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Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2. Hugo Heermann 67 2.1 A Short Biography 67 2.2 Analysis of Heermann's Recordings 68 2.3 Characteristics of Heermann's Violin Playing 74 2.4 Conclusion 75 3. Pablo de Sarasate 76 3.1 A Short Biography 77 3.2Analysis of Sarasate's Violin Technique from Recordings 79 3.2.1 Flying Staccato 79 3.2.2 Spiccato 80 3.2.3 Chords 81 3.2.4 Fingering 82 3.2.5 Pizzicato 83 3.2.6 Trills 83 3.2.7 Vibrato 84 3.2.8 Portamento 85 3.2.9 Tone Production 86 3.3 Sarasate and his Collaborations 90 3.4 Conclusion 94 4. Leopold Auer 95 4.1 A Short Biography 96 4.2 Auer as Teacher 98 4.3 Analysis of Auer's Recordings 101 4.4 Auer as Performer 107 4.5 Conclusion 110 5. Eugene Ysaye 111 5.1 Introduction 111 5.2 A Short Biography 113 5.3 Ysaye as Performer 116 5.4 Analysis of Ysaye's Recordings 118 5.4.1 Tone Production and Vibrato 118 5.4.2 Fingerings 121 5.4.3 Bow 121 5.4.4 Replenishing Bow and Flautato Bowing 123 5.4.5 Portamento 123 5.4.6 Rubato 125 5.5 Ysaye as Composer 127 5.6 Conclusion 129 6. Jena Hubay 130 6.1 A Short Biography 130 6.2 Influence on the Hungarian Violin School 131 6.3 Analysis of Hubay's Recordings 132 6.3.1 Vibrato 132 6.3.2 Portamento 137 6.3.3 Bow 139 6.4 Conclusion 140 7. Maud Powell 142 7.1 A Short Biography 142 7.2 Musical Personality 143 7.3 Analysis of Powell's Recordings 144 7.3.1 Left Hand Technique 144 7.3.2 Portamento 145 7.3.3 Vibrato 148 7.3.4 Chords 149 7.4 Conclusion 149 8. Karl Flesch 150 8.1 A Short Biography 151 8.2 Flesch as Teacher 153 8.3 Analysis of Flesch's Recordings 155 8.3.1 Vibrato 155 8.3.2 Portamento 155 8.3.3 Position Changes 159 8.3.4 Fingered Octaves 160 8.3.5 Pizzicato 161 8.3.6 Bow Grip 161 8.3.7 Tuning 163 8.4 Conclusion 163 9. Fritz Kreisler 164 9.1 A Short Biography 164 9.2 Analysis of Kreisler's Recordings 167 9.2.1 Bowing 167 9.2.2 Vibrato 168 9.2.3 Portamento 169 9.2.4 Position Changes 171 9.2.5 Colour Changes 173 9.2.6 Harmonics 173 9.3 Conclusion 176 10. Jacques Thibaud 177 10.1 A Short Biography 178 10.2 Analysis of Thibaud's Recordings 179 10.2.1 Tone Production 179 10.2.2 Vibrato 180 10.2.3 Portamento 182 10.2.4 Position Changes 187 10.2.5 Mordents 187 10.2.6 Portato 188 10.2.7 Pizzicato 188 10.3 Conclusion 189 11. Jan Kubelik 191 11.1 A Short Biography 191 11.2 Analysis of Kubelik's Recordings 194 11.2.1 Portamento 194 11.2.2 Colour 196 11.2.3 Position Changes 196 11.2.4 Double Stops 197 11.2.5 Pizzicato 198 11.2.6 Trills 198 11.2.7 Bow 199 11.3 Conclusion 199 12. Georges Enescu 200 12.1 A Short Biography 201 12.2 Analysis of Enescu's Recordings 202 12.2.1 Vibrato 203 12.2.2 Portamento 203 12.2.3 Tone Production 204 12.2.4 Trills 205 12.2.5 Fingerings 205 12.2.6 Bowing 206 12.3 Conclusion 207 13. Mischa Elman 208 13.1 A Short Biography 208 13.2 Analysis of Elman's Recordings 211 13.2.1 Vibrato 211 13.2.2 Tone Production 213 13.2.3 Portamento 214 13.2.4 Chords 215 13.2.5 Other Technical Features 216 13.3 Conclusion 218 14. Summary 219 14.1 Violin Teaching 222 14.2 Tone Production 223 14.3 Rubato 226 14.4 Chord Playing 227 14.5 Left Hand Technique 228 14.6 Vibrato 