When I was a student, I met the great Oistrakh backstage after he played two concerti on one program! He smiled at me with great humility, and I was in a daze for a long time afterwards!
By definition, the 'wrist' vibrato requires the first knuckle to move in line with the string as the hand moves back and forth on the wrist. Oistrakh's vibrato is classic 'wrist' vibrato as the term is generally used. In higher positions his arm vibrato enters the picture; this too is perfectly normal as the wrist loses its range of motion. But the flexibility of the first joints remains even when the arm vibrato is in control. The exercises for acquiring the wrist vibrato have been in use for more than a hundred years. The thing to watch out for is a first knuckle motion that wobbles side to side against the string direction, or in a circular fashion, instead of in line with the string. So be careful!
the Technique is so so clean --- almost unreal -- finger n wrist movement are as clean as written musical notes --- most of the time we see clattered fingers.. gald to have his entire collection.. true greats..
I actually cannot understand how he generates the vibrato with his head off the violin around 00:39 without the violin sliding around on his shoulder. Also, I can't tell if the first joint of his first finger is in contact with the neck of the instrument? It looks like he is supporting the violin entirely with his left hand but it still mystifies me how people are able to vibrate freely with this technique without dropping their instrument. Just need to keep practicing I guess and one day I might stumble across the secret. Still, thank you for the video. It's a good reference to study from!
He used a small pad and had a nice, fat chin to keep the violin comfortably in place. Like many old masters who played without a shoulder rest, he employed the old-school left-hand technique that doesn’t rely on a single point of support but rather on multiple points, particularly the chin, shoulder, thumb, wrist (especially in higher positions), and the executing finger itself. If you pay attention to his shifting technique, around 0:05; 0:13, you will notice that his fingers shift autonomously without moving the arm and thumb (some violinists place the neck on the “web” of the hand (base between the thumb and index finger). The most important aspect of the old school is that the violin was never held statically in one position, as with a shoulder rest, and almost never do all the parts of the arm move simultaneously, but rather in a sequential mode. Each part of the arm works autonomously, contributing to the balance of the entire left-hand technique.
If you practice wrist vibrato (only vibrato ,not music) you can concentrate on not allowing the violin to move to and fro .It is possible but needs to be learned .If necessary do not use the bow. .Hold the instrument with your right hand to steady it .
Amazing! Can you please tell us how he does it? Any exercises to help (apart from the usual ones?) The combination of the wrist and finger movement together looks different to any other violinist I’ve seen.
I am working on a series about the left-hand technique; part 4 will be about vibrato principles, Oistrakh’s example is ideal as it illustrates elasticity and independent function of each joint and part of the hand. In the meantime, you may get some ideas from chapter 2, section D of my monograph about bel canto principles, where I discuss vibrato: vladimirdyo.gumroad.com/l/gjxkj?layout=profile
Odessa - the place where David is from, not only him, but Emil Gilels, Svyatoslav Richter and others... The city is under russian bomb attack almost every day...
Да, большое горе. Как и убийство украинскими нацистами людей в доме профсоюзов 2 мая 2014 года. И вряд ли эти нацисты слушают такую музыку. Она им не нужна, увы.
Being unpopular, but I think the exclusive use of wrist vibrato by DFO, without any so small impulse from the arm, didn't age so well. At the end of his career (as I have listened live in concert or in the Franck/Brahms recorded live with Richter) he produced a constant wide and slow (if it weren't a sacrilegy I would call it "wobbly") vibrato that was pretty monotone. I had to start listening to old records to notice what a great violinist he was...
Oistrakh did possess all types of vibrato. Due to the nature of this piece, he mostly used finger-wrist vibrato. It is very likely that he slowed down his vibrato as well as trills due to performing in large halls. Normally, in large halls, you don’t really hear the undulations individually, but rather experience the tone as a whole. Those who heard him live could perhaps share their perception. On the recordings, perhaps his faster vibrato appeals more.
I think it is more that he has more or less one vibrato with regards to speed and width. If you look at Ida Haendel vibrato video on this channel, she varies the speed and width, even during the note. The question to me is why did people stop have a changing vibrato? However good a vibrato is, just one type of vibrato sounds montone and doesn't do the music justice.
Vibrato is one of the hardest techniques to learn. With the shoulder rest it’s usually easier to learn by shaking the forearm. Also, it takes less time learning and start vibrating. Wrist vibrato, on the other hand, requires much more effort and detailed approach and significantly more time to learn. And not many know how to teach it these days, unless one catches it by instincts.
I think in general, you can generate a wider vibrato with the full arm. I think most of the soloists will have both though. I see a lot using a combination of the two but generating it purely from the wrist is really quite challenging.
Wrist vibrato is really beautiful in lyrical passages such as this. It’s a more refined sound. But I think having both wrist and arm vib available to you is the key. High up on the fingerboard or playing octaves arm vib gives you some extra power
When I was a student, I met the great Oistrakh backstage after he played two concerti on one program! He smiled at me with great humility, and I was in a daze for a long time afterwards!
By definition, the 'wrist' vibrato requires the first knuckle to move in line with the string as the hand moves back and forth on the wrist. Oistrakh's vibrato is classic 'wrist' vibrato as the term is generally used. In higher positions his arm vibrato enters the picture; this too is perfectly normal as the wrist loses its range of motion. But the flexibility of the first joints remains even when the arm vibrato is in control. The exercises for acquiring the wrist vibrato have been in use for more than a hundred years. The thing to watch out for is a first knuckle motion that wobbles side to side against the string direction, or in a circular fashion, instead of in line with the string. So be careful!
I've never heard anyone make a violin sound like that!
No 1 in the world.
