Early Recorded Violinists

Doctoral thesis English OPEN
Askin, C.
  • Subject: M1

The thesis 'Early Recorded Violinists' investigates 13 violinists, starting from Joseph Joachim as the earliest born violinist to have made gramophone recordings, to Mischa Elman. In the first chapter I examine and analyse the recordings of Joachim. In the next chapter I investigate Hugo Heermann's violin playing and technique. Heermann is a violinist with insufficient information published about him. In chapter 3, the work of Sarasate is illustrated with musical examples from his recordings and compositions, examining the combination of his musical and technical characteristics. Auer is examined as violinist and teacher in chapter 4. In the fifth chapter I intend to examine Eugene Ysaye who is one of the first exponents of the modern violin sound and continuous vibrato along with Kreisler. In chapter 6, we consider the founder of the Hungarian violin school JenO Hubay. His violin playing was influenced by national Hungarian music and my examples intend to give some information on that subject. Another 'national' violinist Maud Powell is investigated in chapter 7. She was influenced by her native American music and gave the first performances of many violin concertos in the United States. Another important teacher of the 20th century, Karl Flesch, is considered as a rival to Auer and is presented in chapter 8. Viennese violinist Fritz ICreisler is examined in chapter 9, his recordings and compositions give us important information on vibrato and portamento. Ysaye also influenced a younger generation of violinists, among them Jacques Thibaud whose recordings are examined in chapter 10. In chapters 11 and 12, two more 'national' violinists are examined with their recordings: Jan Kubelik and Georges Enescu. Auer's first internationally renowned pupil, Mischa Elman, is\ud also examined in chapter 13.
  • References (33)
    33 references, page 1 of 4

    Figure 1.1 Photograph of Joseph Joachim in 1903 [Axelrod, 1990]

    Figure 1.2 Bach Adagio from the Sonata for unaccompanied violin, no. 1 in G minor [BWV 10011 [Biirenreiter-Verlag, 1959]

    Figure 1.3 Bach Tempo di Borea from the Partita for unaccompanied violin, no. 1 in B minor [BWV 1002] [ Joseph Joachim Edition]

    Figure 1.4 Bach Adagio from the Sonata for unaccompanied violin, no. 1 in G minor [BWV 1001] [ as played by Joseph Joachim in 1903]

    Figure 1.5 Bach Tempo di Borea from the Partita for unaccompanied violin, no. 1 in B minor [BWV 1002] [ as played by Joseph Joachim in 1903]

    Figure 1.6 Comparisons between edited and recorded versions by Joachim of the Adagio in G minor

    Figure 1.7 Bach Tempo di Borea, bar 1

    Figure 2.1 Bach Adagio, bar 18

    Figure 2.2 Bach Preludio from the Partita for unaccompanied violin, no.3 in E [BWV 1006] [as played by Hugo Heermann]

    Figure 3.1 Extract from Sarasate Zigeunerweisen op.20

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