The younger players cited by Ross cannot hold a torch to Heifetz. It wasn't his 'vibrato' as Ross described it- it was his artistry, nobility of concept and supreme technique that conveyed it.
There you go! Compare Ray Chen to Jascha Heifetz or Itzhack Perlman, and the technology of course plays a role, but Heifetz and Perlman will still give us a beautiful sound due to their magnificent technique and emphasis on sound as opposed to technical skills only. Ray Chen, on the other hand, falls short. I’m a violinist, and while a violin and its quality is so important (I play a 1709 Mathias Klotz), ultimately it’s a piece of wood until someone with true talent makes it a vehicle for beauty😉
Bravo Mittenwald! Very good! Not everyone needs a solist's stentor and there still is someone who realizes that. In fact, only a minute minority of concerto-level soloists need that. None of us mortals are likely to. The question is not why two-track thinking seems to be still alive in Mittenwald but why on earth Cremona (and everyone slavishly influenced by Cremona) doesn't see the very, very different needs.
❤80s you I learned violin in the 80s and then quit for decades.my current teacher made me change a lot of things I was taught because apparently it’s outdated technique
I’m interested to know what are the outdated techniques? I too learned violin 40 years ago and still playing. But I’ve not heard what I do is outdated 😂
As a long-time professional violist, I've witnessed an aggregate change in what string musicians consider to be the "ideal" tone. The general trend has been towards greater volume and brilliance at the expense of both tonal beauty and a diverse pallet of colors. To accommodate players' desire for more power no matter what, makers and restorers are installing higher, thinner bridges, and adjusting soundposts for maximum projection. Modern synthetic and metal core strings place higher tension on the instrument, working in synergy with the louder setups. And I agree with Russ' observation that diversity in tonal tastes has decreased, that an "international" homogeneous sound has coalesced as a result of the proliferation of recordings and the jet-setting of soloists around the globe. Everyone listens to everyone else, and the result is some sort of standardized mono-toned perfection. The well-regarded New York violin maker and restorer Rene Morel partially attributed this unfortunate trend to our growing up with amplified popular music, resulting in a certain deadening of sensitivity in our listening habits.
I would suggest you to leave it! I made all my tests but I never had the impression and confirmation that it has become better with anything else than the original metal tailgut. Edgar
I install kevlar on my violins whenever time comes because it just has this extra of longevity which really is bigger than what you actually need. Compared to gut tailgut which lasts like 10 years.
I have to agree with a lot of what you said. I am German and play a beautiful violin made in Germany by Frank Rittwagen. While there are quite a few violin makers in Germany, a lot of them with a high level of craftsmanship, most of them in my eyes build boring violins. This is also shown in the fact, that many of the Mittenwald trained violin makers build their early and their late instruments nearly identically. There does not seem to be much progress or development over the years with a lot of Mittenwald trained makers. Which on the one hand creates a lot of consistency, on the other hand makes a lot of those violins mediocre. Of course, there are those makers that think differently, like for example Rittwagen, maybe also Schlehske and Greiner, who basically told everyone to leave him alone with all the German violin making tradition. With those makers, you will always be able to tell early from late works and in my opinion, their instruments are superior to the traditional German ones. A lot of violin makers in Germany talk quite poorly about them, though. However, there is a shift in the upcoming makers, from what I can tell. Not only do they try to get input from more sources and get help from the internet in that. They also seem to be much more open in what they know, not keeping "trade secrets" as much as it used to be.
Very interesting I didn't realize there was a difference! Now I wonder where I can get one of these sweet sounding quiet ones. I'd love to be able to practice without musician's ear plugs and not having to deal with angry neighbors at midnight. 😂 I've looked into electric "silent" violins but they do not sound authentic.
If I would be in your situation I would simply put a mute on the upper area of the violin bridge! Otherwise write me an eMail info@eruss.it and I can order a solid beautiful German violin and sound adjust it for you.
