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| 约瑟夫·西盖蒂（Joseph Szigeti 1892-1973） | ||||||||||||||||||||||||
| Joseph Szigeti 西盖蒂演奏莫扎特小提琴协奏曲 | ||||||||||||||||||||||||
莫扎特K.216 纽约爱乐乐团 George Szell 1955/12/4 现场
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音乐历史上的今天
1892年9月5日，约瑟夫·西盖蒂（Joseph Szigeti）出生在匈牙利的布达佩斯。 |
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| 年轻时的约瑟夫·西盖蒂 | ||||||||||||||||||||||||
| The young Joseph Seggetti | ||||||||||||||||||||||||
| 用小提琴歌唱——追忆西盖蒂：郑延益 | ||||||||||||||||||||||||
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20世纪的小提琴大师中，克莱斯勒被公认是“提琴之王”，海菲茨是霸主，地位超越
众多小提琴家之上，另一个拥有独特地位的就是怪杰西盖蒂（Szigeti）。在1943年他刀岁寿辰时，梅纽因在BBC广播中向他祝贺，艾萨克·斯特恩从纽约，奥依斯特拉赫从莫斯科，米尔什坦在瑞士蒙特勒（Montreux）通过电话在琴上向他奏“生日快乐”（Happy
Birthday）；科岗从莫斯科写信给他，提起在 1937年为他演奏门德尔松协奏曲的事，信内称他为尊贵的大师（Honored
Master），叙述了年少时科岗如何想沿着您的足迹（follow your
footsteps）但又不得不最终放弃这个不现实的愿望（had to abandon this desire in the
end），因为要达到那样的目标其实是不可能的（it was too
difficult）；在小提琴历史上，除伊萨依、克莱斯勒和海菲茨外，大概不曾有过第四者受到同行如此普遍的尊敬。但是现在的乐迷可能有很多不知道这位大师，现在出的两张唱片就太及时了，是不容错过的最珍贵的小提琴文献。
首先要跟乐迷们打一个招呼，如果你没接触过西盖蒂，那么这张CD必须多听几次，因为很可能你开始会不喜欢，不能接受他的演绎，和笔者当年一样，不理解西盖蒂有什么了不起！但我可以保证，多听几次后，就会如同嚼橄榄，回味无穷，可以说甘美无与伦比，也没有第二个类似的小提琴家。总的说来，只有奥依斯特拉赫有点像。西盖蒂比奥依斯特拉赫“干”，但听多了却更有韵味，酷似京剧中的老生余叔岩。 |
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| 西盖蒂和他的老师胡胡拜（左），约 1910 年 | ||||||||||||||||||||||||
| Hubay (left) and Szigeti, c. 1910 | ||||||||||||||||||||||||
| Singing on the Violin -- Recall The west Getty -- Zheng Yanyi | ||||||||||||||||||||||||
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Never-before-uploaded 1928 archival audio recording of luminary
Hungarian violin virtuoso Joseph Szigeti performing Brahms
Violin Concerto in D Major. The Art of Joseph Szigeti Among the great violinists of the 20th century, Chrysler was known as the "king of the violin", Heifetz as the dominant violinist, and Szigeti as the odd violinist.On his Birthday in 1943, Menuhin congratulated him on BBC radio. Isaac Stern from New York, Oistlage from Moscow, And Milshtan from Montreux, Switzerland, were on the phone playing "Happy Birthday" to him.Post to write to him from Moscow, filed in 1937 for his play the Mendelssohn concerto, letter calls him honorable Master (Honored Master), describes the youth division post how to think along your footprint (follow your footsteps, but had to give up the unrealistic desire (had to abandon this desire in the end, because to achieve that goal is impossible (it was too about);In the history of violin, with the exception of Issa, Chrysler and Heifetz, perhaps no fourth violin has been so universally respected by his peers.But many of today's music fans may not know the master, and the two albums now released are just in time, the most valuable violin documents not to be missed. First of all, say hello to the fans. If you haven't heard of Him, you should listen to this CD more often, because chances are you won't like it at first, you won't be able to listen to him, and you won't understand what he's all about, just like I did.But I can assure you that after a few more, it will chew like an olive and taste lusciously, and there will be no other violinist like it.On the whole, only Oistlach is anything like it.Seghetti is more "dry" than Oistlach, but more interesting when heard, like old Yu Shuyan in Beijing Opera. |
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| 约瑟夫·西盖蒂（Joseph Szigeti） | ||||||||||||||||||||||||
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多年前，当我第一次听西盖蒂唱片时，心里觉得奇怪：发音是干的，揉音慢得不象话，跳弓都是毛的，拉什么听起来都吃力；这样一位提琴家有什么了不起？似乎徒有虚名！（本套CD的小品录自1926年至1929年间，是西盖蒂全盛时期，当时发音还酸郁浓厚没那么干，揉音也较快，到1933年录巴赫时发音就干了些，揉音慢了些，到1950年就更干更慢了）。接着在电影纪录片中看到他拉舒伯特的小《蜜蜂》，这么简单的一首小曲子，我也会拉，他出来时头发梳得光光的，演奏时却把头颈都快扭断了，拉完时满头大汗
