Perlman avers that Milstein's clarity of articulation was unmatched and that he was probably the most articulate player of his generation. Now I get it.
jean de la croix Hahn‘s far away behind Milstein in terms of articulation, bowing technique, music interpretation...Bach, Beethoven, Mozart, everything...
My father's teacher Stassavitch knew Milstein, and he came over a few times during my father's lessons at the Mannes School. This was in the 1930s. My father used to say that watching him up close was an astounding experience. He could do anything.
i just love the lightness and complete effortless look of his playing. i also love the fact that he brings out some of the modulations rather than just playing it like a metronome. amazing
Sinceramente quedé imprecionado con la técnica la velocidad y la afinación de la pieza a pesar de que es una pieza difícil la interpretó como si fuera lo más fácil del mundo mis respetos para este genio ❤️
The clarity and purity of his tone are probably without peer. So effortless...he looks like he's out for a walk! What is particularly interesting is that he tries to make music out of this, when most just play the notes. I'd say this and Kavakos are the best on RUclips. Different approaches though!
Immense artist, violinist and....smart man....since he substitutes the last 4 octaves descending scale (almost unplayable, let's admit) with an arpeggio...someone will complain that he doesn't play the original bowing by Paganini in the agitato, which is true, but the performance remains a great one.
(...continued from previous post) The deeper contact point results in more inward rotation of the forearm, which then results in a more extended pinky because it has to reach farther to contact the stick. A lot of people claim to use the Russian bow hold when they're actually using a poorly-formed Franco-Belgian (or similar Galamian) bow hold (their joints collapse and their pinky sticks straight).
Este es el capricho que más me gusta! Bastante rápido, complicado e inimitable. Me quedé Taciturno estos dos minutos de aprecio. Tan interesante que me inocúla ganas de aprender a tocar el violín.
c'mon, doesnt matter the speed, the important thing is the feeling and perfection of notes. This is the best performance of caprice 5 i've ever seen and listen
(continued from prev. post) By turning the violin around so that its scroll is pointing far left, the bow will naturally be perpendicular to the strings without the player having to twist his wrist around. Generally, the taller you are, the more you want to point the scroll away from the center. Heifetz was relatively tall, while Milstein wasn't. Note the differences in how they hold the violin.
The violinist Leonidas Kavakos employs the Russian bow hold, at least by popular definitions: deeper first finger contact, and higher inward rotation. He plays very cleanly with a very even tone, and remarkable projection. His un-miked Sibelius recordings are a testament to that. He also happens to tend towards the heavier side of bowing.
A lot of violin teachers in the US claim the Russian hold is stiff and inflexible at the frog due to the relatively high amount of forearm rotation. However, the problem lies not in the bow hold, but the VIOLIN hold and posture. A lot of people hold the violin such that the scroll points directly in front (perpendicular to their body), which means they have to contort their wrist to get the bow perpendicular to the strings. (continued ->)
Ever heard about interpretation? ever wondered why bach, beethov, all classical composers and a lot more didn't wrote any bowings or interpretation notes on the parts? what we have today on the parts are mostly bowings invented by the editors think again I'm more pleased with the thought that doing only what the composer wants is mimicing more than playing adding what you want, think or sense, that is playing but it's true that the original bowing is not that.
I love how you play it, so personnal, indeed, it's not exactly the partition, but it's so bieautifull... like said Suponomadox, "Bravisimo!!" and thanks a lot...
What you're talking about is a style of sound production, not a bow hold. There is in fact a Russian bow-hold, Carl Flesch writes to great detail about it in his book "The Art of Violin Playing," and in his writing, he does specifically state that the Russian hold permits considerably more leverage to apply weight into the bow than its counterparts. Of course, whether one chooses to take advantage of this leverage is up to the player.
Milstein is playing some parts here differently than anyone else I've heard playing caprice #5. For example, 0:18-0.:19 -- he does not pause at all after the last fast climb up on the E string, he barely touches the highest note, then climbs down perhaps even faster... No one else does it, not even Kavakos, who plays it ridiculously fast, nor Ricci. All violinists pause there, but not Milstein. I can't figure out why, and wonder what Paganini would have said about it...
No. Paganini, que murió en 1840, es el compositor de la pieza, que es el Capricho n° 5 para violín solo (Paganini compuso veinticuatro caprichos). El violinista que la está ejecutando en este video es Nathan Milstein (1903-1992).