I have one - it's a German trade instrument circa 1920, and is dark and mellow. Nothing like the soloist instrument I'm now playing on, which is bright with a sound that carries incredibly well. I found it by visiting a violin workshop and trying/trialling several instruments, looking for a good sound. or is that listening for a good sound. It's up for sale if you're interested and in Australia (international trade is a bit too risky for both)
Elman Heifetz Oistrakh and Kriesler had some pretty unique sound on the gut strings they played. Today's sound has changed because of strings, bowing techniques and modern recording tech.
The next thing we are going to hear from the new age violin makers who use 3-D printing to mass produce their instruments instead of years devoted to craftsmanship and the ability to listen, is that fiber glass or composition material instruments are competitive with the great Italian masters. That's only true for those deaf of hearing or with an persistent overwhelming 'whoosh' of tinnitis! As for such an instrument, use it to bust over the head of a mugger, or to replenish the stock of our armories, instead of funding the MIC.
in my opinion all these musicians are outstanding because they developed their personal style how they play. therefore in my opinion there could be one I like or love better but none can be better than the other one. They can be only liked or loved better by someone out there.
@@EdgarRussI always say that too 😃My favourite violinist is Ray Chen, but I don't claim he's the best, he's just the violinist who's style I - personally - find the most enaging 😊
@@agatafurczyk9149that’s really all that matters in the end. Certainly players I prefer for their technique or interpretation of certain pieces, etc. I can enjoy and learn from them all.
The younger players cited by Ross cannot hold a torch to Heifetz. It wasn't his 'vibrato' as Ross described it- it was his artistry, nobility of concept and supreme technique that conveyed it.
There you go! Compare Ray Chen to Jascha Heifetz or Itzhack Perlman, and the technology of course plays a role, but Heifetz and Perlman will still give us a beautiful sound due to their magnificent technique and emphasis on sound as opposed to technical skills only. Ray Chen, on the other hand, falls short. I’m a violinist, and while a violin and its quality is so important (I play a 1709 Mathias Klotz), ultimately it’s a piece of wood until someone with true talent makes it a vehicle for beauty😉
Exactly!!
i think latest string technology makes a big difference on how the violin sounds
Indeed the Italian sound is loved and admired everywhere in the world 🌍 😉❤️
Thanks!
Your videos are both entertaining and informative! I personally prefer violins with a good „italian“ sound which can be heard up to „the last row“.
Bravo Mittenwald! Very good! Not everyone needs a solist's stentor and there still is someone who realizes that. In fact, only a minute minority of concerto-level soloists need that. None of us mortals are likely to. The question is not why two-track thinking seems to be still alive in Mittenwald but why on earth Cremona (and everyone slavishly influenced by Cremona) doesn't see the very, very different needs.
❤80s you
I learned violin in the 80s and then quit for decades.my current teacher made me change a lot of things I was taught because apparently it’s outdated technique
interesting comment! thanks for sharing!
all the best from Cremona
Edgar
I’m interested to know what are the outdated techniques? I too learned violin 40 years ago and still playing. But I’ve not heard what I do is outdated 😂
As a long-time professional violist, I've witnessed an aggregate change in what string musicians consider to be the "ideal" tone. The general trend has been towards greater volume and brilliance at the expense of both tonal beauty and a diverse pallet of colors. To accommodate players' desire for more power no matter what, makers and restorers are installing higher, thinner bridges, and adjusting soundposts for maximum projection. Modern synthetic and metal core strings place higher tension on the instrument, working in synergy with the louder setups. And I agree with Russ' observation that diversity in tonal tastes has decreased, that an "international" homogeneous sound has coalesced as a result of the proliferation of recordings and the jet-setting of soloists around the globe. Everyone listens to everyone else, and the result is some sort of standardized mono-toned perfection. The well-regarded New York violin maker and restorer Rene Morel partially attributed this unfortunate trend to our growing up with amplified popular music, resulting in a certain deadening of sensitivity in our listening habits.
Is it better to use a nylon or kevlar tailgut on the Akustikus tailpiece or should you just stick with what it comes with?