，头发乱七八糟，实在不知道他好在哪里！可是逐渐听多了就愈来愈觉得他的演绎有一股任何人所没有的醇酸韵味，愈听愈喜欢；才开始理解为什么连梅纽因和奥依斯特拉赫这样以韵味著称的大师都对他推崇备至。可能西盖蒂最大的特点是，讲硬技巧，他的确是诸位大师中最差的；但在音乐演绎上却独树一帜，别具一格。弗莱什曾说过：可惜西盖蒂没跟他学，如果他的弓法和揉音能改进一些，那西盖蒂就会更了不起！这句话我个人认为并不夸张，也不是弗莱什自高自大；从记录片上看西盖蒂拉琴，由于他的手臂手指特长，方法很不自然，看起来鸡手鸭脚，完全是用传统方法硬拉的。克雷默的手也特别长大，可是运用得法；结果就技巧卓绝；但说明问题的却是发音西盖蒂比克雷默好，这就是音乐修养和天分问题。发音好坏，最后决定于演奏者的音乐听觉和概念，方法仅仅是工具。
西盖蒂的成就和弱点和他的时代有关。他是胡鲍伊（Hubay）的学生，受的是传统训练方法和教养（胡 鲍伊是一位修养极高的老师），可是在他13岁的初次登台后他听到了克莱斯勒演奏同一首他在音乐会的维奥蒂第22协奏曲，使他听到了从所未闻的琴声和演绎风格。用西盖蒂自己的话说，克莱斯勒打开了他的眼（耳）界，使他进人了一个新的音乐世界（直到西盖蒂名扬世界后，他还在纽约到处搜罗克莱斯勒的旧唱片，视若珍宝），接着他又听到了伊萨依、蒂博、 艾尔曼。西盖蒂说这 4个人引进了一个提琴演奏风格的新纪元。可是在当时，西盖蒂传统技术的基础已定了型，传统演绎的古典风格也有了根底，由于理智上他清楚，并接受了新演奏风格，及新作家如巴托克、普罗科菲耶夫的新的潮流，西盖蒂就吸收兼蓄两家之长，形成了他自己的特殊风格，朴素的古典严肃却同时又具有内在的醇薄浪漫热情，结果就是这样一位独特的浪漫古典大师。 由于上述的原因，从技术上说，他用的是小布什和胡伯曼，以及梅纽因年青时强迫拉琴的传统方法，这种方法强迫弓子去拉动弦，发出来的音似乎是硬把声音从琴的肚子里拉出来的；泛音少，因此不亮；但却极浓而深厚，特别是G线；似乎是瓮底里传出来的；至于揉音，当时约阿希姆是不赞成的，胡包伊很可能就没教过西盖蒂揉音，更可能是他听了克莱斯勒后自己学的（因为西盖蒂对克莱斯勒是五体投地的佩服；同时这里又可以看到克莱斯勒的了不起，他年龄要比西盖蒂大17岁，所用的演奏方法却是新的、自创的，因为他弓子的发音和揉音都是从所未有，不可能是马萨尔教他的，而且在12岁后，他就没跟过老师，因此他的揉音就运用不得法，速度就慢（很可能是按弦太过用力所导致）。这些，就形成了他在演绎上的技术局限性，但西盖蒂却能在这个局限内，从音乐出发，以他独特的发音、音准的巧妙运用和杰出的节奏处理，通过深人地分析、体会各种不同音乐的风格， 在他的琴上使它们体现了出来；这里要特别指出他的几乎是无痕迹的换弓，这使他拉慢的旋律线如天马行空，长短、逗点、句段都可以随心所欲地表现出来，这点，除外，很少人能做到他的水平（不过由于他跳弓是往下敲出来的，开弓有时也有这种倾向，快分弓有时就不能完全做到毫无痕迹，不及以上几位）。例如巴赫g小调无伴奏的第一乐章的演绎， 他的旋律线处理犹如在叙述，句逗极其细腻，和声和低声部似画龙点睛，清清楚楚地点了出来；节奏上的Rubato和力度变化极其微妙地使句逗、段落更为分明；音准使和声调性鲜明；它是众多版本中最精彩的，是既古典严肃，又抒情富有生命力的维拉契尼和巴赫。还有，可能有很多乐迷不知道，小提琴在拉双音时，弓子在两根弦上的用力不应该是平均的，而应该也可以根据旋律线或低声部分别加以强调；只不过能做到的人不多，听的人只知道效果好坏，却不知道其所以然。 |
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| 约瑟夫·西盖蒂的导师，费鲁奇奥·布索尼 | ||||||||||||||||||||||||
| Szigeti’s mentor, Ferruccio Busoni | ||||||||||||||||||||||||
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Years ago,
when I first listened to A Sigattie record, I found it strange
that the sounds were dry, the notes were painfully slow, the
bows were hairy, and the sounds were labored.What was so great
about such a violinist?It seems to be in vain!(The sketches on
this CD were recorded from 1926 to 1929, the heyday of The
Sigatti, when the pronunciation was still sour and thick and not
so dry and the knead was faster. By 1933, when Bach was
recorded, the pronunciation was dry and the knead was slower,
and by 1950 it was even drier and slower.)Then in the film
documentary saw him play Schubert's little "bee", such a simple
little song, I will also play, he came out of the hair combed
bare, playing but the head and neck are almost broken, when the
end of the sweat, hair at a mess, really do not know where he is
good!However, as I listened more and more, I felt more and more
that his interpretation had an alkyd charm that no one had. The
more I listened, the more I liked it.He began to understand why
even menuhin and Oisterach, masters of charm, admired him so
much.Perhaps the greatest characteristic of Seghetti was that he
was really the worst of the masters in terms of hard skills;But
in the musical interpretation is unique, unique.It's a pity,
Fleish once said, that Segetty didn't learn from him. If his
bowing and rubbing could have improved, He would have been even
better!Personally, I don't think this is an exaggeration, nor is
It that Fleish is conceited;As seen in the documentary, the
Sigheteh is played in an unnatural way due to his long arms and
fingers. It looks like a chicken hand and duck foot, which is
completely pulled by the traditional method.Kramer's hand, too,
was particularly large, but it worked;The result is excellent
skill;But it's the pronunciation that matters. Well, that's the
question of musical accomplishment and talent.Pronunciation is
ultimately determined by the player's musical hearing and
