If I can still live at the age of 82, I'm not sure if I could walk and stand for 30 min straight, Nathan can still play at this level, this is just too amazing.
@@benjamintomasperezperez657 Violinists tend to memorize sonatas but still put up the score when playing. Memorizing sonatas or concertos does not take particular effort for string players. My Croatian cellist colleague even mentions that in his musical culture, string players played sonatas without the score.
Take note pianists - Pludermacher, almost alone among pianists, does not come crashing down on his opening chord, which has become the fashion for over half a century now. And note how much more coherent is the interaction between violinist and pianist. It never ceases to cause me suffering when I hear that predictable fortissimo crash at the outset. No wonder the great Milstein chose to work with Pludermacher for so many years. He was truly a fine pianist and even greater accompanist - knowing so well when to move into the background and when to shine forth. Always the music first...
Beethoven's score marks the first piano chord as fp, or forte/piano. He intended the initial chord to be forte (loud), then falling off to piano (soft. Blame Beethoven for this, not the performers.
@@powellgrant9015 Thanks for responding to my comment! Pianists understand that a dynamic marking is always contextual. Why, in this case, I think Pludermacher is correct, is a discussion for another time. But in defense of my comment, in the meantime, I point out that what we usually hear, is not forte/piano. The crash we have become accustomed to hearing, is more on the order of a booming fortissisimo, which is a shock to the system - especially after the calm / meditative opening of the violin. The appropriate response is an equally gentle forte (in my humble opinion).
I agree that context is important. I am a concert pianist myself, and often need to make judgments in that area. As it happens, I am now playing the Kreutzer with a violinist friend of mine. If Beethoven had wanted a shock on the piano's initial A major triad, he would likely have used a sfz mark, or sforzando, indicating a violent attack. Those are scattered throughout the first movement, but that is certainly not indicated here. The violin's first note is similarly marked "f" on its A major triad, followed by "p" on the following major third on D . The use of the same pattern in the both parts suggests a dialogue. It seems a little heavy-handed on the piano, especially since it occurs on a six note chord. It all boils down to whether you want to honor the composer's intentions, or substitute your own. I think Beethoven is often ham-handed in his piano parts, especially as compared with Chopin, who was more sensitive to the instrument's sonority. I think a good practical solution in this case is to play the first chord moderately louder than the second so that the contrast mimics the violin. That's what Beethoven indicated, and that was not what the pianist did in his performance. He played all the chords softly. To each his own. I am reminded of the hilarious statement made by the harpsichordist Wanda Landowska, a famous Bach specialist in the last century. She was arguing with Rosslyn Tureck, a less famous competitor, about how to play a certain Bach passage. Wanda said to Rosslyn, "very well my dear, you play Bach your way, and I will play him his way." Hilarious, but a bit of a stretch. In the present case, I make the first chord noticeably louder than the second, as a response to the violinist's initial phrase and the composer's instructions.
@@powellgrant9015 Thanks for your thoughtful comment! Although the voice track obscures the entry of the piano's initial chords, you will find that the pianist does in fact taper off in volume to the second chord, as you prescribe - take a close listen. Indeed - I agree with the general tenor of what you say - but I kind of like the quiet opening chord.
Milstein is the true gentlemen in his insistence that Pludermacher take all bows together with him. At his age, and with his stature, Milstein could well have taken the last bows on his own without any eyebrow being raised. Bravo!
What a pleasure hearing and seeing this man play. And his elegance - non of this moving and waving, or needing for having weird clothes or playing barefoot just to get noticed!
Amazing!!! Not to mention at age 82 he was still better than any younger violinists of our time. Heifetz also gave an astounding performance at his last recital, but he was only in his 70's at the time.
Saw Milstein a few years earlier play in London - It was Brahms concerto. He slipped, fell on his violin, grabbed the violin of the concertmaster, played the first movement and got his one back in time for the 2nd movement. Unbelievable the calm this man had....
My teacher at Juilliard gives recitals and performs chamber at 82-83. She has Arthritis in both her thumbs, but I've still never heard anyone play octaves as in tune as she does xD
The ad suddenly playing at 12:18 almost made me scream with irritation. Right in the middle of the climax. UA-cam, I'll come and get you one day for this. Other than that, it is PERFECTION all through and through.