There was a program on BBc Radio 2 last night which included a short but entertaining section on Paganni - Episode 3 Listen:Listen (Duration: 30 minutes) Availability: 6 days left to listen Last broadcast Thursday 1st Oct 2009, 22:30 on BBC Radio 2 Synopsis David Quantick's quick-paced and occasionally fabricated guide to classical music.
You could go by that definition, but then all beginners use the Russian bow hold lol. According to Carl Flesch, the Russian bow hold involves a deeper contact point between the bow and the first finger. With the Franco-Belgian hold, the bow contacts the index finger between the 1st and 2nd joints from the tip, whereas with the Russian hold, the bow contacts the index finger between the 2nd and 3rd joints. (continued ->)
Impressive, You Are right Pablito, merci beaucoup come tous les jours, mon chéri ,) Hopefully this time the google translator don't get me wrong en come je vous appelle ..jajaja.. Love ya! La Minè ;P
entiendo lo que décís y estoy de acuerdo. Me expresé mal: lo que intentaba remarcar es cuál es el punto de que discutan dos músicos -que están por debajo del solista del video- para ver quién es mejor de los ejecutantes que se encuentran en este sitio. Sospecho que es una discusión que a ninguno de los virtuosos le interesa. El hecho de que haya uno mejor para mí o para quien sea sirve como estímulo.
agreed. This is something that is not a secret. Which is why Zukerman won't perform Paganini and Sarasate in public. (Although some pieces of theirs are touching here and there). This is more in the arts of showmanship than actual music. Milstein is a master musicians though and this is a great performance, but Paganini is pretty weak to listen to for a lot of people.
Technically, Ruggiero Ricci is considered to be the Paganini man, and nowadays Salvatore Accardo is acquiring that status as well. Personally, I prefer the way the old masters such as Milstein/Heifetz play Paganini because they play Paganini in a more standard concerto-like fashion. Although Ricci/Accardo are probably more authentic when it comes to playing Paganini in the Italian, Paganini-esque way.
Perlman avers that Milstein's clarity of articulation was unmatched and that he was probably the most articulate player of his generation. Now I get it.
srinitaaigaura it's interesting to compare milstein's renditionof his paganiniana and today's hilary hahn's version
jean de la croix Hahn‘s far away behind Milstein in terms of articulation, bowing technique, music interpretation...Bach, Beethoven, Mozart, everything...
There's no comparison here.
@@JeanDeLaCroix_ When Ysaye asked Milstein if he could play Paganini caprices, he simply asked, "Which one?"
Maybe of Milstein's generation, but listen to Rabin's version.
My father's teacher Stassavitch knew Milstein, and he came over a few times during my father's lessons at the Mannes School. This was in the 1930s. My father used to say that watching him up close was an astounding experience. He could do anything.
This is my dads violin teacher!!!!!!!!!!!!!!😛
👍
No way that’s a famous composer
Very very nice
Wow!!
envy your dad!!
Y lo ifx
0:22 He looks like he's thinking..."Oh, great. Now I have to play the easiest part of this whole piece."
0:22
i just love the lightness and complete effortless look of his playing. i also love the fact that he brings out some of the modulations rather than just playing it like a metronome. amazing
clean clean clean!! unbelivable!!
One of the coolest guys when it came to "going out on stage and scratching on the violin" (quote Milstein!) :-)
しっかし、易しそうに弾きますね。
フィンガリングなんて全く無駄がないというか、合理的というか。
大家の貫禄ですね。
脱帽！
Just pure heroine to the ears. He's a wizard. I'm sure I heard a few tiny little embellishments in there hahaha amazing
Sinceramente quedé imprecionado con la técnica la velocidad y la afinación de la pieza a pesar de que es una pieza difícil la interpretó como si fuera lo más fácil del mundo mis respetos para este genio ❤️
The clarity and purity of his tone are probably without peer. So effortless...he looks like he's out for a walk! What is particularly interesting is that he tries to make music out of this, when most just play the notes. I'd say this and Kavakos are the best on RUclips. Different approaches though!
Immense artist, violinist and....smart man....since he substitutes the last 4 octaves descending scale (almost unplayable, let's admit) with an arpeggio...someone will complain that he doesn't play the original bowing by Paganini in the agitato, which is true, but the performance remains a great one.
