Maravillosa interpretación del Excelentísimo y Prestigioso Violinista Mischa ELMAN . Sus Fabuloso sonido con un tono super deslumbrante lo hace ser por siempre un Violinista Excepcional .
We always have people this good with this much mastery behind their craft, but unfortunately the talent like him is not given anywhere near the same proportion of publicity that he gained at his point in history.
So a lot of them are not going to get to be a showman in the same way he was - internationally, even! That is reserved for pop culture singers and modern band music. Obviously somewhere there are still international comptetitions for this type of music, but mostly in countries that have an extensive classical tradition to call cultural history.
@@terralexj9468 Unfortunately, even if a talent like that were to appear today, they would be straitjacketed into an “acceptable” way of playing by their teachers.
It appears little Mischa did not want to speak. LOL. Fisher put the microphone down for him, but Mischa wanted to trot off, instead. He had the richest sound of any violinist ever. He and Kreisler each had a certain sound that was instantly recognizable, and couldn't be matched, either of them. I notice near the beginning, the orchestra seems to have got lost. Eddie Fisher was only 5'4" tall, so what's Mischa - 5 feet even?
Yes, many of the great violin soloists were of short stature, with almost no neck, which is why they did not need a shoulder rest. Menuhin, Milstein, Ricci, Elman et al.
You will learn as U grow wisdom never to compare gold platinum silver diamonds rubies. The greats are very far on their own road. Elman had s greater in place technique than Kreisler if he even tried to sound like K UT would be Even More!
Он родился в Умани- мой д дедушка был двоюродный брат М.Эльмана.Л.Ауэр приезжал на прослушивания в Одессу,так как евреям из местечек нельзя было в столицы в'езжать,таким образом он набирал учеников в свой класс.
@@florincoter1988 Exactly. And nations outside Europe who had no business in modern violins came aboard. Every body wanted to play, and if you are dedicated and work hard enough you can make it a little. But you will never match the insight, feeling or skill of the golden age European men (mainly Jewish) violinists from roughly 1850 to 1950.
Nowadays the issue is most people see the bow as a hacksaw blade for shrieking and scratching on as many strings at once in as many arrythmic ways as possible.
You violin experts out there will maybe answer this one.I believe in the times that Mischa Elman played his strings were made of catgut.Is this the case?I find his tone so warm and different to modern players.I am only a layman but I know what I hear.Jim.Liverpool.
The sounds of Elman, Kreisler and Heifetz. Elman's was thick, rich, viscous, voluminous, soaked in honey while Heifetz's was intense, silky, colourful, an open throated tenor, with an epic E string. And then there was Kreisler, who sounded like liquid gold soaked in sugar -- both Elman and Heifetz were heavily influenced by his sound. A gut E I've only seen on Baroque violins, but they are way more colourful than the steel E and don't squeal. These guts are really expensive and tricky to play on, they bite and scrape and need a stronger arm, but they make the cheap student steel strings sound like squeaky tin cans.
The strings being used here consisted of a core made of lamb's gut that was then wound with metal. The lowest string (G) was wound with silver. The next two strings (D and A) were wound with aluminium and the highest string (E) was simply made of solid steel, with no gut core. Elman had stopped using a set of plain gut strings about forty years before this film was made.
This is a shortened version of the original Kreisler/Dvorak and it all seems very casually rehearsed - there was probably one quick run-through and thats it. Not enough to account for the extraordinary distance between soloist and orchestra as well as Elman's typical rhythmic liberties. Yes, the conductor has to call out measures after Elman took a wrong turn and then came in a measure early....but Elman is totally imperturbable and the playing, when not straight-jacketed by the ridiculous situation, is peerless.
Яша Хейфец '--- невысокого роста,--- при короткой шее и высоких плечах он тграл на скрипке без подушечки. Блестяще играл КАПРИС 24 Паганини --- так никто из современных серипачей не играет. Но, скажу, по интерпретации Паганини сам играл ИНАЧЕ. ХЕЙФЕЦ придерживался интерпретации Л. АУЭРА.
There was never a sound so beautiful as Mischa playing any song written by Dvorak
You are low IQ
Maravillosa interpretación del Excelentísimo y Prestigioso Violinista Mischa ELMAN . Sus Fabuloso sonido con un tono super deslumbrante lo hace ser por siempre un Violinista Excepcional .
The most beautiful tone of all time. (It is also cute seeing him introduced by Eddie Fisher)
Mendy7952 i
Yes
Absolutely
Richness of tone was paramount in them days. Today it's all flash and crash. Check out Zino Francescatti as another great tone meister.
You are low IQ
I doubt we will ever hear his like again ...
There are probably people around with his level of talent, just that the culture of this day and age will no longer permit this style of play :(
Please hear James Ehnes!
We always have people this good with this much mastery behind their craft, but unfortunately the talent like him is not given anywhere near the same proportion of publicity that he gained at his point in history.
So a lot of them are not going to get to be a showman in the same way he was - internationally, even! That is reserved for pop culture singers and modern band music. Obviously somewhere there are still international comptetitions for this type of music, but mostly in countries that have an extensive classical tradition to call cultural history.
@@terralexj9468 Unfortunately, even if a talent like that were to appear today, they would be straitjacketed into an “acceptable” way of playing by their teachers.
