Despite all the new inventions playing baroquemusic I personally like Szerings Interpretation of the Bach Sonatas and Partitas best! But for me Oistrakh with his heartmelting sound is by far the greatest!
One common denominator.. they all have much longer and stronger fourth fingers..This is extremely helpful. Shaham's fourth finger is just as long as his ring finger... Perlman's fourth finger is not only long but as thick as his middle finger...
Yes, it would be nice to know what each violinist was playing - BUT it would even be better if they were all playing the same music... I mean the same excerpt from music that would clearly display their differences. And for someone like me who is not a violinist BUT is eager to learn, perhaps some narrative either by voice or the written word, of exactly what I should be looking for and indicate what are the clear and obvious (to you) differences of techniques.😮
Dear Vladimir Dyo. Only an advise: You write wrongly the name of Milstein in the title and description both. It will be very interesting to have your personal comments of what you aprreciate un this frases of video to specially us, violinists. Also, where that imagen came from? on the other hand, is there any way of contacting you personally (mail maybe...) Thank you so much. Kind regards, Abraham.
Hi Abraham, thanks for catching the mistake. I appreciate it. I didn't notice the autocorrection messing up Milstein's name. These artists are genuine masters of the art of violin playing. At first, it's hard to distill exactly what they do; you just marvel at their mastery. But if you look into the nature of physics, geometry, athletics, and acrobatics, you start to see what is going on. If you look abstractly, their left hands look absolutely autonomous, as if an athlete is running, jumping, sliding. Every joint of each finger (as well as the wrist) is in a state of elastic motion and precise execution. One of the greatest struggles of left-hand technique today is the excessive stiffness and limited motion. As a result, the vibrato, shifting, intonation are greatly affected, including the overall physical health of the left hand. If they could do it, it means there is a way of doing it, we just need to liberate our minds from excessive restrictions. I can be reach via the contact form on my website @ vladimirdyo.com Cheers!
A common trait of these masters is the lack of shoulder rest. This is directly related to the freedom to move the violin itself. However, present-day masters (with few excepcions all of them are shoulder rest users) show keft hand habiities that are not below their predecesors. What the younger players lack is a peculiar sound and style.
@@guillermorochabrun3456 Good point! Without the shoulder rest, the left hand blends better with the fingerboard and liberates the instrument from being gripped between the chin and shoulder. These masters were creating and expressing rather than just playing the right notes, articulation, and written dynamics (which are important, but there is more to music than that).
0:05 Heifetz (Wieniawski: Scherzo-Tarantella, Dinicu: Hora Staccato)
0:53 Ferras (Faure: Berceuse)
1:30 Oistrakh (Ravel: Tzigane)
2:17 Szeryng (Bach: Fugue in G minor)
3:23 Milstein (Paganini: Caprice N.11, Novacek: Perpetuum Mobile)
5:21 Menuhin (Bazzini: Calabrese)
Matur suksma
Despite all the new inventions playing baroquemusic I personally like Szerings Interpretation of the Bach Sonatas and Partitas best! But for me Oistrakh with his heartmelting sound is by far the greatest!
Great video. Hope you can do another one with other violinists, including Tossy Spivakovsky and Ruggiero Ricci - and also one with cellists.
One common denominator.. they all have much longer and stronger fourth fingers..This is extremely helpful. Shaham's fourth finger is just as long as his ring finger...
Perlman's fourth finger is not only long but as thick as his middle finger...
Yes, and Perlman is the only violinist to play in the fourth position without moving his hand by an inch...
What economy of movement….!
Thanks for that fascinating compilation 🙏
Yes, it would be nice to know what each violinist was playing - BUT it would even be better if they were all playing the same music... I mean the same excerpt from music that would clearly display their differences. And for someone like me who is not a violinist BUT is eager to learn, perhaps some narrative either by voice or the written word, of exactly what I should be looking for and indicate what are the clear and obvious (to you) differences of techniques.😮
Noted. I have added pieces performed in the pinned comment.
Ahí faltó Kogan, que también tenía una técnica de mano izquierda impresionante
what is the piece at 0:42?
Dinicu: Hora Staccato
Dear Vladimir Dyo. Only an advise: You write wrongly the name of Milstein in the title and description both. It will be very interesting to have your personal comments of what you aprreciate un this frases of video to specially us, violinists. Also, where that imagen came from? on the other hand, is there any way of contacting you personally (mail maybe...)
Thank you so much.
Kind regards,
Abraham.
Hi Abraham, thanks for catching the mistake. I appreciate it. I didn't notice the autocorrection messing up Milstein's name. These artists are genuine masters of the art of violin playing. At first, it's hard to distill exactly what they do; you just marvel at their mastery. But if you look into the nature of physics, geometry, athletics, and acrobatics, you start to see what is going on. If you look abstractly, their left hands look absolutely autonomous, as if an athlete is running, jumping, sliding. Every joint of each finger (as well as the wrist) is in a state of elastic motion and precise execution. One of the greatest struggles of left-hand technique today is the excessive stiffness and limited motion. As a result, the vibrato, shifting, intonation are greatly affected, including the overall physical health of the left hand. If they could do it, it means there is a way of doing it, we just need to liberate our minds from excessive restrictions. I can be reach via the contact form on my website @ vladimirdyo.com Cheers!
A common trait of these masters is the lack of shoulder rest. This is directly related to the freedom to move the violin itself. However, present-day masters (with few excepcions all of them are shoulder rest users) show keft hand habiities that are not below their predecesors. What the younger players lack is a peculiar sound and style.
@@guillermorochabrun3456 Good point! Without the shoulder rest, the left hand blends better with the fingerboard and liberates the instrument from being gripped between the chin and shoulder. These masters were creating and expressing rather than just playing the right notes, articulation, and written dynamics (which are important, but there is more to music than that).
Oistrakh: (no shoulder rest)
Ferras: (no shoudler rest)
Milstein: (no shoulder rest)
what is Heifetz playing? if you don’t mind answering.
Wieniawski: Scherzo Tarantella and Dinicu: Hora Staccato
What did Menuhin play?
Bazzini - Calabrese
What piece was Oistrakh playing?
Ravel - Tzigane
what is the piece at 2:04?
Ravel: Tzigane