Had a chance to play a Strad for a few minutes many years ago, and I was struck at how light it felt, almost like it was made out of balsa wood, toy-like. The feel of the strings under the bow was very soft, and it felt like you weren't making much of a sound. But my friend in the hall said it sounded great. Very different feel than any other violin I've picked up.
I have a very early Klotz dating back to 1709, and I fully understand the feeling you describe. The sound is powerful, but not powerful in the sense that it is loud, powerful in the sense that it is very warm and textured without necessarily sounding forceful. To the ear, it almost sounds quiet. Quiet, but very beautiful.
@@WoodChucksWood I think he was pointing the fact that modern strings, because of their so-called perfection, have the tendency to make our playing easier and more comfortable. Although it might be taken as improvement or advantage, on the other hand it gives less and less space for real handwork (« Handwerk » in German or « artisanat » in French) from the players. That is one of the reasons why it is harder to recognise one violinist from another nowadays : the normalisation is flattening progressively our identities on the instrument we play as string players use mostly a couple of brands en masse (Dominant for violinists, Evah Pirazzi or Larsen for cellists etc.) I would be interested to exchange a bit about this topic.
I disagree. For me, as a violinist, I have my string preferences, but as a member of the audience, unless Itzhack Perlman, Joshua Bell, Midori, Lisa Bhatiashvili, etc… have found some sort of magical string I don’t know about, I’m not certain it’s the string that makes them sound so dramatically different from the rest. I think you may have just been saturated by the lowered standard in what we consider to be a “great” performer these days. Individualism is not lost, as all violinists I have encountered in my years of going to concerts have had a very unique and individual sound, but it is increasingly rare to find a violinist that is truly talented. The technical skills are all there, but fewer and fewer violinists these days concern themselves with their sound beyond the mere technical skills, with having a rich, warm, deeply textured sound. The violinists I have named above certainly possess this sound to my ear, but they are unique.
This was recorded in Paris in 1970, two years before the deaths of both Robert and son Jean (the latter in an auto accident). His wife Gaby died in 1999, his other son (Guy) in 2011. His daughter (Thérèse) is still with us. Robert and Gaby Casadesus were well-known for recitals involving one-piano-four-hands. You can find the entire video of this recording here: th-cam.com/video/v3xZmt9CgsE/w-d-xo.html
This is one of the greatest video recordings in human history, really. It'sa pity that greedy license owners continue wiping it out from public space, though of course no single dollar from selling this record goes to either Beethoven, Francescatti, Casedesus or ORTF (French state fund which made the record) or their respective heirs.
>> This is one of the greatest video recordings in human history, really. @Sergey Konstantinov And permit me to say, that is a gross understatement! (Why just "one of"? 😂)
@@ts13579_texas_usa Kreutzer Sonata is one of the luckiest with regards to how much great recordings there are. Give a try to Kogan-Gilels, Heifetz-Moiseiwitch, Grumiaux-Haskil, Szeryng-Rubinstein, Poliakin-Neuhaus, Szigeti-Bartok, Taschner-Gieseking, Oistrakh-Oborin, Thibaud-Cortot, Busch-Serkin, Milstein-Prudemacher, Kremer-Argerich recordings.
Many content owners have since learned that this was a mistake and now permit some works to be posted, although of course it's in return for claiming the monetization rights to the content.
Casadesus' son also an able pianist is turning pages . So many violinists have been filmed playing this sonata . Even Heifetz ! We have Kreisler with Rach but not on film . No sound film of Rach nor Kreisler that I've seen .
No longer young, but listen to them play! No affectations, or dancing around, or grimacing, just music. Amazing.
Love! The both of them! So much feeling.
what wonderful sound that Strad contains, and Francescatti knows how to get it !
What a bow technique, in particular his martelé in the exposition and the recapitulation !
Yes!
Had a chance to play a Strad for a few minutes many years ago, and I was struck at how light it felt, almost like it was made out of balsa wood, toy-like. The feel of the strings under the bow was very soft, and it felt like you weren't making much of a sound. But my friend in the hall said it sounded great. Very different feel than any other violin I've picked up.
I have a very early Klotz dating back to 1709, and I fully understand the feeling you describe. The sound is powerful, but not powerful in the sense that it is loud, powerful in the sense that it is very warm and textured without necessarily sounding forceful. To the ear, it almost sounds quiet. Quiet, but very beautiful.
Extraordinario recuerdo de dos grandes!
