I took part in masterclasses with him in Vienna in 1988. He was still practicing 8 hours a day - the skin on his fingertips was thick and would crack and his fingers, I believe, were sore and the bandages gave him some relief. He was a lovely man. A few other students from around the world played the Rococo Variations and we got to see him demonstrate many parts of it. His technique was astounding - he could do down bow spicatos and staccatos at will - things I never mastered. I played Shostakovich sonata for him - which he had played with Shostakovich - that was a trip! Was a great experience. For those that are interested I think his greatest performance is of Kabalevsky Concerto no2 which was written for him and is fiendishly difficult and fantastic too! You kind find a live performance of it here on RUclips.
Thank you for sharing this. I appreciate this cellist with all my heart. I find it difficult to create a top favorite cellists. I choose Yakov Slobodkin as no. 2, after Shafran. I got myself a CD player to listen to one Shafran CD which seems so difficult cu acquire these days. I'm just hypnotized by his sound. Did you notice that he had similar vibrato as Enescu?
WHAT?!? Are you suggesting that among all these laudatory comments, among which mine is included, that only mine is representative of a fool, because it employs slang? Or are you just trolling?
+wotan barrett I think elvismoskva doesn't like you implying that fecal matter can be holy. He'd probably be less trifled if you simply said "holy cow," instead. )))
Yes: an idiomatic phrase that might be easily misunderstood by - for instance - non-native speakers. Next time, I'll try to somewhat restrain my exuberance. However, from a cellistic perspective, there are so many excellences in this performance, that could extort from any serious fellow practitioner an abounding admiration.
@@nrosen8794 Oh wow! Pleasure to meet you! What are your thoughts on the paintbrush technique? I had a recent epiphany actually. For years I'd been trying to keep very fluid right wrist and fingers, especially during bow changes. For some reason I got it into my head that I should experiment with a more immobile wrist/fingers and my bow changes improved ten fold. I feel like a bow change should just be as simple as switching direction.
Piatigorsky said it is done with the fingers, Rose advocated the paintbrush idea, and I think the whole thing is difficult to understand. In an automobile it is necessary to stop before backing up, but in the Godfather Movie there is a famous scene in which a car is made to do a bootlegger turn; that is, it is made to go in the opposite direction without first stopping. For me, that is the metaphor. Watching Shafran is to observe an uncompromising musical spirit that insists on every note being just right, with both hands, all the time. I am glad you are having more success with your bow change. I need an extra centimeter or two at the frog and at the tip to do my bootlegger turn.
![Digital Circus Episode 4 [TRAILER]](http://i.ytimg.com/vi/abZtsmMUbJo/mqdefault.jpg)
I took part in masterclasses with him in Vienna in 1988. He was still practicing 8 hours a day - the skin on his fingertips was thick and would crack and his fingers, I believe, were sore and the bandages gave him some relief. He was a lovely man. A few other students from around the world played the Rococo Variations and we got to see him demonstrate many parts of it. His technique was astounding - he could do down bow spicatos and staccatos at will - things I never mastered. I played Shostakovich sonata for him - which he had played with Shostakovich - that was a trip! Was a great experience. For those that are interested I think his greatest performance is of Kabalevsky Concerto no2 which was written for him and is fiendishly difficult and fantastic too! You kind find a live performance of it here on RUclips.
Thank you for sharing this. I appreciate this cellist with all my heart. I find it difficult to create a top favorite cellists. I choose Yakov Slobodkin as no. 2, after Shafran. I got myself a CD player to listen to one Shafran CD which seems so difficult cu acquire these days. I'm just hypnotized by his sound. Did you notice that he had similar vibrato as Enescu?
Magic!!! The best rococo variations out of all!
One of THE best I've ever heard. Period!!
SHAFRAN-IS THE BEST OF THE CELLIST,S WORLD
Dude, you are so right.
Le plus grand.
Best
Oh! The beautiful tone. That is what I remember. Clean, musical...all of that, but the TONE. And, this is a 1949 recording?!
Holy shit
WHAT?!? Are you suggesting that among all these laudatory comments, among which mine is included, that only mine is representative of a fool, because it employs slang? Or are you just trolling?
WELL?!?
+wotan barrett I think elvismoskva doesn't like you implying that fecal matter can be holy. He'd probably be less trifled if you simply said "holy cow," instead. )))
Yes: an idiomatic phrase that might be easily misunderstood by - for instance - non-native speakers. Next time, I'll try to somewhat restrain my exuberance. However, from a cellistic perspective, there are so many excellences in this performance, that could extort from any serious fellow practitioner an abounding admiration.
whoever is playing is great.
DANIIL AND MISTICLAV WHO FROM THE WESTERN COUNTRIES COULD HAVE COMPETED WITH EM ???? (A BIG Q MARK)
THE A IS VERY SIMPLE
NOTHINGNESSS
4:41
Una maravilla de violoncellista, respetuosamente.
can someone tell me why shafran always has little band aid wrapping thingies on his fingers?
Celloman4044 my teacher (who has studied with him in moscow) said He practiced every single day spending utterly a lot of time-
@@hongstephanie8440 do you know something about Shafran's way of teaching? I'm curious because of his excentric playing. Great cellist, of course
He beastin it
I heard he was trying to narrow his vibrato as he had fat finger tips
@@s.l5787 I bet he did
Блеск!.
OMG
Maybe it can be made different, but definitely not "better"...
0:53
This can't possibly be from 1949
Remarkable sound from the late 78 era. They must have done some magic re-mastering, but the performance is pure magic.
@@nrosen8794 Is this THE Nathaniel Rosen?
Guilty as charged. Please go easy on me.
@@nrosen8794 Oh wow! Pleasure to meet you! What are your thoughts on the paintbrush technique? I had a recent epiphany actually. For years I'd been trying to keep very fluid right wrist and fingers, especially during bow changes. For some reason I got it into my head that I should experiment with a more immobile wrist/fingers and my bow changes improved ten fold. I feel like a bow change should just be as simple as switching direction.
Piatigorsky said it is done with the fingers, Rose advocated the paintbrush idea, and I think the whole thing is difficult to understand. In an automobile it is necessary to stop before backing up, but in the Godfather Movie there is a famous scene in which a car is made to do a bootlegger turn; that is, it is made to go in the opposite direction without first stopping. For me, that is the metaphor. Watching Shafran is to observe an uncompromising musical spirit that insists on every note being just right, with both hands, all the time. I am glad you are having more success with your bow change. I need an extra centimeter or two at the frog and at the tip to do my bootlegger turn.
Шлак, стиль, вибрация, интонация, в корзину, учите смотрите ноты господа!!! Мимо нот все и темпов... Ужас...
Кретин, ну-ка выложи свою интртрепацию Рококо, а мы посмеёмся....