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About elrach

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  1. I am not familiar with Performance Today, is it a radio program?
  2. What do you think of Sarah Chang, and Nigel Kennedy's Sibelius?
  3. I watched the piece too. From the ABC website Arrival of The David Museum Delivers Legendary Heifetz Violin to San Francisco Concertmaster By Wayne Freedman S A N F R A N C I S C O, Aug. 25 ; At Such was the case this past week as two couriers from San Francisco's Fine Arts Museums arrived with a plain brown canvas case. They signed in, walked down a hall, and changed violinist Alexander Barantschik's musical life. "We entrust it to you, now," the two women told him. The "it" to which they referred is built of spruce, maple, and ebony; an Italian violin made in 1742 by Joseph Guarnerius del Gesu and known as "the David." For most of the last century, the David belonged to and was played by the late Jascha Heifetz, the acclaimed classical violinist whose career spanned at least seven decades ; with surviving recordings from 1911 to 1972. Presence of Heifetz When Barantschik opened the case, it felt as if Heifetz had just been there. Barantschik found the violinist's chin piece, some extra strings, a few scribbled notes and, in a way, a piece of Heifetz's mastery. As he tuned the instrument, the sound came to life. "Every few minutes you hit the right spot and suddenly it speaks with Heifetz's voice," Barantschik told ABC station KGO-TV in San Francisco. "That's scary." "It is impossible to think that part of his soul is not inside it," he added. When Heifetz died, he willed his violin to the Fine Arts Museums of San Francisco on the condition that it be played in this city by someone worthy. For at least the next three years, Barantschik, who is concertmaster for the San Francisco Symphony, will be the man to do so. "This is a marriage, a baby, something to be wooed, to be played," said Elizabeth Cornu, head objects curator of the museum. "We have a wonderful instrument in our possession and it needs to be matched up." Golden Age Violin Any attempt at comparing this violin to even a Stradivarius ; considered by some to be the finest of violins ; would be feeble. It comes from the golden era of violin making in Cremona, Italy. It has more range, more volume, and more potential than perhaps any other in the world. Some say no one could make one like it today. Guarnerius took the secrets of its dark, singular sound with him to the grave. "It has an amazing complexity of sound," Barantschik said. "It's almost like a cello in some places. If you were to compare it with a painting, it has a hundred colors, not 50 but hundreds ; colors within colors within colors. A slightly different pressure between the bridge and finger board will produce a different kind of sound." Talk about challenges: Barantschik is getting a violin more famous than he is; a piece of history that will allow him to create his own. Having spent years with the London Symphony Orchestra, he is already known as a great violinist, but now the David will help him measure it. "It's unforgiving," he said. "Not that I'm afraid of it, but it is rewarding, inspiring, but unforgiving. "If you hit the wrong spot, it just says, 'You're wrong,'" he added. When he was growing up in Russia as the son of a factory worker, Barantschik used to listen to music. The David, he said, is the first violin he ever heard, and the one that always played in his mind. Now, he must live up to it. ABC news tonight, mentioned that David; is estimated to worth $10 mil. That would make it the most expensive violin in the www, not that it would be for sale.
  4. I rmember someone post a while ago that there will be a PBS special on Juliard sometime in December 02. I hope I haven't missed it. When will it be aired? Thanks
  5. Is there are story behind this piece or is it just an impromptu piece as the name suggested?
  6. Have a wonderful thanksgiving, and for the folks who are travelling, drive and fly safe.
  7. As far as Oistrakh goes, well, I won't go there. >>< Come on, you got me interested
  8. Thanks for the story. A quick check at Jose penoz site Ms. Barton plays the following violins currently Barton, Rachel American b 11.10.1974 Chicago V ex Lobkowicz 1617 Amati, A. & G. V Lord Coke 1744 Guarn. d. G. Remarks: Ms. Barton played upon the ex Lobkowicz on loan from the Stradivari Society of Chicago through Bein & Fushi, Inc. She plays the ex-Lord Coke on loan of the Fazenda Ipiranga, Guaranesia/MG, Brasil
  9. I'm still VERY disappointed that her project to record the Brahms sonatas with Garrick Ohlsson fell through. >>> ITA, exactly what happened, anyone knows? I read in the BBC music magazine 10/02 issue that did not exactly cast the best light on Hahn.