concept, and the method is only a tool. Seghetti's achievements and weaknesses are related to his time.He was a student of Hubay, trained in traditional methods and upbringing (Hubay was a highly cultivated teacher), but after his 13-year-old debut he heard Chrysler play the same violetti no. 22 concerto that he had performed in the concert, giving him a sound and a style he had never heard before.In Sigatti's own words, Chrysler opened his eyes and ears to a new world of music (he would scour New York City for old Chrysler records and treasure them until Sigatti became famous), and then he heard Isay, Tibbo, Ehrman.Seghetti says the four men introduced a new era in violin playing style.But at the time, the getty type is decided on the basis of traditional technology, the traditional interpretation of the classic style has a root, due to the reason he knew that on and accept the new style of play, and new writers such as bartok, prokofiev's new trend, west getty absorption and accumulation of two long, formed his own special style, simplicity of classical serious but has intrinsic alcohol thin romantic passion again at the same time, the result is such a unique romantic classical master. For this reason, technically he used the traditional method of forcing the strings, as used by George W. Bush and Huberman, and by Menuhin as a young man, in which the bow is forced to pull the string, producing sounds that seem to be forced out of the belly of the instrument;Few overtones, therefore not bright;But very thick and deep, especially the G line;It seemed to come from the bottom of a urn;As for kneading, Joachim disapproved at the time, and Hupaoyi probably never taught Him to knead. It is more likely that he learned it himself after listening to Chrysler (because Sigatty was so impressed with Chrysler;Here and can see Chrysler's fantastic, at the same time he age 17 years older than the west getty, playing method is used in the new and original, because the pronunciation of his bow and knead the sound came from is unprecedented, it can't be taught him mazar, and after the age of 12, he didn't follow the teacher / -s, so he is using it cannot be rubbing the sound, the speed is slow (probably) caused by too heavy.These are the technical limitations of his interpretation, but In this limitation, Sigatti was able to start from the music, with his unique pronunciation, intonation and excellent rhythm processing, through deep analysis and experience of different musical styles, to make them reflected in his piano;It must be noted he is almost no trace of the bow change, which made him slow melody line as a powerful and unconstrained style, length, comma, sentence, paragraph can follow one's inclinationsly, that, besides / -s, few people can do his level, but because of his jump bow is knocked down, drew his sometimes have this tendency, fast bow sometimes just can't do it without a trace, as more than a few).For example, the interpretation of Bach's unaccompanied first movement in G minor, his melody line processing seems to be narrating, the sentences are extremely delicate, the harmonies and whispers seem to make the finishing point, and come out clearly.The Rubato in rhythm and the change of strength make the sentences and paragraphs more distinct in a very subtle way;Intonation makes harmonic tonality distinct;It is the most wonderful of many versions, both classical and lyrical and full of vitality of Viracini and Bach.What's more, many music fans may not know that when a violin is playing a double note, the force of the bow on the two strings should not be equal, but should also be emphasized separately according to the melody line or the low voice.It's just that not many people can do it, and those who listen only know how it works, but don't know why. |
