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Other Singers

No singers -- Haifetz, Hassid, Neveu, Stern

You may draw comparisons, but stay friendly. Do not pick on the one singer you do not like and discuss him or her here. Learn from YouTube experiences.

No singers -- Haifetz, Hassid, Neveu, Stern

Postby Lankin » Thu Jun 07, 2012 10:34 am

It rarely happens that a violinist manages to touch me. I'm dutifully in awe of their skill, I might like their style or not, but that I am emotionally involved rarely happens. There are exceptions, however, and I thought I'd just mention them ;)
The list is in alphabetical order, as I cannot and don't want to make a ranking among them.

Jascha Haifetz
I mean, just ... Listen!


Josef Hassid
He is most probably less famous than Haifetz, and this is mainly because his career was more than short. I first heard Hassid on a sampler with different violinists, and this piece kind of haunted me.

I didn't really inquire further then, and only found out later about his somehow tragic and fascinating life.



There is some free sheet music too:
http://www.josephachron.org/uploads/4/3/4/3/4343846/op33-petersburg.pdf

Ginette Neveu

A very tragic life, also very short. I didn't know this either when I heard her recordings first.



Isaac Stern



This recording of the Chaconne in d never fails to move me. For me, it is the best recording of that piece. Others might be technically more perfect, but the way he plays it maybe aligns most with what I feel at certain phrases. He does them like I would like to play them if I only had enough skill, which I haven't.

The Chaconne in d is very special for me. I think it doesn't only tell a story -- every good piece of music does, somehow -- but that there is more. I don't know any other piece which fathoms emotions to such an extent.

The beginning has the full force of a gregorian chant, as if he would like to pass a sentence, or state something so cruelly that it hurts, it has the taste of something that is inevitable. From there it evolves, until the arpeggio part where he seems to cross the brink of madness in a way that makes a death vision seem tame in comparison, ending in absolute triumph, to be followed by more struggle, sadness and grief.

Howard Stern's playing, aided by his preference for steel strings, adds a cruel and weird touch to this piece. Yes, he knows exactly how all of this feels. He doesn't lie; this piece like no other sorts out the pretenders.
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