I heard him play with the Hartford Symphony around this time. i knew nothing about violin playing at that point, and he was just a name in books to me. He looked so old as he walked across the stage. i was completely astounded. He projected across the entire hall, and the playing was completely beautiful. I became a fan instantly!!!
My introduction to Milstein and Pludermacher and the Beethoven Sonatas was on vinyl in a large room in the friend of a friend. Was not then an audiophile. Am now. Only thing missing today is Milstein and Pludermacher.
Not only that 'Kreutzer Sonata' is a very special piece of music to me but this is for sure the best rendition I've heard till now. Both artists are simply perfect; the dinamics, the way they coordinated their performances has been sublime artistry. Great appreciation for the opportunity of listening to them.
I was present at one of his performances in Detroit Michigan in the 1950s , remember it very well. I was a student of the Violin then. It was a great encouragement for me. Thank You for posting this performance 😊
Note that Milstein is performing this from memory and standing through the whole thing. Sonatas are considered "chamber music" and as such it is considered acceptable to use music and play seated.
@@DankChallenger As a professional violinist and teacher myself, I can assure you that playing this piece from memory, and especially at age 83, is quite a feat. I have played it in concert a couple of times, and I would not hazard playing it from memory.
@@DankChallenger Samuel, I have personally played this sonata several times in concert. I have taught violin for over 50 years and played solo in concert regularly, so I am well aware of concert protocols. It is perfectly acceptable to sit and use the music for chamber music.
How glorious! This is difficult music to play-too much work. I really felt the presence of Beethoven...and Milstein. Great pianist too! I just loved the ornaments/turns in the Andante.
If I live to the age of 82, I hope I will look as young as Nathan Milstein does here ! He looks about my age (60) ! What wonderful playing. I love the way he isn't bothered by the applause after the first movement. You can feel the great musical rapport between violinist and pianist. Such a great sonata.
In this piece, as in all Beethoven's works it is important to remember that Beethoven used only four dynamic markings -- pp, p, f, and ff. He almost never used mf or mp. So Forte is only one level louder than Piano. There is nothing in between as there is in later composers.
Magistral Violinista , Maestro de Maestros ,su brillante interpretación de la Obra Maestra del Genial Compositor los hace ser un Violinista Excepcional .
How... How does he look better in 82 then when he was younger?? Of course he always had been a handsome man, but in this video he has a really special aura.
I have this recital CD. I was impressed to see him playing in this video. The pianist is also wonderful. The harmony between the violin and the piano is beautiful.
Magistral interpretación del Prestigioso y Brillante Violinista Nathan Milstein ; MAESTRO de Maestros ; ejecuta la Sonata#9 de Beethoven con un Elevado Nivel Expresivo y un Maravilloso sonido .
Gifted by God, with a Godly instrument! The particular sound of this Stradivari gives me every time again emotional goosebums. What a tragedy the accident with his left hand must have been for Mr Nathan Milstein, being forced to stop forever his greatest passion, playing his special Stradivari.
He could play holding the violin to his chest. Anyone else would have dropped the violin trying that. It's about using the left hand to balance it. Incredible huh? Auer was dead against shoulder rests. And his students all played without them.
Originally the Bridgewater Sonata, as Beethoven wrote it for George Bridgewater, a mixed heritage virtuoso violinist. Beethoven fell out with him and changed the dedication to Kreutzer - who declared the piece too difficult, and never played it.
Somebody should warn people recording this that this is not pianistic concert. We are so frequently getting pianist hands in the focus, and for irritatingly long period, and during violin line of music, that it seams people recording this think Milstein is accompanying the young pianist and not the other way around.
Quite wonderful! A close second to Heifetz/Smith ... I can't help it! I have the Heifetz/Smith recording, which is absolute perfection in every way, seared into my brain! And, I've heard so many bad versions... this was truly a joy to watch and hear! (And at age 81/82 I forgive him those few 'bad' notes!) Thank you so very much.