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| 约瑟夫·西盖蒂（Joseph Szigeti） | ||||||||||||||||||||||||
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西盖蒂在这方面的功力是罕见的惊人。他不但在拉双音时能随意强调其中的一个音，甚至在和弦中都能强调所需要的某一个音，这是弓子上的真功夫。我曾经说帕尔曼的几首赋格很不错，但西盖蒂比他更高一筹。赋格听起来很容易枯躁，因为复调和弦发音难、容易毛、带噪音，声部线条不易清楚，但在西盖蒂手里，赋格很容易听，旋律声部向逗、段落都清清楚楚，而且发音依然浓酸；这就使他在1931年和1933年所灌的g小调和a小调两首成为巴赫无伴奏公认的典范。听他a小调的行板，就完全像两把提琴在拉，一把在拉旋律
，另一把在伴奏，妙的是两个声部还各有节奏上的Rubato和音准的变化，使之互相衬托；再去听听帕尔曼，优劣立现。值得一提的是有人批评海菲茨拉巴赫用跳弓，其实西盖蒂早就用了，“a小调的快板”就是一个例子。用跳弓是为了有对比，有活跃的生命力，用得恰当无可厚非；只不过西盖蒂的跳弓是传统式用弓敲击出来的，这种跳弓优点在可用弓的任何部位演奏，缺点是杂音较多，力度变化较小（胡伯曼用这种跳弓演奏柴科夫斯基是了不起的技术），西盖蒂在这里用跳弓说明他不是学究派，但的确丰富了这章快板。
西盖蒂不仅在巴赫上是公认的经典，他的近代作品的演绎也同样地有权威性。最突出的是他的巴托克和普罗科菲耶夫。巴托克是他的好朋友，这两张没有这两位作家的曲子，相信第二集一定会有，巴托克不但在写作时征求他的意见，而且还为他弹钢琴伴奏灌唱片（他们的《克莱策奏鸣曲》版本是一个里程碑，仅从这里就可以看到，巴托克还是一位出色的钢琴独奏家和古典乐演绎者）。巴托克和普罗科菲耶夫的小提琴作品能得到普遍地承认，西盖蒂是元老功臣。除这两位外，西盖蒂还首演了许多近代作家的作品。这里有布洛赫，米约的4首小品都极其精彩，尤其是布洛赫和□□□（此处明显错漏），它与年青梅纽因的版本是我所听到过最动人的演绎。使我最惊讶的却是西盖蒂的克莱斯勒作品；而且居然有5首之多。他和克莱斯勒可以说是两个完全不同世界的演奏家，但除克莱斯勒本人外，西盖蒂的演绎是最精彩动人的，包括两首德沃夏克的《斯拉夫舞曲》《西西里舞曲和里戈东舞曲》《爱的忧伤》和《中国花鼓》。我反复地听（从前没听过），才发现是由于西盖蒂抓住了克莱斯勒节奏上和音准的处理变化的结果。由此可见，技术不过是工具（因为西盖蒂的发音、揉音、运弓和克莱斯勒完全不同），音乐的修养才是决定性的因素；而且西盖蒂并不是摹仿，而是有他自己的创造性。 摘自郑延益的音乐评论集《春风风人》 |
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| 郑延益小传 | ||||||||||||||||||||||||
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郑延益 （1923年5月2日—2011年7月28日）是中国著名弦乐教育家、音乐评论家，祖籍宁波慈溪 ，出生于新加坡。他在上海音乐学院任教期间，创立了中国第一个女子四重奏组 ，并成为中提琴教育的奠基人，培养了 俞丽拿 、 丁芷诺 、 沈榕等一批优秀提琴人才。 早年经历郑延益六岁开始学习小提琴，十一岁便在新加坡演奏门德尔松 的《E小调小提琴协奏曲》。抗战期间，他辗转香港、上海、重庆等地，曾加入重庆中华交响乐团担任副首席。1948年再次赴新加坡，后于1954年应谭抒真 之邀 回国，进入上海音乐学院 任教。 教育贡献他在上海音乐学院创立中提琴专业，打破此前由小提琴教师兼授的局面，并开发了一套独特的中提琴教学体系。他强调音准、发音等软技巧的重要性，要求学生通过拉空弦等训练掌握乐器特性。其教学方法为上音中提琴专业后续发展奠定了基础。 艺术活动郑延益曾参与多个室内乐演出团体，包括1946年加入的“ 中国交响乐团 ”，以及1960年组建的上海女子四重奏组（成员包括俞丽拿、丁芷诺等）。他长期撰写乐评文章，被誉为“ 亚洲乐评人 ”，其著作《春风风人》对音乐普及有重要推动作用。 2011年7月28日,郑延益在香港逝世,享年88岁。 |
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| 约瑟夫·西盖蒂（Joseph Szigeti） | ||||||||||||||||||||||||
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Seghetti's
skills in this area are rare and amazing.He was able to
emphasize not only one note in a double note, but also a
particular note in a chord. This was the skill of the bow.I had
said perlman had a few good fugues, but Segetty was a cut above
him.The fugue was easy to hear, because polyphonic chords were
difficult to pronounce, fuzzy and noisy, and the lines were not
clear. But in Sigatty's hands the fugue was easy to hear, the
melody was clear, the paragraphs were clear, and the
pronunciation was still sour.This made his songs in G minor and
A Minor, both in 1931 and 1933, widely regarded as examples of
Bach unaccompanied.To listen to his Andante in A minor is
exactly like playing two violins, one in melody and the other in
accompaniment. The wonderful thing is that the two parts also
have Rubato and intonation changes in rhythm, so that they
complement each other.Listen to Perlman again. The pros and
cons.It's worth noting that Heifezlabach was criticized for
using a jump bow, as Was Segetti, for example, with "Allegro in
A Minor."The purpose of jumping bow is to have contrast, to have
active vitality, and to be properly used.Just west of the getty
jump is a traditional bow knock out with a bow, the jump
advantage in any part of the available bow bow to play, the
disadvantage is that noise is more, efforts to change smaller
(huberman, using this jump bow playing Tchaikovsky is great
technology), west getty here with jump bow shows that he is not
