P1256. JOHN NEWMARK: Haydn, J. C. Bach, & Clementi- recorded 1953; IDA HAENDEL: Partita #2 in d - Chaconne (J. S.Bach); IDA HAENDEL & JOHN NEWMARK: Habanera (Claude Champagne); Violin Sonata #7 in c, Op.30. #2 (Beethoven), Live Performance, 1967, Montréal. (Canada) St Laurent Studio YSL 33-433. Transfers by Yves St Laurent.
“John Newmark (Neumark) was a pianist, accompanist & chamber musician, born in Bremen, 12 June, 1904, then naturalized as a Canadian in 1946. Newmark wanted to leave Germany, but it was not until 1939 that he was able to get to London. There he took part in concerts, notably with the soprano Emmy Heim and the violinist Max Rostal. In 1944 Newmark settled permanently in Montréal, where his services were soon in demand by eminent Canadian and foreign soloists. In 1949 he gave concerts in South America with Goldberg and accompanied Kathleen Ferrier on two extended tours of North America. With her, in 1950, he recorded song cycles of Schumann and Brahms for Decca-London & Brahms' ‘Vier Ernste Gesänge’. In 1952 he won a Grand prix du disque de l'Académie Charles-Cros.
Newmark accompanied more than 80 foreign and at least 160 Canadian artists and has recorded with several of the most prominent. His long collaboration with Maureen Forrester began in 1953; with her he toured the world. After a Toronto recital by the team, John Kraglund wrote (GLOBE AND MAIL, 18 Jan 1960): 'Superb as Miss Forrester was, much of the credit for the exceptionally high quality of the recital must go to Mr. Newmark. Always a reliable accompanist, he gave inspired performances throughout the evening, providing an integral part of each song, without being guilty of either too much or too little'.”
- Gilles Potvin, HISTORICA CANADA
"Ida Haendel is one of the few instrumental prodigies to have achieved and then sustained a top-class international career lasting several decades. In a world dominated by male violinists, Haendel emerged on the scene playing with a scorching imperativeness and tonal opulence that rendered issues of gender a glorious irrelevance. A natural performer with a captivating stage presence, she filled even the largest of halls with waves of unbridled sound, enveloping her audiences in a sonic cocoon. When watching and listening to Haendel play, one is immediately struck by the naturalness and spontaneity of her musical thinking. In her hands the violin appears a natural extension of her being, a soulmate in which she confides and through which she projects her most intimate thoughts. Full bows speed through with a rapierï¿½s thrust, articulated by an exceptionally strong left hand and finger-tip precision to enhance tonal clarity. The unmistakable impression created of someone born to play the instrument is no fanciful illusion. Even by prodigy standards, the rate at which Haendel mastered the violin - both technically and musically - borders on the miraculous.
Reflecting on her time with Flesch, Haendel felt that ï¿½he did not protect his students but spoke his mind, faults and allï¿½. On the other hand ï¿½he was extremely kind to me and would kiss me on the forehead whenever I played wellï¿½. However, even that didnï¿½t preclude a temporary falling-out between the two and during the hiatus that followed Ida headed for Paris seeking advice from Georges Enescu, a much gentler man and the polar opposite of Flesch being more preoccupied with the musical result than the means taken to achieve it. Another major milestone occurred in September 1935 when Haendel made her Proms dï¿½but at the Queenï¿½s Hall aged 9 - the first of 68 appearances at the British festival so far - playing the Beethoven Concerto under Sir Henry Wood. The DAILY TELEGRAPH reported that she possessed a command that most players achieve ï¿½only after long and industrious studyï¿½, while the OBSERVER commented that ï¿½no prodigy since Menuhin has shown such a sense of fitness, or played with such glow, such dignityï¿½. Haendel spent the war years based in Britain, making the transition from prodigy to a maturing artist of the first rank while contributing to the war effort by performing to allied troops and appearing at Myra Hessï¿½ famous National Gallery concerts. Following the war, she made her US dï¿½but in 1946, and in 1948 became the first soloist to perform with the re-named Israel Philharmonic. She went on to establish a reputation second to none as a concerto soloist and became a notable champion of the Sibelius Concerto, then a comparative rarity. After hearing her give a radio broadcast of the work, the composer wrote to her personally congratulating her on what he felt was a defining interpretation.ï¿½
- Julian Haylock, Cremona Musica, 8 June, 2015