Mischa Elman;  Joseph Seiger   -  Encores   (Vanguard 8029)
Item# S0011
$39.90
Availability: Usually ships the same business day

Product Description

Mischa Elman;  Joseph Seiger   -  Encores   (Vanguard 8029)
S0011. MISCHA ELMAN, w.Joseph Seiger (Pf.): FAVORITE ENCORES, incl. Gluck, Beethoven, Schumann, Schubert, Chopin, Massenet, Sarasate, Dvorák, Drigo, Stepanovich, Cui, Gossec, Fauré, Smetana, Debussy, Benjamin & Kroll. Vanguard 8029, recorded 1959 & 1966, New York City, one of the classic examples in our catalogue which serves as testimony to a golden past; this is Old World charm personified by a man who truly performed as he lived! Very long out-of-print, Final ever-so-slightly used Copy! - 3351478029718

CRITIC REVIEW

“At his epoch-making Berlin début on 14 October, 1904, Mischa Elman (1891-1967) showed the world what wonderful sounds you could draw from a Stradivarius violin. Before Elman, the only well-known violinists with a more concentrated, modern tone were Eugene Ysa˙e and Fritz Kreisler, but they didn’t produce the sound that Elman was to get from the succession of Stradivarius violins that he owned. An early contemporary of Elman claimed that the sound flowed from Elman’s violin ‘like lava’. Listening to his recordings, especially his later ones like the present release, you can hear how Elman knew how to mine the various layers of harmonics that a good Stradivarius has and how to balance them. Before Elman, most violinists did not exploit the weight of their bow arms to draw a sound from the violin; instead, they pressed from their wrists, often leaving their right arms literally dangling at their sides. Elman played with a high right elbow, allowing the weight of his arm to be channeled naturally onto the bow, thus producing a full, solid sound. Listen to the recordings made by Joseph Joachim and Pablo de Sarasate, two of the greatest violinists of the 19th Century, around the time of Elman’s Berlin début, and then listen to Elman’s first recordings. The difference in the sound that these two men and one boy coax from their violins, even in these early acoustics, is striking. Joachim and Sarasate sound thin and pale, and the tone they draw from their G strings is hollow, while Elman’s tone is full and vibrant and projects like a laser beam, and his G-string tone had remarkable depth and substance. Elman set the standard for the 20th Century in the department of tone production. He left nothing to be desired, has never been surpassed, and has rarely been matched.”

- Joseph Magil, AMERICAN RECORD GUIDE, July/Aug., 2012