a pedant, but indeed enriched the allegro chapter. Not only is Sigatti a recognized classic in Bach, but his interpretation of modern works is equally authoritative.The most prominent are his Bartok and Prokofiev.Bartok is his good friend, the two have no melody, the two writers believe that there will be the second set, bartok not only asking his opinion in writing, but also for him to play the piano accompaniment disc (their sonata "clay version is a milestone, only you can see from here, bartok is an excellent piano soloist and classical competence).The violin works of Bartok and Prokofiev are generally recognized, and Sighetti is the patriarch of the work.In addition to these two, Seghetti premiered the works of many modern writers.Here is Bloch. Milo's four sketches are excellent, especially Bloch and □□ (obviously wrong here). It and the young Menuhin's version are the most moving I have ever heard.What surprised me most was the Chrysler works of The Sigattie;And there were five songs.He and Chrysler can be said to be two completely different worlds of the players, but besides Chrysler himself, sighetti's performances are the most fascinating and moving, including two dvorak's "Slavic dance", "Sicilian and rigdon", "sadness of love" and "China flower drum".I listened to it over and over (and never heard it before) and realized that It was Sigatti who had caught up with Chrysler's changes in rhythm and pitch.Technology, then, is nothing but a tool (because Sigatee's pronunciation, kneading, bowing, and Chryslers are so different), and cultivation of music is the decisive factor;And Sigatti was not an imitation, but a creation of his own. |
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| 约瑟夫·西盖蒂（Joseph Szigeti）和加拉米安及拉宾在一起。 | ||||||||||||||||||||||||
| Joseph Szigeti was with Garamian and Rabin. | ||||||||||||||||||||||||
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爱丁堡艺术节 图片来源：Gerti Deutsch/Picture Post/Getty Images 1947年9月20日，小提琴家约瑟夫·西盖蒂，中提琴家威廉·普里姆罗斯，钢琴家阿图尔·施纳贝尔和大提琴家皮埃尔·福尼尔（从左至右）在第一届爱丁堡音乐节上。 |
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Festival d'ÉdimbourgCrédits : Gerti Deutsch/ Picture Post/ Getty Images Le violoniste Joseph Szigeti, l'altiste William Primrose, le pianiste Artur Schnabel et le violoncelliste Pierre Fournier (de gauche à droite), le 20 septembre 1947, lors du premier festival d'Édimbourg. |
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| 西盖蒂与神一样的莫扎特 | ||||||||||||||||||||||||
| Sigeti and Mozart | ||||||||||||||||||||||||
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西盖蒂录制的唱片很少，所以他的音频和视频尤其珍贵，特别是他演绎的莫扎特。莫扎特来到这个世界短短的35年，他完成了神交给他的工作之后呢，他就走了，所以我个人认为，能够把莫扎特的作品演绎的好，演绎得非常传神，很好的传达神的语言的演奏家是寥寥无几的，那神的语言呢？对于我们人类这个层次的生物呢？他是不太可能了解的非常透彻的。他不可能一下子就听的很明白的，它可能带一点点迷待一点点惘，用你一生的思考、迷惑，探索、追寻去理解它的意思。 所以说，我很喜欢一位老先生叫辛丰年，我喜欢他写的《乐迷闲话》和《音乐笔记》。其中讲到他听了一辈子的古典音乐最后终于把莫扎特听进去了，那我听了这段话之后呢，我也深有感触，因为我也一样，以前我也不 太喜欢听莫扎特的，听到现在终于能听一点点进去，很有可能就是我刚刚讲的原因，你听的时间太短、你听的太少，听的演奏家、版本太少，你可能没有真正听到过能够把莫扎特演绎得出神入化、或者很好的传达神的那个演奏家，直到听了这个西盖蒂，就真的非常喜欢他了，这就是我刚才所描述的感觉，他有他的特点，他演奏的莫扎特带一点点迷惘，带一点怅然的感觉，就好些一个人，他隔着一层玻璃窗看这个世界。带一点怅然若失的感觉，看外面的世界：斜阳草树，寻常巷陌，小桥流水，牧童短笛。他看这个世界，他不是说我置身在里面，那就太过清澈透亮了，他是隔着一层玻璃看的（用我的话是不是他把自己置身世外，从旁观者的角度去看这个世界——莫扎特之旅） 所以这一点是非常非常难得的，就像我刚才讲的，就是人不可能一下子完全领会理解对神的语言，那么透彻的，他可能带着一点点惘，要经过他的一生不断的去追寻 ，方能慢慢的领略到其中的真谛。 （上面是古典音乐发烧友猴脑丝讲故事视频的资料——莫扎特之旅整理） |
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Sigeti recorded
very few albums, so his audio and video works are particularly precious,
especially his interpretations of Mozart. Mozart was in this world for
only 35 years. After completing the task assigned to him by God, he
left. Therefore, in my personal opinion, there are very few musicians
who can perform Mozart's works well, vividly and well convey the
language of God. So, what about the language of God? What about
creatures at the level of human beings? It's unlikely that he will
understand it very thoroughly. It's impossible for him to understand it
very clearly at once. It might carry a bit of confusion and
