I've heard people praise other performances over this, but when I listen to them they leave me flat. Having heard this, I could never hear the others the same way. The clarity, the emotional exactness... You can just get lost in this performance.
The intonation is so perfect...and in music as chromatic as this...this is so important. Wonderful performance fantastic concerto from the most under-rated composer of the 20th or any other century..... Korngold simply rocks.
Absolutely superb performance of my favorite violin concerto by my favorite living violinist and the superb orchestra and conductor; it doesn't get any better than this!
I have listened his live performance of this violin concerto this Saturday in Princeton. My blood was boiled with joy from head to toe. I didn't wanted to end. It was truly a treat for my life.
Some people search the Korngold concerto and then they see Ray Chen and Hilary Hahn at the top of the rankings, and they make their decision. Some look past that, and then see Stefan Jackiw, and then they end up here. Some read the comments, and elected to come here instead. It doesn't matter, we all find our own way. Welcome to this select group of individuals.
Korngold! A very passionate performance. Infatuated! I have listened to this concerto many times and admire it more and more. Korngold forever! Thank you.
Great to know that you get to hump your violin 24/7. I would break mine before the month was over. I've been playing guitar, bass, drums and everything else under the sun for over 40 years straight. No way, no how. Violins are so delicate I know mine would magically snap into two pieces, maybe more, and my bow would get buried into something..... or someone. I can practice 10- 16 hours a day, but there's no way that I could just live it
I cannot assess the technical quality, but I perceive the sound of this orchestra or this recording as extremely warm and cozy (I don't know how to describe it exactly)
this young man moves me to tears ,takes me to another world with his incredible tone and elegant expression , God what a talent ! listen also to his Bruch Scottish Fantasy here on youtube
Just read about him in Strings Mag.... wouldn't have known otherwise. I like the "outside" playing style. Don't hear this too often. Paginini had his bag of tricks, but that was mostly taking things to another dimension. Stefan is playing scales and melodies and just touching on the notes outside of the scale structure without sounding to "Jazzy" or just plain 'off...' .. "No" playing "outside" does not mean .... out doors.
He's not choosing any notes BTW. The notes are what Korngold wrote on the page. He's not allowed to diverge from one note or rhythm that the composer wrote. It's not like pop or jazz or any free form music where the soloist can riff. He has to play the exact notes written for this concerto. The only difference you will her from him playing this and other violinists is the tempo he or she will be comfortable to take each movement, but they will all play the exact notes, rhythms, scales, melodies to a T. WHat's even more incredible with these world class soloists and them not riffing, is that they memorize the music and play every note the composer wrote with no music in front of them. As an oboist in an orchestra in my past and as a composer now, that still amazes me. I can't even imagine doing that with one concerto let alone so many that are out there. Mendelssohn, Tchaikovsky, Beethoven, Walton, Barber, Brahms, and of course this Korngold concerto to name a few. Also as a side note, in case you didn't know, if you are a fan of movies from the 30s and 40s, Korngold wrote many of the incredible scores to so many movies in that Golden era like Captain Blood, Private Lives of Elizabeth and Essex, The Sea Hawk, Prince and the Pauper etc etc and later on he took a melody from three different films, which became the basis of each of these three movements in this concerto. I think the last movement was one of the melodies form his Prince and the Pauper score.
Are these considered "chamber" musicians? Can they make a living at this or is this something they do aside from a "day job?" Sorry, I'm a guitarist and since I'm not touring, it's a weekend gig for extra money. Lessons is another alternate, but I still have to have a regular steady job. I've always wondered how much one of the second violinists would make in a gig. I'm sure if they were on a world tour it would be salaried, but if it's once a month or something like that.... it is a serious question. Guess I could Goog it....
@@alfredduckett ~ That kind of answer was un-warranted. First of all, if you are attempting to condescend on anyone, maybe you should double-check your phrase and spelling capabilities. I was not referring to just the orchestra musicians. I've been doing a bit of research to find out a "ballpark" figure of what these musicians might make in a year. At the same time, I was not being specific enough. It would depend on where they are playing, how often they are playing, what audiences they are playing for, which is redundant. There are far too many factors to determine exactly what one musician might make if it were just based on his or her proficiency vs. basing it on time spent in actual performance. What I have found so far is that a majority of these musicians tend to make anywhere from 65K to 100K (USD) per year, but there are also a handful that may far surpass that number. Again, it isn't always based on how often they play, sometimes it's based solely on "who" they are in the circle of competitors. You can also go broke trying to do this for a living. Maxim believes that you must "speak" to your audience. Paginini was just plain rebellious and obnoxious, yet extremely proficient. This guy here seems to be in his own world. He's a great musician, but he's not even attempting to "connect' with his audience or his fellow musicians. The whole subject is quite "subjective" and even somewhat ambiguous. I think that there would be a similarity in the financial prospects for all professional musicians in that they just have to get out there and take their chances. There is also going to be the "who you know" factor, just as there is with actors and 'up-and-coming' performers. There really are no guarantees in any industry as to what one might make when it concerns money. It's not always about how great you are, or how hard you work. I would bet money that a lot of the musicians in orchestras hold down more than one job, but the 'other' job would have to be something that does not require a 'set' schedule. It might be part-time employment or constantly playing with other musicians... unless you are salaried or under a contractual obligation of some sort. I dont' think the question is going to be answered here, and I probably shouldn't even have asked. I would imagine some, maybe even quite a few of these musicians teach music or hold seminars on the side. That way they can work around their performance schedules. Who knows?
Playing in any professional orchestra would be their main job, and they would audition to be in that particular orchestra. Some for all their professional lives, some will move on if they feel they don't fit for whatever reason. The pay is not great but they can supplement their payments by taking on teaching their instrument to students and they might also do side jobs like being hired to go in studio for various pop/world or film scores for example if they have a way in. However the soloists, like this kid will make way more money playing different concertos with many orchestras around the world.
I rather listen to classical music, instead of watching it being played. This way I don't have to look at and see the sometimes ugly faces performers make while they play. I have nothing against a performer being into what they are doing as far as playing the music. I just CAN'T stomach the ugly facial expressions. I'm probably the only person who feels this way. Actually, Horowitz kind of felt the same way. He really didn't get into unnecessary facial expressions or bodily movements, while at the piano.
