaye. He played with exaggerated and unpredictable rubato as if to say, “Follow me, if you can!” As it turned out, Kaye could. His years of experience on the radio playing with unpredictable musicians on short notice had served him well. Heifetz seemed pleased.
One by one, they proceeded to read through the stack of music on the piano. As they did so, Kaye noticed that Heifetz had carefully marked every piano part. The smallest diminuendos, crescendos, and accelerandos were penciled in. Heifetz had even written in the fingerings that he wanted the pianist to use. They played for hours. When they got through the stack, it was dark outside and Heifetz had himself a pianist. Before Kaye left that day, Heifetz warned that he expected only the best from him. “If you are an artist, you do things correctly,” Heifetz explained. “Not half way - fully.” He paused and looked at Kaye. “Do you want to be an artist?” he asked. Kaye nodded. “Then no approximation,” Heifetz said. The blood must have drained from Kaye’s face, because Heifetz then offered some revealing words of comfort: “If you think I am tough on you, remember, I am twice as tough on myself.”
Thank you dear Jeff for posting this wonderful story. No approximations! 👈🤝
@solowcello Thanks for that excellent story. It would be great, however, if you would mention your source.
Also, you wrote "Jacobson" and "Jacobsen". So which is it, actually? Thanks! ;)
It sounds like Heifetz.
@@robotnik77 Could you be more specific about the similarities you hear?
Really? How?
This dude rips
It is honest
How about the pianist? Was it Menachem Pressler?
Please see description.