bewilderment. You need to spend your entire life thinking, perplexing,
exploring and pursuing to comprehend its meaning. So, I really like an old gentleman named Xin Fengnian. I like the books he wrote, "Casual Chats with Music Fans" and "Music Notes". It was mentioned that after listening to classical music all his life, he finally got to listen to Mozart. After hearing this, I was also deeply touched. Because I was the same. Before, I didn't like listening to Mozart very much either. But now I can finally get a little into it. It's very likely the reason I just mentioned: you listen for too short a time and too little. There are too few musicians and versions you have listened to. You may not have truly heard a musician who can interpret Mozart with such perfection or convey the divine essence very well. But after listening to this Sigetti, you will really like him. This is the feeling I just described. He has his own characteristics. The Mozart he plays has a touch of confusion and a hint of melancholy. It's just like a person. He looked at the world through a glass window. With a touch of melancholy and loss, I look at the outside world: slanting sun, grass and trees, ordinary alleys and lanes, small Bridges and flowing water, shepherd boys and short flutes. He looks at the world. He doesn't say that if I were inside it, it would be too clear and bright. He looks through a layer of glass (in my words, is it that he places himself outside the world and views the world from an outsider's perspective - Mozart's Journey) So this point is extremely rare. Just as I mentioned earlier, it is impossible for a person to fully understand the language of God at once, so thoroughly. He may be a little confused and has to constantly pursue it throughout his life before he can gradually appreciate its true meaning. (The above is the material of the storytelling video by the classical music enthusiast Monkey Brain Si - compiled by Mozart's Journey) |
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约瑟夫·西盖蒂（Joseph Szigeti）——匈牙利小提琴演奏家（1892-1973），他也是新音乐的强烈倡导者。漂亮的黑白照片，他签名并题字，用法语写了很长一段感情，日期是1954年，在排练中展示。这张照片是由布宜诺斯艾利斯的摄影师卡门用墨水印在背面的。尺寸为4.7
x 6.9英寸，右上角的折痕不影响图像，否则状况极佳。 |
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| Joseph Szigeti——Hungarian virtuoso violinist (1892-1973), who also distinguished himself as a strong advocate of new music. Beautiful black-and-white photograph signed and inscribed by him with a long sentiment in French, dated in 1954, shown in rehearsal. Photo is ink-stamped on verso by photographer Carmen, Buenos Aires. Size is 4.7 x 6.9 inches, crease over the upper-right corner not affecting image, otherwise in excellent condition. | ||||||||||||||||||||||||
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Today in Music History On September 5, 1892, Joseph Szigeti was born in Budapest, Hungary. Joseph Szigeti (1892-1973) was born in Budapest, Hungary in 1892. Due to the fact that both his father and uncle were violinists, he developed an indissoluble bond with the violin at a young age. Under the personal guidance of his father and uncle, Szigeti learned to play the violin very early. Later, in order to enable him to improve his skills quickly and pursue further studies, his father sent him to the Budapest Conservatory of Music. Here, Szigeti was fortunate to become a student of the renowned Hungarian violinist Jenő Huβe. Under the meticulous guidance of the master, Szigeti's playing skills rapidly improved. At the age of ten, he had already given his first solo concert at the conservatory. At that time, people were very surprised by his outstanding talent and many admired and admired him, calling him a child prodigy. When he was 12 years old, another