Pierre Baillot Video
violinista e compositore francese
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- compositore, violinista
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Efrem Zimbalist Brahms Leopold Auer Jascha Heifetz Milstein Elman Seidel Glazunov Tchaikovsky Joseph Silverstein Fritz Kreisler Bach Beethoven Sibelius Leopold Stokowski Goffriller Serafin Lamoureux Pierre Baillot Cho Liang Lin Rafael Druian Shapiro Slatkin Jascha Brodsky Brodsky Vivaldi Paganini Spohr Viotti Vieuxtemps Wieniawski Markov 1715 1718 1728 1733 1735 1775 1890 1907 1911 1915 1926 1928 1929 1941 1949 1968 1985 2009
Efrem Zimbalist: Improvisation on a Japanese tune Efrem Zimbalist, violin; Emanuel Bay, piano Recorded in 1929 / Efrem Zimbalist, Sr. was a Russian violinist, composer, conductor, and teacher, born on April 9, 1890 (Brahms was 57 years old.) Zimbalist’s father was a conductor so (not surprisingly) by the age of nine, Efrem was first violin in his father’s orchestra. At age 12 he entered the Saint Petersburg Conservatory to study with Leopold Auer. He is mentioned everywhere as being one of Auer's outstanding pupils - together with Heifetz, Milstein, Elman, and Seidel. He graduated in 1907 and began a long career as a concert violinist, having made his debut in Berlin and London in that same year. He made his U.S. debut with the Boston Symphony on October 27, 1911. He was 21 years old. According to one source (the New York Times obituary of 2/23/1985), he gave the American premiere of the Glazunov Concerto at that concert. At the time, he even stated that he considered the Glazunov superior to the Tchaikovsky concerto though he may have changed his mind later on. In 1928, Zimbalist began teaching at the Curtis Institute (Philadelphia) and was director of the school from 1941 to 1968. Leopold Auer began teaching at Curtis in the same year - 1928. It has been reported that Zimbalist was very strict, dismissing students who would stray from the school's rules or standards. One such pupil was Joseph Silverstein. Zimbalist actually hired Jascha Heifetz' father (Ruvin Heifetz) to teach at Curtis. Ruvin Heifetz was there one or two years only because, according to Zimbalist, he was "very difficult." I do not know how many recordings Zimbalist made but I’m sure it was not many since he retired from playing in 1949. One such was a recording he did in 1915 with Fritz Kreisler of Bach's Double Concerto with a string quartet accompaniment. A YouTube performance of a Beethoven work, recorded in 1926, is available here. Though he made many recordings of small, short pieces, it is almost certain that he never recorded any major concertos - none that I know about anyway. His interpretation of the Sibelius concerto was praised by none other than Leopold Stokowski. Zimbalist played a 1728 Goffriller, a 1733 Serafin, a 1735 Guarneri, a Guadagnini (GB) from 1775, the Marquis Strad (1718), the Lamoureux Strad (1735), and the Titian Strad (1715) which was at one time owned by the son-in-law of French violinist Pierre Baillot. The Titian is now being played by Cho-Liang Lin. Among his many pupils are Rafael Druian, Eudice Shapiro, Felix Slatkin, Daniel Heifetz, Jascha Brodsky, and Aaron Rosand. Zimbalist's compositions include a violin concerto and an opera, neither of which is now ever performed. Nevertheless, Zimbalist was one of the last great violinist-composers in the tradition of Vivaldi, Tartini, Paganini, Spohr, Viotti, Joachim, Vieuxtemps, Wieniawski, and Markov. He died (in Reno, Nevada) on February 22, 1985, at age 94. ((http•••)
Charles Auguste Bériot Albrecht Breuninger Frank Beermann Giovanni Battista Viotti Pierre Baillot Paganini Nordwestdeutsche Philharmonie 1625 1802 1810 1857 1870
Charles-Auguste de Bériot - Concerto for Violin No. 2 in B minor, Op.32, Laurent Albrecht Breuninger (violin), Nordwestdeutsche Philharmonie, Frank Beermann (conductor) I. Allegro maestoso – 00:00 II. Andantino – 16:25 III. Rondo russe. Allegretto – 23:05 Charles Auguste de Bériot (20 February 1802 – 8 June 1870) was a Belgian violinist and composer. In 1810 he moved to France, where he studied violin with Jean-François Tiby, a pupil of Giovanni Battista Viotti. Bériot was performing publicly by age nine. He was later encouraged by Viotti himself and briefly worked with Pierre Baillot but did not embrace all their teachings. “Bériot’s music is highly engaging and romantic. He flourished at the height of the romantic era, and his music reflects this. His ten violin concertos and the first Scène de Ballet are probably his best known works. In the former he was quite inventive, writing concertos with only one movement, or connected movements (one “official” movement though each of the traditional three movements is visible in the structure), or using themes in more than one movement as a unifying device—fairly new procedures for the