Ludwig van Beethoven (1770-1827) Sonata No. 9 in A Major for Piano and Violin, Op. 47 *(Kreutzer) (1803)* 00:00 *Introduction* 02:48 I. Adagio sostenuto - 04:01 Presto II. Andante con Variazioni 12:59 *[Theme]* 15:17 *Var. 1* 17:19 *Var. 2* 19:02 *Var. 3* 21:22 *Var. 4* 23:38 *Var. 5* 26:27 III. Finale. Presto *33:02** Applause & Credits* Nathan Milstein, violin Georges Pludermacher, piano *Berwaldhallen* *Stockholm, Sweden 🇸🇪 July 1986*
roman14032 not sure. Heifetz was too intelligent to have only respected Milstein. That generation included some truly great violinists that we may never see the like of again..
Heifetz greatly respected and even envied Prihoda, in his prime a dazzling violinist. He admired Gitlis as well. Lastly, he is reported to have said Grigoras Dinicu (hora staccato) was the greatest violinist he personally witnessed. Not to disagree just throwing other UA-cam worthy names out there
It is a fact that Heifetz urged his students to attend Milstein's public performances. Milstein had a unique ability to develop his play and permanently seek new technical solutions. What could be a better inspiration for young musicians?
Shortly before or after he gave a recorded interview in 2 sessions on the story of my professional life.Highly recommended for those interested in that as well.
I just realise all violinist picked up their violins by tail pieces, including Nathan Milstein, Jascha Heifetz. Just wonder if anyone knows where this habit comes from? Interesting
My guess is that it dates way back in time. Perhaps Auer did it and they just followed suit. Raphael Bronstein, my teacher and another Auer pupil, did it too, except Bronstein kept his fiddle inside the piano. Luckily, it was a Fawick.
The inside of violin case used be shaped like violin, thus the violin had to come out straight upward. Otherwise the corners of the violin might stuck in the seams of the violin case. Actually I did grab once on the neck of the violin taking out and broke the bottom corner of the violin.
The "... few truly great violinists of the 20th Century..." Who are those few? IMMO only five who turn out to be 8: Kreisler, Heifetz, Oistrakh, Milstein... the fifth slot is a quadruple tie: Grumiaux, Kogan, Francescatti and Szeryng.
There are some wonderfully humble musicians like Milstein and Perlman who never forget their roots. Then there are bloated buffoons like Barenboim who think they're divine.
@@jeanparke9373 I second that. I have watched documentaries of Ashkenazy recording with Perlman and boy oh boy he's so full of himself but nonetheless, an extraordinary violinist. I'll not deny that.
That is why I only listen to those great musicians in old days. Today, everything is about marketing and money. Not many true musicians these days. If you listen carefully, you can hear dedication in their playing, which I think it is missed today. My favorite musicians are Heifetz, Milstein, Glenn Gould.
Pianist and violinist are together with uncanny precision. Of course, the team has played this piece, together, literally hundreds of times. And yet, for some reason, this performance kind of comes across to me as though played by rote, and with no sense of spontaneity. It just seems rattled off somehow. Perhaps that is the result of working with the same partner for so long a time. One knows the other's every move so well - it loses the requisite tension that this piece, especially, requires. Just an opinion.....
Pludermacher is a Beethoven specialist, he teached to these « students who play even better » Go listen his integral of Beethoven sonatas + Diabelli and come back after
If I can still live at the age of 82, I'm not sure if I could walk and stand for 30 min straight, Nathan can still play at this level, this is just too amazing.
And by memory!!
@@benjamintomasperezperez657 That's normal for violinists.
@@stepaushi not sonatas though (I am a violinist myself)
@@benjamintomasperezperez657 Violinists tend to memorize sonatas but still put up the score when playing. Memorizing sonatas or concertos does not take particular effort for string players. My Croatian cellist colleague even mentions that in his musical culture, string players played sonatas without the score.
Take note pianists - Pludermacher, almost alone among pianists, does not come crashing down on his opening chord, which has become the fashion for over half a century now. And note how much more coherent is the interaction between violinist and pianist. It never ceases to cause me suffering when I hear that predictable fortissimo crash at the outset. No wonder the great Milstein chose to work with Pludermacher for so many years. He was truly a fine pianist and even greater accompanist - knowing so well when to move into the background and when to shine forth. Always the music first...
Beethoven's score marks the first piano chord as fp, or forte/piano. He intended the initial chord to be forte (loud), then falling off to piano (soft. Blame Beethoven for this, not the performers.