Easily the best rendition on RUclips
Listen to Rabin's
Rispetto a tanti altri ,questo capriccio è eseguito molto pulito....Bravissimo
this guy is really feelin the music on this one, and to me that makes this the best one of these videos on youtube
(...continued from previous post)
The deeper contact point results in more inward rotation of the forearm, which then results in a more extended pinky because it has to reach farther to contact the stick.
A lot of people claim to use the Russian bow hold when they're actually using a poorly-formed Franco-Belgian (or similar Galamian) bow hold (their joints collapse and their pinky sticks straight).
Digitacion perfecta con brillo claro , impresionante
Este es el capricho que más me gusta! Bastante rápido, complicado e inimitable. Me quedé Taciturno estos dos minutos de aprecio. Tan interesante que me inocúla ganas de aprender a tocar el violín.
c'mon, doesnt matter the speed, the important thing is the feeling and perfection of notes. This is the best performance of caprice 5 i've ever seen and listen
nobody plays as clear as Milstein.
I can hear every. single. note. That's hard.
I love him
Genialne wykonanie, niebywała artykulacja i precyzja
Woah, I think this is the best recording of the 5th caprice I’ve ever heard
Listen to Rabin's
@@davidmdyer838 Rabin plays it with such ease..
@@davidmdyer838 I just listened and find not clean like Nathan.
@@vio3667 You found Rabin's not clean? You have unusual ears.
@@davidmdyer838lol. Not like Heifetz or Nathan
l'économie de moyens, la décontraction et le style . Wow !
great performance... he just "plays" with his violin...
This vid was removed.I glad it has been re-uploaded. Thanx.
mais waouh quoi *.* impressionnant et beau à la fois !
Beautiful, excellent, wonderful, Thank You. Mike.
O
M
G
What a legend
(continued from prev. post)
By turning the violin around so that its scroll is pointing far left, the bow will naturally be perpendicular to the strings without the player having to twist his wrist around. Generally, the taller you are, the more you want to point the scroll away from the center. Heifetz was relatively tall, while Milstein wasn't. Note the differences in how they hold the violin.
The violinist Leonidas Kavakos employs the Russian bow hold, at least by popular definitions: deeper first finger contact, and higher inward rotation. He plays very cleanly with a very even tone, and remarkable projection. His un-miked Sibelius recordings are a testament to that. He also happens to tend towards the heavier side of bowing.
For a second I thought he tossed his bow at the end. That was amazing!
A lot of violin teachers in the US claim the Russian hold is stiff and inflexible at the frog due to the relatively high amount of forearm rotation. However, the problem lies not in the bow hold, but the VIOLIN hold and posture. A lot of people hold the violin such that the scroll points directly in front (perpendicular to their body), which means they have to contort their wrist to get the bow perpendicular to the strings. (continued ->)
La versión mas veloz que he visto. Estupendo! LIKE.
Such wonderful playing! He almost makes it look easy :)
How is it possible to play like that so effortless?!
Perfection.
My soul is happy now
.Exelente ! , gracias ,desde argentina.
GODLY PERFORMANCE
SMOOTH!
Ever heard about interpretation?
ever wondered why bach, beethov, all classical composers and a lot more didn't wrote any bowings or interpretation notes on the parts?
what we have today on the parts are mostly bowings invented by the editors
think again
I'm more pleased with the thought that doing only what the composer wants is mimicing more than playing
adding what you want, think or sense, that is playing
but it's true that the original bowing is not that.
each note is so clear
God!!! incredible!! this is an extreme masterpiece
Fabuleux
wow what a great interpretation!
I love how you play it, so personnal, indeed, it's not exactly the partition, but it's so bieautifull... like said Suponomadox, "Bravisimo!!" and thanks a lot...
ive only herd the kavakovs... outstanding
What you're talking about is a style of sound production, not a bow hold. There is in fact a Russian bow-hold, Carl Flesch writes to great detail about it in his book "The Art of Violin Playing," and in his writing, he does specifically state that the Russian hold permits considerably more leverage to apply weight into the bow than its counterparts. Of course, whether one chooses to take advantage of this leverage is up to the player.
holy shit...amazing
ROCK IN PATTAYA! Last Play! Mr．Yusuke! Very Thanks! paganini caprice24-5
Fantastic!
hell yes. I am learning this on guitar now. If i ever get it this clean i will post it.
simply amazing...