time. Bériot also used many of the same techniques that Paganini was also using in his works: harmonics, extensive use of double stops, ricochet bowing. In his concertos, however, Bériot is not after mere technique. All of his violin writing, no matter how much it relies on a formidable technique, is very much “within” the capabilities of the violin. Bériot was also a dedicated pedagogue and spent a great deal of time on his various studies or caprices designed to create mastery of the instrument. He wrote a Méthode de violon in 1857 and l’Ecole transcendante du violon, Op. 123, among many other similar works. The goal was not just technical mastery, though that was, of course, important. It was to create a well-rounded musician who was as good a communicator as technician. Certainly Bériot attempted, and achieved, this goal often, as the evidence of the works included here amply shows. The technique and style of Bériot eventually became part and parcel of the violinist’s trade. Building on the French School tradition of his youth, he was a door to a modern conception of violin composition and playing.” (by Bruce R. Schueneman)
Charles Auguste Bériot Albrecht Breuninger Frank Beermann Giovanni Battista Viotti Andre Robberechts Pierre Baillot Maria Malibran Paganini Henri Vieuxtemps Henryk Wieniawski Nordwestdeutsche Philharmonie 1802 1821 1826 1829 1836 1842 1852 1858 1870 1986
Charles Auguste de Bériot - Violin Concerto No. 4 in D minor, Op. 46, Laurent Albrecht Breuninger – violin, Nordwestdeutsche Philharmonie, Frank Beermann “Charles Auguste de Bériot was born in Louvain, Belgium in 1802 and died in Brussels in 1870. His first violin lessons were imparted by Jean-François Tiby. He was so gifted that at the age of nine he performed a Giovanni Battista Viotti concerto in public. Later he undertook instruction from the noted Belgian violinist Andre Robberechts who had been a pupil of Viotti. In 1821, at the age of nineteen, Bériot travelled to Paris to play for Viotti. He was praised by Viotti for the individuality of his style, but because of Viotti's duties as director of the Paris Opera, he was unable to teach Beriot. As a result, Beriot sought instruction from Pierre Baillot. Bériot was unable to submit to the rigors of Baillot's teaching; moreover, Bériot had developed a distinctive personal style that Baillot disliked. Without seeking the approval of Baillot, Beriot embarked on a solo career, making a successful debut in Paris, followed by equal success in London, where in 1826 he played his Concertino at the Philharmonic Society (the Concertino is, in fact, the First Concerto, referred to as a concertino because of its single-movement structure). In 1829 Bériot met the renowned singer Maria Malibran whom he eventually married in 1836 (she died within six months of their long-awaited union). During their six years together they toured Europe giving joint recitals. It was also during this time that Beriot heard Paganini and was inspired to incorporate Paganini's technical brilliance into his playing and compositions. In 1842 Bériot was offered a position at the Paris Conservatoire as successor to Baillot. This he declined, and instead accepted a position the following year at the Brussels Conservatoire, serving as the head of the violin faculty until 1852, when he was forced to retire due to failing eyesight (Bériot became totally blind in 1858). The ten concertos of Charles-Auguste de Bériot are significant for their role in the evolution of the violin concerto in the nineteenth century. His most direct influence can be seen in the playing and compositions of his most important pupil, Henri Vieuxtemps, who studied with Bériot as a child. More indirectly, Bériot’s influence is evident upon other virtuosos of the century, such as Henryk Wieniawski, Heinrich Ernst, and indeed most composers for the violin in the nineteenth century. Beriot's works are not as difficult as a number of the later virtuosic concertos, but they contain many challenges and serve as excellent preparatory pieces. Beriot's Concerto No. 4 in D Minor, op. 46, is like the First Concerto in that it consists of a single movement and is relatively short. It employs an A B A' structure, without the return of the first theme in the A' section.” (from “A Pedagogical Study” by Nicole De Carteret Hammill, Northern Illinois University, 1986)
Charles Panzéra Maurice Ravel Baillot 1952
Here is the Swiss baritone Charles Panzéra with his wife Magdeleine Panzéra-Baillot performing Maurice Ravel's "Cinq mélodies populaires Grecques" from a Mercury recording, 1952. It is a rare treat to hear this great artist at a later stage in life from the majority of his records. Here is a link to all of my Charles Panzéra videos: (http•••)
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa). Interpreti (Europa).
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