Somebody requested to hear Milstein playing the third partita so I thought I would post it. This contains the first 3 movements. Sorry, no video again.
The thing about Milstein is that over time, his interpretation of a piece keeps changing. He was always looking and finding something new in the music. Absolutely one of the greatest performers of all time. He sounded as well live as he did on recordings. Imagine my shock when I turned around during one of my lessons with Mischakof and saw Milstein sitting on the steps listenning.
Incredible performance. Milstein had an incredible sense of musicality and phrasing enveloped by pristine technique. I have been playing the violin for 40 years and realize that it is an ongoing journey. My current instructor stresses making one more note speak each time it is played. Very humbling.
Fortunately, some excerpts from this great vinyl were broadcasted on the Polish radio by Jan Weber in middle 70's. I recorded it and listened to, and was obsessed by music like #aimson. A succint-clear, magnificent rendition.
Just a note about this. Glenn Gould is the GREATEST performer of Bach to ever be recorded on any instrument. I am not a pianist and don't particularly like listening to the piano but Gould is simply the most brilliant, honest, and passionate interpreter of Bach. He transcends the rest of the playing field on any instrument - he is the God of Bach.
I have Gould's recording of the Bach Concertos at home and I have literally listened to #1 over 50 times in the past 2 months, front to back. I have it on repeat in my car and I pretty much haven't stopped listening. I am also on page 8 of the sheet music (I've never played the piano before), that is how obsessed I am. I've been playing the violin for a long time, though I was never serious about being a professional at a young age. I still play and listen listen listen all the time.
great to slow it down like this!! the slower the more ur 'canto' comes out for what it really is, deep feeling and wide range of colours in the case of Milstein. i love every single note ever played by him
Its Milstein. From his complete recording of the sonatas and partias made in 1973. He was quite old when he played this. But I think its the best recording ever made of the partitas. The d moll partita is just pure magic..
Sencillamente PERFECTO!!!cuando el arte de un gran maestro supera el el entendimiento de los mortales comunes...no hay calificativo que lo pueda describir...GRACIAS J.S.BACH,GRACIAS NATHAN MILSTEIN
I have the sheet music for this piece, and am learning to play it myself. Intonation is all about getting all of those sharps and flats just right, and I can say with great confidence that Milstein has PERFECT intonation.
exactly, Heifetz machine-guns it; Milstein brings out all sorts of colorations, nuances, and feelings... this version moved me to tears whereas the Heifetz rendition did not move me at all.
I find that he's one of those musicians who you've got to listen to a little bit differently. Nearly all concert performers really have to exaggerate their expression so it carries beyond the stage, but he expresses himself in a very introverted manner; you've got to really listen carefully for it. It's there, though, and it's heartfelt. The first time I really heard it, it was with his recording of Liszt's transcription of Beethoven's 5th. You can really hear him feel every part of the symphony
Dear Crowbar 'canto' means the pure singing/playing of the melody, it's an italian word -easy to me coz im italian. And,as other italian words, is -i believe- also internationally used in the music language ps-im not a violinist either
I don't play the violin myself but N. Milstein is head & shoulders above everyone else I have heard, J. Heifetz included.. And yet, for some reason, I'm not entirely convinced J. S. Bach would have approved..
In Bach's time, they used a different kind of bow. They didn't play chords like they do nowadays. Likewise, in Beethoven's time, they didn't have pianos like we have today; but I am pretty sure Beethoven would be astounded by the sonorous sound of today's pianos.
you have to listen to heifetz carefully though, he has tons of nuances, but you only hear them if you really listen. they aren't as big as others do them, but they are there and if you can hear it, you hear it in every note.
@aimson Why in the world not?!!! I mean,we are talking about Heifetz here,it couldn't possibly be anything less than sublime,could it?!! If it is,then please post it anyway,I'm really interested to hear his interpretation!
Heifetz has never played like a robot. Calling Heifetz robotic is such an ignorant comment. How is it that Milstein is a "real musician" but Heifetz is not? They are both excellent musicians in their owns ways. Just because you don't like Heifetz's playing doesn't mean it's robotic, because many other people love his playing. If his playing were truly robotic, he wouldn't be the most popular/best selling classical violinist.
To me that the interpretation by Milstein Bach is the best stamp, sound, dynamic and velocity.All others interpretation are fine, but often too fast ...Bach is not Mozart or Paganini.(I apologize for my English eheh).
Personally I prefer Henric Shering, but Milstein's a genius so... They're both awesome I suppose. The biggest difference is probly speed, but both are pleasing to hear.
@aimson Im not saying that hes bad because i know he has exceptional talent, that said however, he's not who i would choose to listen to but then again i wouldnt knock him straight away :)
@Woody263 You can do what I do when an artist of incredible caliber appears overblown: I listen again and again until I can hear what it is I was missing before. When I first listened to Elman or Enescu, I was not terribly impressed. In fact, I disliked them because they went contrary to what my ears and mind were used to. However, after considerable effort, I now see where I erred and have acted to correct my previous mistake. Gould is, without a doubt, worth that effort.
The acoustics of the room are not great, I personally dislike the echo. Milstein's impeccable performance makes this bearable and enjoyable though. Bravo!
I don't think you should see it as "being forced" to enjoy somebody. In my comment, I highlighted the idea that sometimes, personal bias and prejudice can prevent one from fully appreciating an artist. As I've honed my musical ear and judgment, I had to sit through some discomfort in order to challenge my perception. That is not something I'd impose on you or others but I would simply argue the benefit of analyzing biases and learning different (and better) ways to perceive music.
On the grand scheme of violin techniques, this is probably around 4 out of 10. The leaps are hard, but not incredibly impossible. Phrasing is probably the hardest for this piece. It'll probably take someone around 4 to 6 years of practice to be able to start learning this piece.
hey... i know yall are comparing heifetz with milstein... but honestly... i think they both are pretty good.. but i prefer perlman's version... in fact... for ME [i wanna let it clear... its MY PERSONAL OPNION] perlman is the bestest bach's interpreter [on violin... of course]
All opinions are "imposed" onto people who don't share or oppose them. If I say I hate the food you love the most, you would feel at least a little threatened as per human nature. I never stated that I am not biased, which is naturally the case with all opinions. My point is that because of my experience and expertise, as limited or expansive as they might be, I have something I believe I should say. If I think you are wrong, I will tell you up to a certain point. This is called persuasion :)
@aimson sorry to offend you in any way i was just giving my honest oppinion besides i dont even remember what i wrote in my comment if u would put it back on then i would probably tell you why i wrote it in the first place
Despite all your polite comments, it became a bother to listen to Gould and it simply is not for me. I shouldnt try to love Gould because if i have to try; that says it all. no discredit.
Not to flag you down but you do impose ;-) it's because you're the one who's biased in fact and moreover.. seemingly lulled into self satisfactory by believing that since you've "honed your musical ear and judgement...." you can. If Gould isn't for someone, you can only say: that's ok, I like Gould nonetheless.. you listened again and again because you thought it was worth the effort.. but it's perfectly legitimate for someone else to spend time listening to someone he/she prefers to listen to.