  10. I'm quite sure she'd rather be poor and still have both legs >> What happened to her?
  11. "I was totally charmed and impressed. Get the "Instrument of the Devil" if you want a really great taste of her talents. Great girl and super violinist." Thanks, but why is she so under appreciated? I was a tower records yesterday, and I there were new Vanesae Mae cds, and there was even a Mae section, Barton's cds were no where to be found. I will order the insssrument of Devil online.
  12. I bought the Homage to Sarasate cd with Rachel Barton, and the late Samuel Sanders. I love Rachel Barton's tone. What do you think of her as a violinist.
  13. I have never listened to her first Beethoven recording. For people who have, do you like it? DEUTSCHE GRAMMOPHON PROUDLY PRESENTS ANNE-SOPHIE MUTTER BEETHOVEN VIOLIN CONCERTO & ROMANCES KURT MASUR & NEW YORK PHILHARMONIC Recorded Live in New York! IN STORES OCTOBER 8 (New York, NY, August 27, 2002) — Recorded live in New York! Anne-Sophie Mutter's all-Beethoven collaboration with Kurt Masur and the New York Philharmonic recorded in May 2002 will be available on CD on October 8. Mutter was only 16 years old when she first recorded the Beethoven Violin Concerto with Herbert von Karajan. Twenty-two years and an unequalled career later, she brings all of her brilliance and experience to what she calls a "cathedral of a concerto." The work is paired with her very first recording of Beethoven’s two Violin Romances. Following the live concert recording, The New York Times said: "Ms. Mutter played with sumptuous tone, vibrant colors and bold imagination.” Considered a collaboration with orchestra as opposed to a virtuoso work, Beethoven’s Violin Concerto is among the most difficult in the entire literature. According to Anne-Sophie Mutter: “For long stretches the solo violin plays only arpeggiated triads, nothing more. Nevertheless there's always a musical statement being made. The architecture of the first movement, with its great arches of tension, needs the most careful planning. The trains of thought are wide-ranging, comparable to the language of Thomas Mann.” Regarding recording the masterpiece for the second time, Mutter comments: “I've always loved it, but I was terribly afraid of playing it because I'd grown up with the notion that you first needed to have reached a certain age. By this I don't mean a biological age, but personal maturity and humility are vitally important in the face of Beethoven's tragic character. I try not to repeat something and always assume that I don't know a piece and that I'll re-discover it afresh tomorrow.” Anne Sophie Mutter and conductor Kurt Masur have enjoyed a long and fruitful artistic relationship. (Mutter recorded the Brahms Concerto and Schumann Fantasy with Masur and the New York Philharmonic in 1997.) Masur completed his distinguished 11-year tenure as Music Director of the New York Philharmonic this summer and was honored with the title of Music Director Emeritus, the first Music Director to receive this title, and only the second to be given an honorary position. The October, Anne-Sophie Mutter will be heard in recital with pianist Lambert Orkis featuring works by Fauré, Brahms, Gershwin, Kreisler and Previn: Chicago on October 14 (Symphony Center); Boston on October 16 (Symphony Hall); New York on October 17 (Carnegie Hall); Newark on October 18 (NJPAC); Washington D.C. on October 19 (Kennedy Center); and Philadelphia on October 20 (Kimmel Center). Mutter also will perform André Previn’s Violin Concerto with the Boston Symphony Orchestra on October 26. The composer will conduct. Anne-Sophie Mutter's next recording for Deutsche Grammophon, Tango Song and Dance, will be released in spring 2003. The album will include excerpts from Gershwin’s "Porgy and Bess", Brahms’ Hungarian Dances nos. 1, 6 & 7, Fauré’s Violin Sonata no.1, Kreisler’s Schön Rosmarin, Liebesleid, Caprice Viennois and Previn’s Tango Song & Dance.
  14. I was at tower records today, and the sales representative showed me a small paragraph from Oct issue of BBC music magazine. It mentioned that Ohlsson and Hahn had a project for the past few years to record Brahms sonatas. I forgot the exact quote, it mentioned Ohlsson who was a mild manner nice guy became totally frustrated with this project (hinted at Hahn), he walked away from it. The sales representative then said Hilary Hahn has became a Diva. Anyone know more about this? I am surprise that BBC music magazine reports something that appears to be tabloid like.
  15. I don't want to be selfish, to be the sole listener of your recording. How about post it here for all of us. www.black-knight.org/violin/fb/