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3. Pablo De Sarasate 76 3.1 a Short Biography 77 City Research Online City, University of London Institutional Repository Citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7937/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [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 Figure 9.12 Bach Air as recorded by Kreisler Figure 10.1 Extract from the Romance op.50 by Beethoven Figure 10.2 Extract
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