All the comments are about the bow and the scores and shit but people today don't even have the balls to listen to a great interpretation.
interesting paganini! wonderful!
Milstein is playing some parts here differently than anyone else I've heard playing caprice #5. For example, 0:18-0.:19 -- he does not pause at all after the last fast climb up on the E string, he barely touches the highest note, then climbs down perhaps even faster... No one else does it, not even Kavakos, who plays it ridiculously fast, nor Ricci. All violinists pause there, but not Milstein. I can't figure out why, and wonder what Paganini would have said about it...
No. Paganini, que murió en 1840, es el compositor de la pieza, que es el Capricho n° 5 para violín solo (Paganini compuso veinticuatro caprichos). El violinista que la está ejecutando en este video es Nathan Milstein (1903-1992).
I wish he recorded all the caprices bc I know he stated he used to know every one
ever time he hits that high note a kitten dies... haha. just kidding. theres no telling how many times this guy rehearsed this... amazing.
Awesome
Salvatore Accardo's is recording is top-shelf as well.
@violinamore
That's just his swag. He changes more notes, like adding a little extra on the end an changing accidentals in a few spots
Paganini was a true genius
It sounds like he's making the bow jump, but instead is on the string. Wow !
There was a program on BBc Radio 2 last night which included a short but entertaining section on Paganni -
Episode 3
Listen:Listen (Duration: 30 minutes)
Availability:
6 days left to listen
Last broadcast Thursday 1st Oct 2009, 22:30 on BBC Radio 2
Synopsis David Quantick's quick-paced and occasionally fabricated guide to classical music.
If you play Flight of the Bumblebee, you can play Caprice No. 5
fantastic!
since i listened to paganini i want to play violin.... serious
Seriously respectable speed but insanely good clarity. They really don't make em like they used too.
Hermoso!!!
oh yeah! no.1 rendition
Very impressive !!!
You could go by that definition, but then all beginners use the Russian bow hold lol. According to Carl Flesch, the Russian bow hold involves a deeper contact point between the bow and the first finger. With the Franco-Belgian hold, the bow contacts the index finger between the 1st and 2nd joints from the tip, whereas with the Russian hold, the bow contacts the index finger between the 2nd and 3rd joints.
(continued ->)
goosebumps
prestige at its best
beautiful
Defenetive rendition
yhe real crossroads duel also began with this guy 50yrs before Steve vai and Ralph challenge the devil \m/
the king !!!!!!
A este violinista no lo conocia ,pero me gusta
Maria Angels Molpeceres
fantastic
so effortless
I tuned into this video and I was like, "OMG! What was that again?" EFFORTLESS!
awesome....
I agree completely..
Impressive, You Are right Pablito, merci beaucoup come tous les jours, mon chéri ,)
Hopefully this time the google translator don't get me wrong en come je vous appelle ..jajaja..
Love ya!
La Minè ;P
HAIL Paganini
magnifique
totally agree.
:D tooooooo gooooooooood
entiendo lo que décís y estoy de acuerdo. Me expresé mal: lo que intentaba remarcar es cuál es el punto de que discutan dos músicos -que están por debajo del solista del video- para ver quién es mejor de los ejecutantes que se encuentran en este sitio. Sospecho que es una discusión que a ninguno de los virtuosos le interesa. El hecho de que haya uno mejor para mí o para quien sea sirve como estímulo.
agreed. This is something that is not a secret. Which is why Zukerman won't perform Paganini and Sarasate in public. (Although some pieces of theirs are touching here and there). This is more in the arts of showmanship than actual music. Milstein is a master musicians though and this is a great performance, but Paganini is pretty weak to listen to for a lot of people.
Technically, Ruggiero Ricci is considered to be the Paganini man, and nowadays Salvatore Accardo is acquiring that status as well. Personally, I prefer the way the old masters such as Milstein/Heifetz play Paganini because they play Paganini in a more standard concerto-like fashion. Although Ricci/Accardo are probably more authentic when it comes to playing Paganini in the Italian, Paganini-esque way.
bravisimo!!
❤❤❤❤❤❤
Wow!
Two set violin 🎻
I'm very appreciated, Mine.