great Hungarian violinist, József Jáschim, met him. This highly respected violin master at that time immediately saw the talent of the young Szigeti and gave him lessons for a period of time, enabling this young violinist to learn many valuable things from the master. Sigauti began his long career as a performer at the age of 13. In 1905, he held his first public concert in Berlin, Germany. From 1907 to 1913, he gave numerous concerts in major cities of the United Kingdom. Besides, for a considerable period of time, he conducted extensive touring performances in famous cities across Europe, including Paris, Brussels, Budapest, Bucharest, Stockholm, Madrid and Amsterdam, etc. Everywhere he went, he was warmly welcomed by the local audiences, and people from all walks of life, including the critics, highly praised his wonderful performances. Since then, he became a renowned violinist renowned throughout Europe. Due to the high artistic honors and prestige he had achieved at that time, in 1917, the famous Geneva Music Academy in Switzerland hired him to replace Henry Martor and serve as the violin professor of the academy. Sigauti worked successfully at this position until 1924. This experience later became a very meaningful milestone in Sigauti's entire artistic career. While serving as a violin professor at the Geneva Conservatory, Cecchetti never ceased his arduous performance activities, and their scope and influence continued to expand. In 1925, he was invited by the renowned conductor Stokowski to set foot on American soil for the first time. He held solo concerts in Philadelphia and New York, performing Beethoven's "D Major Violin Concerto", and was highly praised by the local audience. At that time, the music critics in the United States praised him in their articles, referring to him as "the musician among musicians" and "the smart and intelligent violinist". This sensational effect enabled Cecchetti to gain an authoritative reputation in the United States and also gave his future career in the United States a good start. By 1951, Cecchetti had become an American citizen. In 1960, at the age of 68, Cecchetti settled in Switzerland. From this time on, he shifted the main direction of his work to writing and serving as an international competition judge. Cecchetti left behind many works on violin art throughout his life, the most famous of which include "Notes of a Violinist", "Loves of Strings", and "Cecchetti on Violin", etc. As for the judging work, it was even busier. As early as 1937, he had served as the chief judge of the International Isay Violin Competition. It was in that competition that the later violin virtuoso Oistrakh, with his unparalleled talent, won the championship with a performance that was unparalleled. Among them, Cecchetti's discerning talent selection undoubtedly played a very important role. Among violinists, there are some who are characteristic performers with relatively narrow styles. These performers play relatively narrow ranges of works and do not have a comprehensive grasp of styles. The famous Thibaud is a prominent example. Due to his personality, he had excellent interpretation abilities for French and German, Austrian early works, but for the interpretations of many works by composers from other countries, he seemed to be unable to handle them or even powerless. However, Cecchetti was different. In this regard, he was a true master with comprehensive control ability. In terms of the range of works he performed, he was not only proficient in the interpretation of classical works, but also had extremely excellent mastery of many strange modernist works. In the interpretation of classical works, he had very strict control of the