I would suggest you to leave it! I made all my tests but I never had the impression and confirmation that it has become better with anything else than the original metal tailgut.
Edgar
I install kevlar on my violins whenever time comes because it just has this extra of longevity which really is bigger than what you actually need. Compared to gut tailgut which lasts like 10 years.
I play baroque limited choices
Wonderful video. Agree! Did you hint some Rene Girard when talking about human desire?
I have to agree with a lot of what you said. I am German and play a beautiful violin made in Germany by Frank Rittwagen. While there are quite a few violin makers in Germany, a lot of them with a high level of craftsmanship, most of them in my eyes build boring violins. This is also shown in the fact, that many of the Mittenwald trained violin makers build their early and their late instruments nearly identically. There does not seem to be much progress or development over the years with a lot of Mittenwald trained makers. Which on the one hand creates a lot of consistency, on the other hand makes a lot of those violins mediocre.
Of course, there are those makers that think differently, like for example Rittwagen, maybe also Schlehske and Greiner, who basically told everyone to leave him alone with all the German violin making tradition. With those makers, you will always be able to tell early from late works and in my opinion, their instruments are superior to the traditional German ones. A lot of violin makers in Germany talk quite poorly about them, though.
However, there is a shift in the upcoming makers, from what I can tell. Not only do they try to get input from more sources and get help from the internet in that. They also seem to be much more open in what they know, not keeping "trade secrets" as much as it used to be.
very interesting! thank you so much for sharing your experience and your testimonial.
all the best from Cremona
Edgar
I think the italian sound is very magnificent.
Could you perhaps share your opinion on the slanted tailpiece, with the prolonged G-string? Thanks.
Good video on why not to limit what you're doing only to what you were taught 👍🙂
Very interesting I didn't realize there was a difference!
Now I wonder where I can get one of these sweet sounding quiet ones. I'd love to be able to practice without musician's ear plugs and not having to deal with angry neighbors at midnight. 😂
I've looked into electric "silent" violins but they do not sound authentic.
If I would be in your situation I would simply put a mute on the upper area of the violin bridge!
Otherwise write me an eMail info@eruss.it and I can order a solid beautiful German violin and sound adjust it for you.
I have one - it's a German trade instrument circa 1920, and is dark and mellow. Nothing like the soloist instrument I'm now playing on, which is bright with a sound that carries incredibly well.
I found it by visiting a violin workshop and trying/trialling several instruments, looking for a good sound. or is that listening for a good sound. It's up for sale if you're interested and in Australia (international trade is a bit too risky for both)
Elman Heifetz Oistrakh and Kriesler had some pretty unique sound on the gut strings they played. Today's sound has changed because of strings, bowing techniques and modern recording tech.
A very interesting topic.
great video now i need to find how the shape of the 1744 „Ole Bull“ Guarneri del Gesu is ;) hehehheeh
The next thing we are going to hear from the new age violin makers who use 3-D printing to mass produce their instruments instead of years devoted to craftsmanship and the ability to listen, is that fiber glass or composition material instruments are competitive with the great Italian masters. That's only true for those deaf of hearing or with an persistent overwhelming 'whoosh' of tinnitis! As for such an instrument, use it to bust over the head of a mugger, or to replenish the stock of our armories, instead of funding the MIC.
Is Hilary Hahn the Best Violinist in the World..?
in my opinion all these musicians are outstanding because they developed their personal style how they play. therefore in my opinion there could be one I like or love better but none can be better than the other one. They can be only liked or loved better by someone out there.
One of the best in current generation I believe. Each of these modern masters have their own unique strengths. To me Hilary’s Bach is a benchmark
@@EdgarRussI always say that too 😃My favourite violinist is Ray Chen, but I don't claim he's the best, he's just the violinist who's style I - personally - find the most enaging 😊
@@agatafurczyk9149that’s really all that matters in the end. Certainly players I prefer for their technique or interpretation of certain pieces, etc. I can enjoy and learn from them all.
@@nickcarroll8565 😊