Szeryng was more than a great violinist and a supreme artist. He was great human being. A kind and generous man, he gave much of himself to others - especially to those in need. I had the honor and privilege of meeting him and his lovely wife back in the 1980s. Even though I'm a nobody, he treated me with great kindness, gave me his full attention when I was with him, and even called me "Alejandro Magno"! He autographed his edition of the Bach Solo Sonatas and Partitas for Violin, which I will always treasure and cherish. I miss him and his great artistry. God rest his soul. Thank you for uploading this wonderful video.
Like many on this site, I had the pleasure of hearing Szeryng when I was a young violin student. He was a tremendous performer! I also attended a masterclass he gave at Manhattan School of Music in the 1980s. What distinguished him in my mind was his kindness and generosity toward the young artists who performed. I’ve seen a lot of masterclases with great pedagogues and superb performers, some of whom couldn’t resist embarrassing nervous students or taking a condescending tone. Szeryng was the exact opposite. I miss his humanity and...of course beautiful playing.
The singing, noble tone, the beauty of his vibrato, clarity, perfect intonation and the wonderful phrasing make this such a special performance. When it comes to violinists, surely this guys is one of the greats of all time...
Thank you so much for uploading this wonderful performance. I had the privilege of hearing Henryk Szeryng often as I was growing up. My parents took us to his concerts whenever he performed in Boston, New York, and Washington. He was incredible, a sublime violinist and artist, as well as a wonderful human being. Such a great loss in so many ways when he died. Maestro Szeryng, you are never forgotten.
Sometimes. If I could only listen to one fiddler, I'd get sick of violin playing. They each have their own charm. I'd have to throw out my Kogan disk of Paganini #1 in D, Kreisler's Grieg Sonata in Cm, all of Rabin, Heifetz, Elman, Oistrakh, Stern. I couldn't put one on a pedestal at the exclusion of others. Kreisler could even listen to, and learn from street fiddlers. We are a fraternity. That being said, I enjoyed this clip immensely.
+Remus Azoitei As a violinist you should know tat this is a silly remark. I heard Szeryng a few times and he was certainly a fine violinist. But to suggest that he was greater than Kreisler, Heifetz, Menuhin, and OIstrakh, to name just a few who come to mind , is provocative nonsense. They each had admirable qualities and anyway it's all a matter of taste.
Le vibrato est le moyen le plus direct pour faire ressortir l'expressivité sur un instrument comme le violon Szeryng en est un parfait exemple ,c'est tout simplement superbe ,n'en déplaise aux soit disant puristes .
What a beautiful piece and amazing performance! Could anyone offer me some help? I'm about to start preparing this piece for a graduation concert as I'm a chamber pianist. Turns out that all of the realizations for keyboard of the basso continuo that I've found (in libraries in Argentina as well as in IMSLP) are different from the one used in most recordings, including this one. Does anyone know how could I find this version of the piano part? Thanks in advance, any advice will be very appreciated!
" ...La tradition est de nos jours une notion dépréciée. Heureusement, quelques passionnés savent en redonner le sens et le goût, en offrant ce qu’elle a de meilleur: l’art de l’élévation..." "... Tradition is nowadays a depreciated notion. Fortunately, a few enthusiasts know how to give back the meaning and the taste, by offering what it has best: the art of elevation ..."
I believe that JML is considered a "Baroque" composer as you said. I think vibrato usage is one of the elements of musical taste of the performer and can be influenced by the music making that they were exposed to and the times in which they grew up and lived. Naturally, taste in music performance changes (sometimes a lot, over a relatively brief period of time) also affecting the listener's widely varied expectations and perspectives. All that and I'm afraid I haven't really answered the question...(?)
Why the short hair - why isn't Szerying wearing a peruke as the composer no doubt did? I thought Leclair was a baroque composer. Why are the violin and piano tuned to A440 - why aren't they tuned to A415 as in the baroque era? I thought Leclair was a baroque composer. Why are performers like Szerying, Milstein, Heifetz, et al., interested in entertaining their listeners by making old music sound exciting to modern ears by means of contributing some of themselves as modern, 20th century musicians to the printed score? Why aren't they more concerned with endlessly repeating performance practices and standards of the past so that performance becomes more of a fossilized museum exhibit, sort of like they do so well in academia with "original instruments"? I don't understand.
He isn’t from your generation, so tastes/trends were different. This degree of historical accuracy was considered acceptable during his time, and before that, even less attention to these details. Just take a look at a Bach edition from the 19th century. They are mostly highly edited - filled with all sorts of dynamics and articulation, trills are written out (often starting on the LOWER note) and mordants were often either changed or omitted altogether. In busoni’s edition of the well tempered clavier, he inserted an extra measure int9 the C Major prelude, and it became the norm to play it that way for years.