scale, and for many of these works, his interpretation was of the most authoritative nature. For Bach's works, especially his six unaccompanied sonatas, Cecchetti's performance made many of his great colleagues feel admiration. The famous violist Primrose, after listening to Cecchetti's performance of Bach's unaccompanied sonatas, once exclaimed to someone: "What is frustrating is that he has 'more strings' and 'more fingers' than us!" Sigaditi was not only skilled at performing classical works, but also had a strong interest and enthusiasm for modernist compositions. During the early 20th century, when his performing art reached its peak, he highly praised Prokofiev's violin concerto. In 1925, while he was successfully performing Beethoven's violin concerto in the United States and achieving unparalleled success, he came to London, England, and performed Prokofiev's "D Major First Violin Concerto" for the local audience. Moreover, he endeavored to support some modern composers to create new violin works. In his own words, "I hope that new works will appear in every one of my concerts." When supporting some modern composers to engage in violin music composition, he often patiently provided them with technical assistance and advice on experience. To express gratitude and repay the help and contributions he brought, many composers presented their new works to him and requested that he give the premier performance. These works included Bartók's "First Violin Rhapsody", Boukhovetsky's "Night in a Foreign Land", Prokofiev's "Melody" and "D Major Violin Sonata", Martyn's "Violin Concerto", Harti's "D Minor Violin Concerto", Casella's "A Minor Violin Concerto" and Kowal's "Violin Sonata", etc. The new works mentioned above were all premiered by Sigaditi. Sigaditi was not only an outstanding violinist but also an excellent violin educator. In his early years, he served as a violin professor at the Geneva Music Academy in Switzerland for seven years, cultivating many outstanding violinists. In teaching, Sigaditi always warned his students not to merely show off dazzling techniques but to apply the techniques to expressing music. He always emphasized: "When we practice, we should focus on analysis and research, just like understanding the thoughts of a writer from his words. We should seek the meaning of the work through the notes." Among the many students he taught, the Israeli violinist Ronnie Rogoff was the most outstanding. He began to study under Sigaditi in Montreux, Switzerland, in 1969 and studied there for many years. Sigetti undoubtedly was a figure who left an indelible mark in history. As an artistic luminary of his era, his influence and impact cannot be expressed through words and language. On February 19, 1973, Sigetti passed away at the age of 81 in Lucerne, Switzerland. Today's video: 1. Joseph Szigeti performs Mozart's G Major Violin Concerto No. 3 K. 216; 2. Szigeti and Bartók perform "Beethoven's Ninth Violin Sonata 'Kreutzer'" ; 3. Szigeti plays Schubert's "The Bee"; 4. Documentary "Szigeti's Art". |
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| 【西盖蒂x巴托克】贝多芬第九小提琴奏鸣曲“克鲁采” | ||||||||||||||||||||||||
| Joseph Szigeti, Bela Bartok: Beethoven Kreutzer Sonata | ||||||||||||||||||||||||
| 约瑟夫· 西盖蒂演奏舒伯特的《蜜蜂》 | ||||||||||||||||||||||||
| the Bee by François Schubert(1808-1878) | ||||||||||||||||||||||||
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| 伟大的小提琴家约瑟夫·西盖蒂（Joseph Szigeti) | ||||||||||||||||||||||||
| The 19 Greatest Sketches of all time by Ivry Gitlis | ||||||||||||||||||||||||
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| 未得原作者编者授权严禁转载www.mt77.com任何内容 | ||||||||||||||||||||||||
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