Szigeti on the Violin
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Showing Rating details. Sort order. May 28, yaniv rated it really liked it. I found it informative both as a violinist and a conductor.
Szigeti on the Violin - Joseph Szigeti - Google книги
Written in short snippets and manageable chunks with lots of musical examples. There are no discussion topics on this book yet. About Joseph Szigeti. Joseph Szigeti.
Books by Joseph Szigeti. Trivia About Szigeti on the Vi No trivia or quizzes yet. The standardized signs used in our Western system of notation become virtually meaningless to describe such instinctive artistry.
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Indeed, the intrinsic problem with all music notation is that it is utterly incapable of conveying the human element. But what of the Beethoven?
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Perhaps some of his music would be badly bruised by Bartok and Szigeti's impassioned temperament, but not the Kreutzer. Written in amid fits of suicidal depression over his advancing deafness, the first movement constantly fights the confines of its form with explosive outbursts and forever changed the scope of chamber music, much as his contemporaneous Eroica redefined the symphony. As if to emphasize the work's revolutionary import, Bartok and Szigeti hurl themselves into the Kreutzer with total abandon.
And Debussy? Well, it takes one to know one.
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Although a generation and cultures apart, Debussy and Bartok were pioneers of twentieth century music. This is clearly not a traditional, diffident French performance of the mold ineffably stamped by Thibaud and Cortot in on Biddulph LHW or Pearl But Bartok and Szigeti's highly-charged approach is nonetheless revelatory and highly valid, both on its own terms and as a sincere tribute from one great composer to another.
Aside, of course, from the Hungarian folk music which he transformed into strikingly modern conceptions, Bartok once identified Bach, Beethoven and Debussy as his greatest influences. Although we have seem to have none of his Bach, here we have Bartok's views of his other two great mentors, together with the manner in which he melded their inspiration into two of his own compositions.
Szigeti on the Violin
His Rhapsody is irresistably dance-like, while the Sonata 2 is aggressively spiky. In a single evening, Bartok bequeathed us a stunning example of the creative process.
While surface noise is barely noticeable, the sound remains rather dim. But such considerations hardly seem relevant. What we have here is not a quaint historical artifact of passing interest but a direct window on perhaps the most fascinating classical performance tradition of our century, fixed in time for one final moment just before it was to be irreparably compromised by war and cosmopolitan influences.
This is pure, unadulterated ethnic music, every bit as raw and powerful as urban blues or gut-bucket jazz. The strength of the violin cannot be power, and hence must be imaginative use of its resources. Music for the violin, he feels, is far more challenging than any other kind he knows.
Szigeti's reason for choosing the violin as his vessel is "the irrational pleasure that communication gives: communication that transcends the barriers of language, of nationality, of race.
Béla Bartók: Hungarian Folk Tunes
Szigeti was made conscious of the rigors of communication because he had to translate everything from the relatively useless Hungarian of his youth. For him, the translation from written notes to sounds is entirely analogous.
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And it allows him to communicate with whomever he encounters en chemin. For example, last week he participated in a symposium at the University of San Francisco on "Men and Civilization: Control of the Mind. His reminiscences, With Strings Attached, go further into the problems of these relations.