Truly beautiful
No words.Thank you!
It appears little Mischa did not want to speak. LOL. Fisher put the microphone down for him, but Mischa wanted to trot off, instead. He had the richest sound of any violinist ever. He and Kreisler each had a certain sound that was instantly recognizable, and couldn't be matched, either of them. I notice near the beginning, the orchestra seems to have got lost. Eddie Fisher was only 5'4" tall, so what's Mischa - 5 feet even?
robotnik77 5’2” or so
What does it matter how tall they were? Like the color of one’s skin it’s something have no control over!
Yes, many of the great violin soloists were of short stature, with almost no neck, which is why they did not need a shoulder rest. Menuhin, Milstein, Ricci, Elman et al.
Oistrakh @@antoniograncino3506
@@antoniograncino3506use
Downloaded mp3 of it and hitting pr every session in the gym with this
Its great. Kreisler is even better.
You will learn as U grow wisdom never to compare gold platinum silver diamonds rubies. The greats are very far on their own road. Elman had s greater in place technique than Kreisler if he even tried to sound like K UT would be Even More!
Wow! Wonderful to see this.
Спасибо Маэстро, наш земляк родился Украина, Тальное.Царство тебе Небесное.Гордимся.🌹🌹
Он родился в Умани- мой д дедушка был двоюродный брат М.Эльмана.Л.Ауэр приезжал на прослушивания в Одессу,так как евреям из местечек нельзя было в столицы в'езжать,таким образом он набирал учеников в свой класс.
Uses alllll the bow. Very instructive to see this.
There used to be such magical players...what went wrong?
Like everything else, music got mass produced.
@@florincoter1988 Exactly. And nations outside Europe who had no business in modern violins came aboard. Every body wanted to play, and if you are dedicated and work hard enough you can make it a little. But you will never match the insight, feeling or skill of the golden age European men (mainly Jewish) violinists from roughly 1850 to 1950.
Nowadays the issue is most people see the bow as a hacksaw blade for shrieking and scratching on as many strings at once in as many arrythmic ways as possible.
@@kkal9915that’s so un self aware. You like a certain style of violin playing/sound. That’s your taste. It’s personal not objectively better
How many of the other replies are from folks who can play the violin?
Beautiful
You violin experts out there will maybe answer this one.I believe in the times that Mischa Elman played his strings were made of catgut.Is this the case?I find his tone so warm and different to modern players.I am only a layman but I know what I hear.Jim.Liverpool.
curleyteeth this time he uses Gut strings with E steel. Use Gamut Strings ( tricolore) our Pirastro Eudoxa
curleyteeth The strings were made out of sheep gut. Heifetz used these strings too. Google Tricolore strings. Highly recommended!
The sounds of Elman, Kreisler and Heifetz. Elman's was thick, rich, viscous, voluminous, soaked in honey while Heifetz's was intense, silky, colourful, an open throated tenor, with an epic E string. And then there was Kreisler, who sounded like liquid gold soaked in sugar -- both Elman and Heifetz were heavily influenced by his sound.
A gut E I've only seen on Baroque violins, but they are way more colourful than the steel E and don't squeal. These guts are really expensive and tricky to play on, they bite and scrape and need a stronger arm, but they make the cheap student steel strings sound like squeaky tin cans.
The strings being used here consisted of a core made of lamb's gut that was then wound with metal. The lowest string (G) was wound with silver. The next two strings (D and A) were wound with aluminium and the highest string (E) was simply made of solid steel, with no gut core. Elman had stopped using a set of plain gut strings about forty years before this film was made.
It's all in the fingernails. ;)
Fantastic
The conductors a long way away and the backview guy?
GOOD MUSİCİAN
start 0:50
❤❤❤
❤
1:20 orchestrate n soloist get off,pretty sure you hear conductor yell out number at 1:35
Guillaume Pirard yah but it doesn't matter at all
yeah I realized Elman had a memory slip from 1:16-1:27, he just improvised those bars.
This is a shortened version of the original Kreisler/Dvorak and it all seems very casually rehearsed - there was probably one quick run-through and thats it. Not enough to account for the extraordinary distance between soloist and orchestra as well as Elman's typical rhythmic liberties. Yes, the conductor has to call out measures after Elman took a wrong turn and then came in a measure early....but Elman is totally imperturbable and the playing, when not straight-jacketed by the ridiculous situation, is peerless.
You will certainly never hear anyone Iike him again because no one plays like that now.
Il primo pezzo è il lied dedicato alla madre.
Orchestra lost in space....😂
OMG
Яша Хейфец '--- невысокого роста,--- при короткой шее и высоких плечах он тграл на скрипке без подушечки. Блестяще играл КАПРИС 24 Паганини --- так никто из современных серипачей не играет. Но, скажу, по интерпретации Паганини сам играл ИНАЧЕ. ХЕЙФЕЦ придерживался интерпретации Л. АУЭРА.
Orchestra is wayyyy off
If you mean around 1:20, it's because Elman had a memory slip from 1:16-1:27, he just improvised those bars. Still beautifuk though!
@@yqviolin oh yes, sorry! I had realised it, its an old comment hehe
T.T