@@powellgrant9015 Thanks for responding to my comment! Pianists understand that a dynamic marking is always contextual. Why, in this case, I think Pludermacher is correct, is a discussion for another time. But in defense of my comment, in the meantime, I point out that what we usually hear, is not forte/piano. The crash we have become accustomed to hearing, is more on the order of a booming fortissisimo, which is a shock to the system - especially after the calm / meditative opening of the violin. The appropriate response is an equally gentle forte (in my humble opinion).
I agree that context is important. I am a concert pianist myself, and often need to make judgments in that area. As it happens, I am now playing the Kreutzer with a violinist friend of mine. If Beethoven had wanted a shock on the piano's initial A major triad, he would likely have used a sfz mark, or sforzando, indicating a violent attack. Those are scattered throughout the first movement, but that is certainly not indicated here. The violin's first note is similarly marked "f" on its A major triad, followed by "p" on the following major third on D . The use of the same pattern in the both parts suggests a dialogue. It seems a little heavy-handed on the piano, especially since it occurs on a six note chord. It all boils down to whether you want to honor the composer's intentions, or substitute your own. I think Beethoven is often ham-handed in his piano parts, especially as compared with Chopin, who was more sensitive to the instrument's sonority. I think a good practical solution in this case is to play the first chord moderately louder than the second so that the contrast mimics the violin. That's what Beethoven indicated, and that was not what the pianist did in his performance. He played all the chords softly. To each his own. I am reminded of the hilarious statement made by the harpsichordist Wanda Landowska, a famous Bach specialist in the last century. She was arguing with Rosslyn Tureck, a less famous competitor, about how to play a certain Bach passage. Wanda said to Rosslyn, "very well my dear, you play Bach your way, and I will play him his way." Hilarious, but a bit of a stretch. In the present case, I make the first chord noticeably louder than the second, as a response to the violinist's initial phrase and the composer's instructions.
@@powellgrant9015 Thanks for your thoughtful comment! Although the voice track obscures the entry of the piano's initial chords, you will find that the pianist does in fact taper off in volume to the second chord, as you prescribe - take a close listen. Indeed - I agree with the general tenor of what you say - but I kind of like the quiet opening chord.
@@powellgrant9015 A fp is NOT an sfp!
I am so grateful that this performance was recorded and is available to us. It's priceless.
Milstein is the true gentlemen in his insistence that Pludermacher take all bows together with him. At his age, and with his stature, Milstein could well have taken the last bows on his own without any eyebrow being raised. Bravo!
True, it's not like he is playing with Vladimir Horowitz
@@trblcleft they Both deserved it though .
If the masses had any idea what they were witnessing in this video, this would have a billion views!
Hear, hear.
This is one of the greatest accomplishments of any person at such an age. He is 82 years old and still plays with such a pure sound.
What a pleasure hearing and seeing this man play.
And his elegance - non of this moving and waving, or needing for having weird clothes or playing barefoot just to get noticed!
I don't want to look at any 82 year old man's feet😵🤢
9-12-2020: Only 98,037 views with 28 dislikes is an insult to beauty.
L'un des 10 plus grands violonistes du 20ème siècle sans aucun doute
Amazing!!! Not to mention at age 82 he was still better than any younger violinists of our time. Heifetz also gave an astounding performance at his last recital, but he was only in his 70's at the time.
May 3
Saw Milstein a few years earlier play in London - It was Brahms concerto. He slipped, fell on his violin, grabbed the violin of the concertmaster, played the first movement and got his one back in time for the 2nd movement. Unbelievable the calm this man had....
He was "only" 70s 🤣🤣🤣
@@ayse-umitonder thoroughly a spring chicken!
My teacher at Juilliard gives recitals and performs chamber at 82-83. She has Arthritis in both her thumbs, but I've still never heard anyone play octaves as in tune as she does xD
An age defying brilliant performance a d Pludermacher is brilliant.
The ad suddenly playing at 12:18 almost made me scream with irritation. Right in the middle of the climax. UA-cam, I'll come and get you one day for this.
Other than that, it is PERFECTION all through and through.
I heard him play with the Hartford Symphony around this time. i knew nothing about violin playing at that point, and he was just a name in books to me. He looked so old as he walked across the stage. i was completely astounded. He projected across the entire hall, and the playing was completely beautiful. I became a fan instantly!!!
