Maravillosa interpretación del Excelentísimo y Prestigioso Violinista Mischa ELMAN . Sus Fabuloso sonido con un tono super deslumbrante lo hace ser por siempre un Violinista Excepcional .
We always have people this good with this much mastery behind their craft, but unfortunately the talent like him is not given anywhere near the same proportion of publicity that he gained at his point in history.
So a lot of them are not going to get to be a showman in the same way he was - internationally, even! That is reserved for pop culture singers and modern band music. Obviously somewhere there are still international comptetitions for this type of music, but mostly in countries that have an extensive classical tradition to call cultural history.
@@terralexj9468 Unfortunately, even if a talent like that were to appear today, they would be straitjacketed into an “acceptable” way of playing by their teachers.
Он родился в Умани- мой д дедушка был двоюродный брат М.Эльмана.Л.Ауэр приезжал на прослушивания в Одессу,так как евреям из местечек нельзя было в столицы в'езжать,таким образом он набирал учеников в свой класс.
It appears little Mischa did not want to speak. LOL. Fisher put the microphone down for him, but Mischa wanted to trot off, instead. He had the richest sound of any violinist ever. He and Kreisler each had a certain sound that was instantly recognizable, and couldn't be matched, either of them. I notice near the beginning, the orchestra seems to have got lost. Eddie Fisher was only 5'4" tall, so what's Mischa - 5 feet even?
Yes, many of the great violin soloists were of short stature, with almost no neck, which is why they did not need a shoulder rest. Menuhin, Milstein, Ricci, Elman et al.
@@florincoter1988 Exactly. And nations outside Europe who had no business in modern violins came aboard. Every body wanted to play, and if you are dedicated and work hard enough you can make it a little. But you will never match the insight, feeling or skill of the golden age European men (mainly Jewish) violinists from roughly 1850 to 1950.
Nowadays the issue is most people see the bow as a hacksaw blade for shrieking and scratching on as many strings at once in as many arrythmic ways as possible.
You violin experts out there will maybe answer this one.I believe in the times that Mischa Elman played his strings were made of catgut.Is this the case?I find his tone so warm and different to modern players.I am only a layman but I know what I hear.Jim.Liverpool.
The sounds of Elman, Kreisler and Heifetz. Elman's was thick, rich, viscous, voluminous, soaked in honey while Heifetz's was intense, silky, colourful, an open throated tenor, with an epic E string. And then there was Kreisler, who sounded like liquid gold soaked in sugar -- both Elman and Heifetz were heavily influenced by his sound. A gut E I've only seen on Baroque violins, but they are way more colourful than the steel E and don't squeal. These guts are really expensive and tricky to play on, they bite and scrape and need a stronger arm, but they make the cheap student steel strings sound like squeaky tin cans.
The strings being used here consisted of a core made of lamb's gut that was then wound with metal. The lowest string (G) was wound with silver. The next two strings (D and A) were wound with aluminium and the highest string (E) was simply made of solid steel, with no gut core. Elman had stopped using a set of plain gut strings about forty years before this film was made.
This is a shortened version of the original Kreisler/Dvorak and it all seems very casually rehearsed - there was probably one quick run-through and thats it. Not enough to account for the extraordinary distance between soloist and orchestra as well as Elman's typical rhythmic liberties. Yes, the conductor has to call out measures after Elman took a wrong turn and then came in a measure early....but Elman is totally imperturbable and the playing, when not straight-jacketed by the ridiculous situation, is peerless.