For me, he is the greatest violinist ever. He had everything and his bowing is like no one else's.
the Technique is so so clean --- almost unreal -- finger n wrist movement are as clean as written musical notes --- most of the time we see clattered fingers.. gald to have his entire collection.. true greats..
This video is such a treasure.
My favorite violinist! My daughter’s teacher is also from Odessa Music Academy
Вообще-то, Ойстрах заканчивал Одесскую консерваторию!
Thank you so much for this. My teacher forwarded this to me and it is a treasure. ❤
Этот лунный свет лучше, чем реальный.😊
Thank you for sharing this!!🙏🏻🎻
Me too
Un ejemplo maravilloso.Gracias
Still my absolute favorite violin virtuoso ..
Heifetz has such elegant style
Alto nível técnico
Love this performance. So expressive.
I actually cannot understand how he generates the vibrato with his head off the violin around 00:39 without the violin sliding around on his shoulder. Also, I can't tell if the first joint of his first finger is in contact with the neck of the instrument? It looks like he is supporting the violin entirely with his left hand but it still mystifies me how people are able to vibrate freely with this technique without dropping their instrument.
Just need to keep practicing I guess and one day I might stumble across the secret. Still, thank you for the video. It's a good reference to study from!
He used a small pad and had a nice, fat chin to keep the violin comfortably in place. Like many old masters who played without a shoulder rest, he employed the old-school left-hand technique that doesn’t rely on a single point of support but rather on multiple points, particularly the chin, shoulder, thumb, wrist (especially in higher positions), and the executing finger itself. If you pay attention to his shifting technique, around 0:05; 0:13, you will notice that his fingers shift autonomously without moving the arm and thumb (some violinists place the neck on the “web” of the hand (base between the thumb and index finger). The most important aspect of the old school is that the violin was never held statically in one position, as with a shoulder rest, and almost never do all the parts of the arm move simultaneously, but rather in a sequential mode. Each part of the arm works autonomously, contributing to the balance of the entire left-hand technique.
If you practice wrist vibrato (only vibrato ,not music) you can concentrate on not allowing the violin to move to and fro .It is possible but needs to be learned .If necessary do not use the bow. .Hold the instrument with your right hand to steady it .
Thanks 😊
Amazing! Can you please tell us how he does it? Any exercises to help (apart from the usual ones?) The combination of the wrist and finger movement together looks different to any other violinist I’ve seen.
I am working on a series about the left-hand technique; part 4 will be about vibrato principles, Oistrakh’s example is ideal as it illustrates elasticity and independent function of each joint and part of the hand. In the meantime, you may get some ideas from chapter 2, section D of my monograph about bel canto principles, where I discuss vibrato: vladimirdyo.gumroad.com/l/gjxkj?layout=profile
Exercises alone won’t help much unless one develops a tonal perception to pursue.
@@vladimirdyo7301 Thank you very much, will check it out!
Odessa - the place where David is from, not only him, but Emil Gilels, Svyatoslav Richter and others...
The city is under russian bomb attack almost every day...
Да, большое горе. Как и убийство украинскими нацистами людей в доме профсоюзов 2 мая 2014 года.
И вряд ли эти нацисты слушают такую музыку. Она им не нужна, увы.
Violist Molly Carr (Juilliard quartet) does this.
0:58 spider man theme sample this?
🎻🎼🌷💫
Being unpopular, but I think the exclusive use of wrist vibrato by DFO, without any so small impulse from the arm, didn't age so well. At the end of his career (as I have listened live in concert or in the Franck/Brahms recorded live with Richter) he produced a constant wide and slow (if it weren't a sacrilegy I would call it "wobbly") vibrato that was pretty monotone. I had to start listening to old records to notice what a great violinist he was...
Oistrakh did possess all types of vibrato. Due to the nature of this piece, he mostly used finger-wrist vibrato. It is very likely that he slowed down his vibrato as well as trills due to performing in large halls. Normally, in large halls, you don’t really hear the undulations individually, but rather experience the tone as a whole. Those who heard him live could perhaps share their perception. On the recordings, perhaps his faster vibrato appeals more.
Not convinced but interesting!!!!××××××××××××××
I am glad the generation after those types got rid of these hysterical vibrato... this is horror
Your profile picture is very fitting
I think it is more that he has more or less one vibrato with regards to speed and width. If you look at Ida Haendel vibrato video on this channel, she varies the speed and width, even during the note. The question to me is why did people stop have a changing vibrato? However good a vibrato is, just one type of vibrato sounds montone and doesn't do the music justice.
не понял как. Таких мышц не бывает))
Lol Violin Clair de Lune
Can someone explain why people stop using wrist vibrato that often?
Maybe because of the shoulder rest becoming widespread
@@fedegroxoI play without shoulder rest and my vibrato is soley arm -- should I be learning wrist as well (im beginner, 8months)?
Vibrato is one of the hardest techniques to learn. With the shoulder rest it’s usually easier to learn by shaking the forearm. Also, it takes less time learning and start vibrating. Wrist vibrato, on the other hand, requires much more effort and detailed approach and significantly more time to learn. And not many know how to teach it these days, unless one catches it by instincts.
I think in general, you can generate a wider vibrato with the full arm. I think most of the soloists will have both though. I see a lot using a combination of the two but generating it purely from the wrist is really quite challenging.
Wrist vibrato is really beautiful in lyrical passages such as this. It’s a more refined sound. But I think having both wrist and arm vib available to you is the key. High up on the fingerboard or playing octaves arm vib gives you some extra power
One speed and one amplitude not so good for bringing emotions to the people;)
Slower for low notes.Faster for high notes ---sometimes.
👍🏼