One of the greatest violinists of all time. 🎻👍
My introduction to Milstein and Pludermacher and the Beethoven Sonatas was on vinyl in a large room in the friend of a friend. Was not then an audiophile. Am now. Only thing missing today is Milstein and Pludermacher.
Not only that 'Kreutzer Sonata' is a very special piece of music to me but this is for sure the best rendition I've heard till now. Both artists are simply perfect; the dinamics, the way they coordinated their performances has been sublime artistry. Great appreciation for the opportunity of listening to them.
Unbelievable, and yet it is true. It's a monument.
Artistry of the highest order
I was present at one of his performances in Detroit Michigan in the 1950s , remember it very well. I was a student of the Violin then. It was a great encouragement for me. Thank You for posting this performance 😊
Extremely pure, natural, vivid and sensitive
Unbelievable relaxation and natural flow from Milstein. A genius, and a natural if ever there was one among violinists.
So far the best version ever heard
One of the unique performances which is really played in Presto.
Note that Milstein is performing this from memory and standing through the whole thing. Sonatas are considered "chamber music" and as such it is considered acceptable to use music and play seated.
Most people play standing (as a violinist I can assure you) but we do use music however, memory is acceptable as well
@@DankChallenger no, memory is ADMIRABLE and impressive I believe was his/ her point. Milstein utterly knows this music inside and out.
@@DankChallenger As a professional violinist and teacher myself, I can assure you that playing this piece from memory, and especially at age 83, is quite a feat. I have played it in concert a couple of times, and I would not hazard playing it from memory.
@@DankChallenger Samuel, I have personally played this sonata several times in concert. I have taught violin for over 50 years and played solo in concert regularly, so I am well aware of concert protocols. It is perfectly acceptable to sit and use the music for chamber music.
@@cletedavis5849I’ve never seen anyone sit while playing a violin/piano sonata.
What a blessing to humanity is Nathan Milstien‘s gift. I treasure it beyond expression.
Stunning playing!! And in his late 80’s? Absolutely fabulous!
Lucky those who could watch Maestro Nathan Milstein in concert. Grateful to be able to watch it years later ( streaming on tv now). What a talent!
Fluidez total! Mente brillante, manos de seda, oído de genio!
How glorious! This is difficult music to play-too much work. I really felt the presence of Beethoven...and Milstein. Great pianist too! I just loved the ornaments/turns in the Andante.
If I live to the age of 82, I hope I will look as young as Nathan Milstein does here ! He looks about my age (60) ! What wonderful playing. I love the way he isn't bothered by the applause after the first movement. You can feel the great musical rapport between violinist and pianist. Such a great sonata.
In this piece, as in all Beethoven's works it is important to remember that Beethoven used only four dynamic markings -- pp, p, f, and ff. He almost never used mf or mp. So Forte is only one level louder than Piano. There is nothing in between as there is in later composers.
I have the violin. Now all I need is the Tux and the gold watch. Oh...and talent.
Joseph Guida And work ethic
Pulls strad out of case by the tailpiece, says the word “hot”, tunes before pianist is ready, plays like a god.
SERIOUSLY. Tunes by ricocheting his bow over the fingerboard, lol!
How quickly he gets those gut strings on tune. No fine tuners!
Magistral Violinista , Maestro de Maestros ,su brillante interpretación de la Obra Maestra del Genial Compositor los hace ser un Violinista Excepcional .
Прекрасно! Гениальный и Великий скрипач!!!
Great Violinist Forever !
I love how he closes his eyes every time he dies for some notes.
Veramente un grande Maestro!
All I could take. Tears...
I can't believe my eyes, this great man didn't have a personal assistant! (not that he's entitled or something, but he definitely deserved one)
If I died and went straight to heaven it would be a fit ending to hearing this perfection from two totally brilliant musicians
How... How does he look better in 82 then when he was younger?? Of course he always had been a handsome man, but in this video he has a really special aura.
@si james I can tell you right now that I did NOT vote for Trudeau.
Thank you for this gem !
최고에요.
IT'S THE BEST.
I have this recital CD. I was impressed to see him playing in this video. The pianist is also wonderful. The harmony between the violin and the piano is beautiful.
When it's written that way and they play it so well, how can life not be grand.
Fantastico, assolutamente naturale, Come se stesse sognando con il violino!!!!!
The last movement is just heavenly. He plays like an (or better than!) angel.