229 14.7 Portamento 233 14.8 Conclusion 236 15. Discography 238 Bibliography 241 9 FIGURES Figure 1.1 Photograph of Joseph Joachim in 1903 [Axelrod, 1990] Figure 1.2 Bach Adagio from the Sonata for unaccompanied violin, no. 1 in G minor [BWV 10011 [Biirenreiter-Verlag, 1959] Figure 1.3 Bach Tempo di Borea from the Partita for unaccompanied violin, no. 1 in B minor [BWV 1002] [ Joseph Joachim Edition] Figure 1.4 Bach Adagio from the Sonata for unaccompanied violin, no. 1 in G minor [BWV 1001] [ as played by Joseph Joachim in 1903] Figure 1.5 Bach Tempo di Borea from the Partita for unaccompanied violin, no. 1 in B minor [BWV 1002] [ as played by Joseph Joachim in 1903] Figure 1.6 Comparisons between edited and recorded versions by Joachim of the Adagio in G minor Figure 1.7 Bach Tempo di Borea, bar 1 Figure 2.1 Bach Adagio, bar 18 Figure 2.2 Bach Preludio from the Partita for unaccompanied violin, no.3 in E [BWV 1006] [as played by Hugo Heermann] Figure 3.1 Extract from Sarasate Zigeunerweisen op.20 Figure 3.2 Extract from Sarasate Capricho Vasco op.24 Figure 3.3 Extract from Sarasate Capricho Vasco op.24 Figure 3.4 Extract from Sarasate Zigeunerweisen op.20 Figure 3.5 Extract from Sarasate Capricho Vasco op.24 Figure 3.6 Extract from Sarasate Zigeunerweisen op.20 Figure 3.7 Extract from Chopin Nocturne in E flat op.9 no.2 10 Figure 3.8 Extract from Lab o Symphonie Espagnole,[ Scherzandol Figure 3.9 Extract from Dvorak Mazurek op.49 Figure 3.10 Extract from Sarasate Carmen Fantasy op.25 Figure 3.11 Extract from Sarasate Habanera op.21 no.2 Figure 3.12 Extract from Labo Cello Concerto in D minor Figure 3.13 Extract from Labo Symphonie Espagnole Figure 3.14 Extract from Sarasate Carmen Fantasy op.25 Figure 3.15 Extract from Saint-Saens Violin Concerto in B minor, no.3 op.61 Figure 3.16 Extract from Sarasate Habanera op.21 no.2 Figure 3.17 Extract from Labo Symphonie Espagnole Figure 3.18 Extract from Saint-Saens Violin Concerto in B minor, no.3 op.61 Figure 3.19 Extract from Saint-Saens Introduction et Rondo-Capriccioso op.28 Figure 4.1 Hungarian Dance in G minor no.1 by Brahms as played by Auer Figure 5.1 Extract from La Folia by Corelli Figure 5.2 Extract from Prize Song by Wagner Figure 5.3 Example of Ysaye's portamento Figure 5.4 Extract from Violin Concerto no.2 by Bach [Score] Figure 5.5 Extract from Violin Concerto no.2 by Bach [as played by Ysaye] Figure 5.6 Extract from Rondino by Vieuxtemps as played by Ysaye Figure 6.1 Bach Air as recorded by Hubay Figure 6.2 Extract from Czardas Scene no.5 by Hubay Figure 6.3 Extract from Czardas Scene no.5 by Hubay Figure 6.4 Extract from Berceuse by Hubay Figure 6.5 Extract from Berceuse by Hubay Figure 6.6 Downward single-finger glissando Figure 6.7 L- portamento Figure 6.8 Portamento starting from the open string 11 Figure 6.9 Position change Figure 6.10 Position change Figure 6.11 Stretching fingers Figure 6.12 Glissando example Figure 6.13 Extract from Pici tubiafin by Hubay Figure 7.1 Extract from the Tambourine by Leclair Figure 7.2 Extract from Etude no 1 by Schradieck Figure 7.3 Extract from the Beriot Concerto no.7 Figure 7.4 Extracts from the Mendelssohn