C'est tout simplement une superbe interprétation, et quelle sobriété de jeu, beaucoup feraient bien de s'en inspirer !
It is amazing how these old masters has their individual sound..Nowadays this is lost,all you hear is-Dominant or Pirazzi sound..
@@WoodChucksWood I think he was pointing the fact that modern strings, because of their so-called perfection, have the tendency to make our playing easier and more comfortable. Although it might be taken as improvement or advantage, on the other hand it gives less and less space for real handwork (« Handwerk » in German or « artisanat » in French) from the players. That is one of the reasons why it is harder to recognise one violinist from another nowadays : the normalisation is flattening progressively our identities on the instrument we play as string players use mostly a couple of brands en masse (Dominant for violinists, Evah Pirazzi or Larsen for cellists etc.)
I would be interested to exchange a bit about this topic.
True!
I disagree. For me, as a violinist, I have my string preferences, but as a member of the audience, unless Itzhack Perlman, Joshua Bell, Midori, Lisa Bhatiashvili, etc… have found some sort of magical string I don’t know about, I’m not certain it’s the string that makes them sound so dramatically different from the rest. I think you may have just been saturated by the lowered standard in what we consider to be a “great” performer these days. Individualism is not lost, as all violinists I have encountered in my years of going to concerts have had a very unique and individual sound, but it is increasingly rare to find a violinist that is truly talented. The technical skills are all there, but fewer and fewer violinists these days concern themselves with their sound beyond the mere technical skills, with having a rich, warm, deeply textured sound. The violinists I have named above certainly possess this sound to my ear, but they are unique.
Fabulous duo. Love them more than 40 years.
Thank you!
Weilds the bow with graphite strength. Like a sledge hammer. And produces fantastic strength of tone and character. The best
Straordinario
Magnifique!
Belleza
Pasión, magistral
This was recorded in Paris in 1970, two years before the deaths of both Robert and son Jean (the latter in an auto accident). His wife Gaby died in 1999, his other son (Guy) in 2011. His daughter (Thérèse) is still with us.
Robert and Gaby Casadesus were well-known for recitals involving one-piano-four-hands.
You can find the entire video of this recording here:
th-cam.com/video/v3xZmt9CgsE/w-d-xo.html
This is one of the greatest video recordings in human history, really. It'sa pity that greedy license owners continue wiping it out from public space, though of course no single dollar from selling this record goes to either Beethoven, Francescatti, Casedesus or ORTF (French state fund which made the record) or their respective heirs.
>> This is one of the greatest video recordings in human history, really.
@Sergey Konstantinov
And permit me to say, that is a gross understatement! (Why just "one of"? 😂)
@@ts13579_texas_usa Kreutzer Sonata is one of the luckiest with regards to how much great recordings there are. Give a try to Kogan-Gilels, Heifetz-Moiseiwitch, Grumiaux-Haskil, Szeryng-Rubinstein, Poliakin-Neuhaus, Szigeti-Bartok, Taschner-Gieseking, Oistrakh-Oborin, Thibaud-Cortot, Busch-Serkin, Milstein-Prudemacher, Kremer-Argerich recordings.
@@sergeykonstantinov9541 Will do, thanks!
(But probably not all of them today. : -)
@@sergeykonstantinov9541 Since a couple of days I would add Maxim Vengerow and Polina Osetinskaja in a Nov. 2022 Live recording from Milan-Italy.
Many content owners have since learned that this was a mistake and now permit some works to be posted, although of course it's in return for claiming the monetization rights to the content.
These two made an excellent recording of this in the late 50's or early 60s. Francescatti's tone was perhaps a shade sweeter then...
i have that recording-one of my favorites!
But look at his martelé technique or his détachés at the upper part. Nobody can do it better than Francescatti !
Shining !
Casadesus' son also an able pianist is turning pages . So many violinists have been filmed playing this sonata . Even Heifetz ! We have Kreisler with Rach but not on film . No sound film of Rach nor Kreisler that I've seen .
Kreisler with Franz Rupp , not Rachmaninov .
There is no film of Heifetz playing this sonata
@@ulfwernernielsen6708with Rachmaninov, Kreisler plays the Beethoven no.8 in Gmajor and Greig 3rd in Cminor as 😊a coupling
Excelente pieza
Great !
Look who is turning pages !
is someone raising the pitch again?
Nope, spot on.
There are many great interpretations of this sonata. This is not one of them. Barely adequate for a violinist of Francescatti's stature.