I totally agree with you.
ray zhang have you seen some Angel playing?
This is it.
@si james Well. Stringed instruments. Close enough.
@@gunmenow he plays magnificently.
Angel is.... in an entirely different realm :))
I started laughing at how fucking easy Milstein makes it look
Magistral interpretación del Prestigioso y Brillante Violinista Nathan Milstein ; MAESTRO de Maestros ; ejecuta la Sonata#9 de Beethoven con un Elevado Nivel Expresivo y un Maravilloso sonido .
Gifted by God, with a Godly instrument! The particular sound of this Stradivari gives me every time again emotional goosebums. What a tragedy the accident with his left hand must have been for Mr Nathan Milstein, being forced to stop forever his greatest passion, playing his special Stradivari.
I don't think it's Stradivaris sound,it's rather Milsteins sound
Excelente
How could he play this well without a shoulder rest? Heifetz also played pretty well without a shoulder rest. Mutter too!! :-)
He could play holding the violin to his chest. Anyone else would have dropped the violin trying that. It's about using the left hand to balance it. Incredible huh?
Auer was dead against shoulder rests. And his students all played without them.
@S Macca shoulder rests are useless
Violinist's violinist
Plays it just as well as he did decades ago with the same accompanist. Plays it better as a really old guy than Joshua Bell at half his age
DIVINE !!!!!!!!!!!!!!!!!
Originally the Bridgewater Sonata, as Beethoven wrote it for George Bridgewater, a mixed heritage virtuoso violinist. Beethoven fell out with him and changed the dedication to Kreutzer - who declared the piece too difficult, and never played it.
BridgeTOWER not Bridgewater...
Somebody should warn people recording this that this is not pianistic concert. We are so frequently getting pianist hands in the focus, and for irritatingly long period, and during violin line of music, that it seams people recording this think Milstein is accompanying the young pianist and not the other way around.
They are both playing chamber music and therefore of the same importance, no matter who plays the piece.
Its sonata for Piano And Violin.....
Also.... you realise Beethoven was playing the piano part himself, right ?
Quite wonderful! A close second to Heifetz/Smith ... I can't help it! I have the Heifetz/Smith recording, which is absolute perfection in every way, seared into my brain! And, I've heard so many bad versions... this was truly a joy to watch and hear! (And at age 81/82 I forgive him those few 'bad' notes!) Thank you so very much.
@@affalee8216Read the title of this video.
Ludwig van Beethoven (1770-1827)
Sonata No. 9 in A Major for Piano and Violin, Op. 47 *(Kreutzer) (1803)*
00:00 *Introduction*
02:48 I. Adagio sostenuto -
04:01 Presto
II. Andante con Variazioni
12:59 *[Theme]*
15:17 *Var. 1*
17:19 *Var. 2*
19:02 *Var. 3*
21:22 *Var. 4*
23:38 *Var. 5*
26:27 III. Finale. Presto
*33:02** Applause & Credits*
Nathan Milstein, violin
Georges Pludermacher, piano
*Berwaldhallen*
*Stockholm, Sweden 🇸🇪 July 1986*
Es una ejecución de Excelencia .
Bravo!
probably the only other violinist heifetz truly respected
roman14032 not sure. Heifetz was too intelligent to have only respected Milstein. That generation included some truly great violinists that we may never see the like of again..
Heifetz greatly respected and even envied Prihoda, in his prime a dazzling violinist. He admired Gitlis as well. Lastly, he is reported to have said Grigoras Dinicu (hora staccato) was the greatest violinist he personally witnessed. Not to disagree just throwing other UA-cam worthy names out there
It is a fact that Heifetz urged his students to attend Milstein's public performances. Milstein had a unique ability to develop his play and permanently seek new technical solutions. What could be a better inspiration for young musicians?
@@Brasjov He fined students who failed to turn up at Milstein's concert. Erick Friedman had studied under both Heifetz and Milstein.
Very proud of my Grand father ❤
Shortly before or after he gave a recorded interview in 2 sessions on the story of my professional life.Highly recommended for those interested in that as well.
I just realise all violinist picked up their violins by tail pieces, including Nathan Milstein, Jascha Heifetz. Just wonder if anyone knows where this habit comes from? Interesting
My guess is that it dates way back in time. Perhaps Auer did it and they just followed suit. Raphael Bronstein, my teacher and another Auer pupil, did it too, except Bronstein kept his fiddle inside the piano. Luckily, it was a Fawick.