Concerto, Beriot Concerto no.7 and Vieuxtemps' Bouquette Americain Figure 7.5 Extract from Vieuxtemps' Bouquette Americain Figure 7.6 Extracts from the Beriot Concerto no.7 Figure 7.7 Extract from the Beriot Concerto no.7 Figure 7.8 Extract from the Beriot Concerto no.7 Figure 8.1 Extract from the Prayer by Handel Figure 8.2 Extract from the Prayer by Handel illustrating glissando Figure 8.3 Extract from the Hebrew Melody by Dobrowen illustrating glissando Figure 8.4 Glissando example Figure 8.5 Glissando example Figure 8.6 Extract from the Prayer by Handel illustrating glissando Figure 8.7 Position change: given example Figure 8.8 Position change: rejected example Figure 8.9 Position change: recommended example Figure 8.10 Extract from the Jota by Falla as recorded by Flesch Figure 8.11 Extract from the Jota by Falla as recorded by Flesch Figure 9.1 Extract from La Chasse by Kreisler Figure 9.2 Extract from Scherzo in Dittersdorf's Style by Kseisler 12 Figure 9.3 Extract from Rosanzwzde by Schubert Figure 9.4 Extract from Chanson Louis and Pavane by Kreisler Figure 9.5 Extract from Aubade Provencale in the style of Couperin by Kreisler Figure 9.6 Extract from Aubade Provencale in the style of Couperin by Kreisler Figure 9.7 Extract from Sarabande by Sulzer Figure 9.8 Extract from Liebesleid by Kreisler Figure 9.9 Extract from Caprice Viennois by Kreisler Figure 9.10 Extract from Chanson Sans Paroles by Tchaikovsky Figure 9.11 Extract from Chanson Sans Paroles by Tchaikovsky
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    Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telepkene, M92 Back Bay.) TWENTY-FOURTH SEASON, J904-J905. WILHELM GERICKE, CONDUCTOR programme OF THE TWENTIETH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 31, AT 2.30 O'CLOCK. SATURDAY EVENING, APRIL J, AT 8.00 O'CLOCK. Published by C A. ELLIS^ Manager. 1293 "THE MAKERS OF THESE INSTRUMENTS have shown that genius for piano-, forte making that has been defined as 'an infinite capacity for taking pains'. The result of over eighty- one years of application of this genius to the production of musical tone is shown in the Chickering of to-day." Catalogue upon Application CHICKERING & SONS EttaHisAed iSaj 79, Tremont St, Boston U94 : TWENTY-FOURTH SEASON, I904-J905. Twentieth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 3J, at 2.30 o'clock. SATURDAY EVENING, APRIL J, at 8.00 o'clock. PROGRAMME. Brahms . Tragic Overture, Op. 8i . Violin, Tschaikowsky . Concerto in D major, for Op. 35 I. Allegro moderato. II. Canzonetta. III. Allegro vivacissimo. Hugo Wolf ..... Italian Serenade, First time Huber ..... Symphony No. 2, E minor, Op. 115 I. Allegro con fuoco. II. Allegro con fuoco non troppo. III. Adagio ma non troppo. " IV. Finale : Metamorphoses suggested by pictures by Bocklin." SOLOIST Mr. KARL BARLEBEN. There will be an intermission of ten minutes before ttie symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval 6e- tween the numbers.
  • The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors

    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors

    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.