@@sneddley thanks for your long and detailed comment. I wrote that in a time where I began to fascinate myself for historical playing and in informed performance, your answer motivated me to learn more about this topic and also to appreciate modern interpretations of baroque pieces, but most of the time I find it better to consider musical sources from the time to play a piece as the composer (maybe) thought it was gonna be played or intended it to be played in that way. Funnily I study baroque violin now :) Now I know better, that vibrato was indeed used also in the baroque period, some violin schools document that, Geminiani even recommends it to use it as often as possible.
Szeryng was more than a great violinist and a supreme artist. He was great human being. A kind and generous man, he gave much of himself to others - especially to those in need. I had the honor and privilege of meeting him and his lovely wife back in the 1980s. Even though I'm a nobody, he treated me with great kindness, gave me his full attention when I was with him, and even called me "Alejandro Magno"! He autographed his edition of the Bach Solo Sonatas and Partitas for Violin, which I will always treasure and cherish. I miss him and his great artistry. God rest his soul. Thank you for uploading this wonderful video.
I agree completely.
The very great persons,are humble ,kind and very human!.-
탐욕스럽고 속물인간인 아이작 스턴과는 비교도 할 수 없는 진정한 천재이자 휴머니스트입니다.🎉❤
@@user-xy1ty7yz6q 일단 스턴은 악기 실력부터 셰링에게는 댈 게 못 되죠 ㅎㅎ
Beautiful
Like many on this site, I had the pleasure of hearing Szeryng when I was a young violin student. He was a tremendous performer! I also attended a masterclass he gave at Manhattan School of Music in the 1980s. What distinguished him in my mind was his kindness and generosity toward the young artists who performed. I’ve seen a lot of masterclases with great pedagogues and superb performers, some of whom couldn’t resist embarrassing nervous students or taking a condescending tone. Szeryng was the exact opposite. I miss his humanity and...of course beautiful playing.
My God, what a violinist!
The singing, noble tone, the beauty of his vibrato, clarity, perfect intonation and the wonderful phrasing make this such a special performance. When it comes to violinists, surely this guys is one of the greats of all time...
Thank you so much for uploading this wonderful performance. I had the privilege of hearing Henryk Szeryng often as I was growing up. My parents took us to his concerts whenever he performed in Boston, New York, and Washington. He was incredible, a sublime violinist and artist, as well as a wonderful human being. Such a great loss in so many ways when he died. Maestro Szeryng, you are never forgotten.
Are you Deborah Kramer?
Szering toujours aussi élégant ! Szering always so elegant! Thanks a lot Daniel Kurganov for this sharing !
Szeryng was the greatest violinist to walk on this Earth.
Sometimes.
If I could only listen to one fiddler, I'd get sick of violin playing. They each have their own charm.
I'd have to throw out my Kogan disk of Paganini #1 in D, Kreisler's Grieg Sonata in Cm, all of Rabin, Heifetz, Elman, Oistrakh, Stern. I couldn't put one on a pedestal at the exclusion of others. Kreisler could even listen to, and learn from street fiddlers. We are a fraternity. That being said, I enjoyed this clip immensely.
+Remus Azoitei As a violinist you should know tat this is a silly remark. I heard Szeryng a few times and he was certainly a fine violinist. But to suggest that he was greater than Kreisler, Heifetz, Menuhin, and OIstrakh, to name just a few who come to mind , is provocative nonsense. They each had admirable qualities and anyway it's all a matter of taste.
+robotnik77 今夜飲まない？
+robotnik77 今夜飲まない？
今夜飲まない？
+山口未来 Disappointing response.
Very, very beautiful! What a musicality and masterly control! This is truly breathing freedom, love it.
아름답기 그지없는 장 마리 르클레르의 곡을 세기의 거장 헨릭 셰링이 섬세하게 보석 처럼 다듬어서 연주했습니다.
고인이 되신 셰링의 연주를 이제 음반과 영상으로만 접할 수 있게되어 슬픔니다 🎉❤🎉❤
Thank you for bringing His Art to RUclips!!!!!!
THAT WAS SO AMAZAZING.Thank for posting this is my favorite of this piece I think I heard so far.
The great Tasso Janopoulo on the piano!
He is wonderful!
Kostas Pitsonis Who also collaborated with Jacques Thibaud... ahh what a generation.