Strange habit. Heifetz actually ended up leaving a noticeable mark on the body of his Guarneri where he habitually picked it up.
The inside of violin case used be shaped like violin, thus the violin had to come out straight upward. Otherwise the corners of the violin might stuck in the seams of the violin case. Actually I did grab once on the neck of the violin taking out and broke the bottom corner of the violin.
I'm guessing Leopold Auer beat this habit into them.
82 , damn.legend
Cósmico de otro planeta
Someone said "the level of violin playing overall has gone up over the years, but at the top, not that much"
the old devil is made of fire, holy SHIT
This is nearly not to be true…at the age of 82…one of the few genial violinist of all time…
I was there.
If I were capable of envy, ENVY.
if you look at Porpora you will see the beginning of the violiñ sonata Theres a reason why Joseph Haydn gave him a supreme acknowledgement.
No shoulder rest and still can play so freely
It's actually because he doesn't use a shoulder rest that he can play so freely! Watch Kerson Leong play
Where is my comment?
The "... few truly great violinists of the 20th Century..." Who are those few? IMMO only five who turn out to be 8: Kreisler, Heifetz, Oistrakh, Milstein... the fifth slot is a quadruple tie: Grumiaux, Kogan, Francescatti and Szeryng.
OMG......An accident to the left hand? Anyone know what happened?
he fell
Michael Wilson Thanks..... I am a senior now too and we are warned to be careful where we walk... May he rest in peace!🎵🎹🎶🎼🎻
Thanks For uploading, but the advertisements are really oddly placed..
This is fucking good
👍👍👍👍👍👍👍👍👍👍👍👍👍👍
Вообще нет слов чтобы описать божественную и сатанинскую игру Мильштейна.💓💓💓💓💓💓💓
4:02
alex56257 Stoomit oeصمصحصجصگجسحسحصحصحصخثثخنثسخخییخخی
Heifetz takes out watch when he play, but Milstein it doesn't bother.
There are some wonderfully humble musicians like Milstein and Perlman who never forget their roots. Then there are bloated buffoons like Barenboim who think they're divine.
Buffoon 😂😂 Oh, by the way, I've met Perlman several times, and trust me: he is NOT humble at all. Quite grumpy and full of himself, so to speak.
@@jeanparke9373 I second that. I have watched documentaries of Ashkenazy recording with Perlman and boy oh boy he's so full of himself but nonetheless, an extraordinary violinist. I'll not deny that.
That is why I only listen to those great musicians in old days. Today, everything is about marketing and money. Not many true musicians these days. If you listen carefully, you can hear dedication in their playing, which I think it is missed today. My favorite musicians are Heifetz, Milstein, Glenn Gould.
@@ankitabose2139 boy oh boy🤣🤣
Barenboim's okay.
He was just aware of some stuff milstein didn't know or had to factor.
Just self protectionism.
Likewise perlman has his situation.
You are an example to as. Ju jeni shembull per ne.
脱帽
Great Violinist, but why he’s always so pissed off I can’t understand
When it started, I thought it was the Zapruder film.
Pianist and violinist are together with uncanny precision. Of course, the team has played this piece, together, literally hundreds of times. And yet, for some reason, this performance kind of comes across to me as though played by rote, and with no sense of spontaneity. It just seems rattled off somehow. Perhaps that is the result of working with the same partner for so long a time. One knows the other's every move so well - it loses the requisite tension that this piece, especially, requires. Just an opinion.....
Sometimes people think too much. 🤔
@@mbwilson2625 I think he got it right, though.
Doesn't make this performance any less wonderful for me.
Can you play this piece?
If you cannot then please don't offer your valuable insights.
bruh… when you’re age hacking
Sorry but students today play even better.
The beginning is written as forte then subito piano and all legato. What is he doing with Beethoven?
Seems like you know nothing about music
Minseo Chae is right, you truly know nothing of music
Can you play this masterpiece?
Where's your video?
Pludermacher is a Beethoven specialist, he teached to these « students who play even better »
Go listen his integral of Beethoven sonatas + Diabelli and come back after
and kreutzer's music is better less noodly more intellectual