Where has originality and character gone in the art of Violin playing?

[asiufy]

Here's a great article that seems to describe, using only the violin, what I've found out about pretty much every instrument these days: the lack of originality of the current "top" instrumentalists.

https://thecritic.co.uk/a-worthy-heiress-to-princess-ida/

 

[Kal Rubinson]

Nice. I was hoping he would come around to Pat Kop at the end. And he did!

 

[asiufy]

Nice. I was hoping he would come around to Pat Kop at the end. And he did!

Got any recommendations for some of her work? I see there's plenty of it on Qobuz...

 

[Kal Rubinson]

Brilliance in the first album and quirkiness in the second.

 

[zerostargeneral]

Genius in the modern era.

 

[zerostargeneral]

 

[thedudeabides]

Please describe originality and character. Seems to me the violinist is following (as close as possible) the composers music score. And recently researching and shopping for the "best" Beethoven string quartets, there were three names that kept coming up in the posts (along with several other groups) with no consensus on what was best. I went with the Takacs recordings. However, with the Mozart piano concertos, there was a clear consensus.

 

[Kal Rubinson]

If following the score precluded originality and character, there would be no need for more than 1 recording of any single piece of music because the majority of performers are capable of that. However, to appreciate the originality and character, one must actually listen to different performances side-by-side.

 

[marty]

Here's a great article that seems to describe, using only the violin, what I've found out about pretty much every instrument these days: the lack of originality of the current "top" instrumentalists.

https://thecritic.co.uk/a-worthy-heiress-to-princess-ida/

What an outstanding article. To be honest, i never thought about it but I see his point. This is a very different scenario than the piano world, where new and established stars with unique character are more prevalent. The one that sort of disappoints me is Leila Josefowicz who came roaring out of the gate with a spectacular Tchaikovsky Violin Concerto and then sort of moved to performing modern repertoire as if she's tired of the romantics. I'm glad he mentioned Gil Shaham who I think is among the very top of the current crop. His Prokofiev live was sensational. I totally agree with him about Muter, who I liken to a female version of Heifetz with great technical prowess but in the end, just doesn't move me. (I know this is heresy, but rest assured I'm in the minority here. Everyone thinks Heifetz was a god). But for me, nobody pushes all the buttons like Michael Rabin and his younger musical "brother" Itzahk Perlman (I use the term loosely because they had the same teacher at Juilliard, Ivan Galmain and are clearly both from the Oistrakh/Kogan-Odessa-Moscow School. ) The saddest person on the planet reading that piece must be Joshua Bell, who wasn't even mentioned but who plays some wonderful pieces (I love his Beethoven). Similarly, leaving out Kavakos will be an insult to some but doesn't upset me.

I never heard of Pat Kop but you can bet I will check her out.

 

[marty]

I love her already! Her lithium level may be a bit too low, but wow.

 

[asiufy]

Yup... I did a quick search for Pat Kop (her full name actually) on YouTube, and found a host of awesome performances and very insightful interviews as well. Yes guys, that's what YouTube was made for

Funny thing is last year, while researching Tchaikovsky's Violin Concerto (that became one of my favorite violin pieces), I heard Teodor Currentzis' 2016 interpretation. At the same time, I was fast becoming a huge Currentzis fan, and that Violin Concerto, paired with a spooky "Les Noces", was unbelievable, and shot quickly up in my preference to be my fave modern interpretation. I read the booklet and everything, but somehow I didn't register the name of the lead violin... And guess who that is? Pat Kop

This is the album on Qobuz:
https://open.qobuz.com/album/0886445509304

 

[asiufy]

Please describe originality and character. Seems to me the violinist is following (as close as possible) the composers music score. And recently researching and shopping for the "best" Beethoven string quartets, there were three names that kept coming up in the posts (along with several other groups) with no consensus on what was best. I went with the Takacs recordings. However, with the Mozart piano concertos, there was a clear consensus.

Music is more than just a bunch of notes. It's the interpretation of them, and how the musician interacts with his instrument.
It's always been my impression that music is rendered more fun when the musician goes the extra mile and adds character to his performance.
So, to answer your question, I describe originality and character in a musician as being when a musician is able to stand out in the performance. With 2 notes, you know it's him.
Case(s) in point: John Bonham. Tony Iommi. Jon Lord. Tony Banks. Rick Wakeman. Ben Webster.
I'm not well-versed in the classical world to dispute the examples given the article, though I agree with his assessment, even when expanded to the rock and jazz worlds, that modern musicians lack originality and character.

 

[rando]

Victoria Mullova very well may qualify these days.

I find it hard to pass through without commenting on 40' wide violin sections in orchestra's live performances bringing no end of originality and character. Parallels with stereo playback producing a 40' wide violin do amuse.

 

[Al M.]

Here's a great article that seems to describe, using only the violin, what I've found out about pretty much every instrument these days: the lack of originality of the current "top" instrumentalists.

https://thecritic.co.uk/a-worthy-heiress-to-princess-ida/

Listen to Bach's sonatas and partitas for solo violin. Rachel Podger, Hilary Hahn, Rachel Barton Pine, Helene Schmitt. All these modern violinists sound different from one another.

Recently I heard a Bach violin partita on Harvard Radio and I decided to guess who that was. Even though I had not heard this particular partita from her, I decided that this was probably Rachel Podger. At the end, indeed, the announcer said it was her. She was recognizable.

No, this article is a hit job by a grumpy old man, who appears to lament a mythic 'golden age' of classical music. I find today's classical performers in general often unbelievable -- 'original' or not. So much talent, and great standard of playing.

Apart from solo violinists, there are also string quartets that sound unique. Have enjoyed the past few days Haydn's groundbreaking quartets op. 33 with the Eybler Quartet. Incredible music making (on period instruments). Incisive, energetic phrasing yet with immaculate focus on flow at the same time. Passionate and thoughtful. The performances are just alive.

***

Agreed with other posters, Pat Kop is impressive.

 

[Al M.]

Please describe originality and character. Seems to me the violinist is following (as close as possible) the composers music score.

You have a point here, too, obviously.

 

[thedudeabides]

Music is more than just a bunch of notes. It's the interpretation of them, and how the musician interacts with his instrument.

I'm not well-versed in the classical world to dispute the examples given the article, though I agree with his assessment, even when expanded to the rock and jazz worlds, that modern musicians lack originality and character.

Agreed.

 

[zerostargeneral]

19.25 happened and I hit the roof,this woman is peerless;

 

[zerostargeneral]

Magical;

 

[marty]

Magical;

+1 The cadenza (after the development, at about 10 min) is really special. It seems that Currentzis also has a reputation as somewhat of an iconoclast so it's a really interesting pairing. I going to have to explore him and his MusicAeterna Orchestra further!

 

[marty]

19.25 happened and I hit the roof,this woman is peerless;

Well, that was something. I was mesmerized not only by her focus and talent but her playfulness, especially as she plays to certain members of the orchestra during the cadenzas. She actually wrote her own cadenza in the first movement (from 20:31-23:36) for which she is famous. It is not only for her violin, but for for cello, tympani and then a second violin (who does that??!!) and it is exquisite. As far as the cadenza in the 3rd movement (41:10) I have no idea what the heck she is doing as it doesn't appear to be the more common Kreisler cadenza or the Schnittke, but whatever it is, it's no cakewalk that's for sure. What is unmistakable is the joy she expresses playing it which makes it a total pleasure to listen to and watch. I wonder if this could be what Hendrix might have sounded like if he played the violin?