Left Hand Technique: Heifetz, Ferras, Oistrakh, Szeryng, Milstein, Menuhin 

Matur suksma

Noted. I have added pieces performed in the pinned comment.

Hi Abraham, thanks for catching the mistake. I appreciate it. I didn't notice the autocorrection messing up Milstein's name. These artists are genuine masters of the art of violin playing. At first, it's hard to distill exactly what they do; you just marvel at their mastery. But if you look into the nature of physics, geometry, athletics, and acrobatics, you start to see what is going on. If you look abstractly, their left hands look absolutely autonomous, as if an athlete is running, jumping, sliding. Every joint of each finger (as well as the wrist) is in a state of elastic motion and precise execution. One of the greatest struggles of left-hand technique today is the excessive stiffness and limited motion. As a result, the vibrato, shifting, intonation are greatly affected, including the overall physical health of the left hand. If they could do it, it means there is a way of doing it, we just need to liberate our minds from excessive restrictions. I can be reach via the contact form on my website @ vladimirdyo.com Cheers!

A common trait of these masters is the lack of shoulder rest. This is directly related to the freedom to move the violin itself. However, present-day masters (with few excepcions all of them are shoulder rest users) show keft hand habiities that are not below their predecesors. What the younger players lack is a peculiar sound and style.

@@guillermorochabrun3456 Good point! Without the shoulder rest, the left hand blends better with the fingerboard and liberates the instrument from being gripped between the chin and shoulder. These masters were creating and expressing rather than just playing the right notes, articulation, and written dynamics (which are important, but there is more to music than that).

Wieniawski: Scherzo Tarantella and Dinicu: Hora Staccato

Dinicu: Hora Staccato

Bazzini - Calabrese

Ravel - Tzigane

Ravel: Tzigane