Thanks for letting my know who the was on keyboard!
Tasso Janopoulo is to Szeryng, what Moore was to Fischer-Diskau.
What a privilege to be able to watch this.
Perfect show,Henry Szeryng and Tasso Janopoulo
Le vibrato est le moyen le plus direct pour faire ressortir l'expressivité sur un instrument comme le violon Szeryng en est un parfait exemple ,c'est tout simplement superbe ,n'en déplaise aux soit disant puristes .
great pianist aswell !
Very good played, thank you for that piece of music and have a nice evening.
Your fan Koni 😊🎉☘️
Breathtaking performance thanks a lots to you.
Exceptional performance!
This is on my favorite list.
Simply superb!
Great stuff, thank you very much for posting, Dan`ka!!
What a beautiful piece and amazing performance! Could anyone offer me some help? I'm about to start preparing this piece for a graduation concert as I'm a chamber pianist. Turns out that all of the realizations for keyboard of the basso continuo that I've found (in libraries in Argentina as well as in IMSLP) are different from the one used in most recordings, including this one. Does anyone know how could I find this version of the piano part? Thanks in advance, any advice will be very appreciated!
those double-string notes
So beautiful
Oh, to have a bow arm like that!!
" ...La tradition est de nos jours une notion dépréciée. Heureusement, quelques passionnés savent en redonner le sens et le goût, en offrant ce qu’elle a de meilleur: l’art de l’élévation..."
"... Tradition is nowadays a depreciated notion. Fortunately, a few enthusiasts know how to give back the meaning and the taste, by offering what it has best: the art of elevation ..."
the pianist is Tasso Janopoulo
Great!
Faimous interpretation!
♥️♥️♥️🎻
THAT WAS SO
Na-mo A-Mi-Da Bu
3:32
5:31
Why so much Vibrato I thought Leclair was a baroque composer?
I believe that JML is considered a "Baroque" composer as you said. I think vibrato usage is one of the elements of musical taste of the performer and can be influenced by the music making that they were exposed to and the times in which they grew up and lived. Naturally, taste in music performance changes (sometimes a lot, over a relatively brief period of time) also affecting the listener's widely varied expectations and perspectives. All that and I'm afraid I haven't really answered the question...(?)
sneddley yes
Why the short hair - why isn't Szerying wearing a peruke as the composer no doubt did? I thought Leclair was a baroque composer.
Why are the violin and piano tuned to A440 - why aren't they tuned to A415 as in the baroque era? I thought Leclair was a baroque composer.
Why are performers like Szerying, Milstein, Heifetz, et al., interested in entertaining their listeners by making old music sound exciting to modern ears by means of contributing some of themselves as modern, 20th century musicians to the printed score? Why aren't they more concerned with endlessly repeating performance practices and standards of the past so that performance becomes more of a fossilized museum exhibit, sort of like they do so well in academia with "original instruments"? I don't understand.
He isn’t from your generation, so tastes/trends were different. This degree of historical accuracy was considered acceptable during his time, and before that, even less attention to these details. Just take a look at a Bach edition from the 19th century. They are mostly highly edited - filled with all sorts of dynamics and articulation, trills are written out (often starting on the LOWER note) and mordants were often either changed or omitted altogether. In busoni’s edition of the well tempered clavier, he inserted an extra measure int9 the C Major prelude, and it became the norm to play it that way for years.
@@sneddley thanks for your long and detailed comment. I wrote that in a time where I began to fascinate myself for historical playing and in informed performance, your answer motivated me to learn more about this topic and also to appreciate modern interpretations of baroque pieces, but most of the time I find it better to consider musical sources from the time to play a piece as the composer (maybe) thought it was gonna be played or intended it to be played in that way. Funnily I study baroque violin now :) Now I know better, that vibrato was indeed used also in the baroque period, some violin schools document that, Geminiani even recommends it to use it as often as possible.
Too much vibrato
Finally someone who understands...
Jean-Marie, times have changed since you were alive😁
Shut up, you're dead.
That may be a matter of taste.- It is of course a modern interpretation. I for one find it convincing.
It's horrible, too much vibrato.
@@EASAlarmRUclips I'm not thankful because it's not beautiful. Go study baroque playing and you'll see...
@@JKBaba then it's not Leclair
@@yeonpa sorry wrong video, but it's the same concept. There was vibrato, nut not that much.
@@britelinkireland2099 I said TOO MUCH vibrato, not that it shouldn't be used at all. And no, it's not the key.
@@EASAlarmRUclips the one coming up with excuses is you. The fact is you're an ignorant. Bye