May I ask why I think Heifetz is the greatest violinist since Paganini?

Why do I think Kafitz is the greatest violinist since Paganini (1)? I comment on the series of violinists (because the number of words in this article exceeds the maximum limit, I have to publish it twice) Wu Hanhe (please ask my permission in advance and indicate the source and author). (The figures in square brackets are the sources of the cited references. Image from 08Estate of Jascha Heifetz) Heifetz plays Beethoven's violin concerto. I said in my previous article "Heifetz's Violin" that I don't think anyone can compare with Heifetz after Paganini. This is the heartfelt words I have enjoyed the violin for many years and heard countless violinists play. Paganini was born in 1782 and died in 1840 [1]. Kaffitt was born in 190 1 and died in 1987. It was born after Paganini 1 19 years, more than a century. So, in this 1 19 year, are there no other great violinists? The answer is yes. Gong Zizhen, a poet in the Qing Dynasty, wrote a poem: "Jiangshan has produced talents, each leading the way for hundreds of years." There is no blank in history. By the middle of18th century, violin had become the most popular solo instrument in Europe. During the baroque and classical periods (1750~ 1820), it became the most important ensemble instrument in the symphony orchestra. So far [2]. Since the answer is yes, please look at the great violinists between Paganini and Kaffitt [2,3]. /kloc-The violin masters of the 20th century are: Italian nicolo Paganini and German Louis Spolander joseph joachim (Iokhim, actually originally from Hungary, see my essay. Who was the first violinist to record? ), Spanish Pablo de Sarasate (Sarasate), Belgian henri Vieuxtemps (Vieux Temps) and Eugè ne Issa 07e (Yi Sai). Violin masters in the 20th century brought the violin to a new height from both art and technology. These violin masters include American isaac stern and yehudi menuhin (Mei Niuyin), Austrian-born Fritz Kreisler (Chrysler), Russian-born Jascha Heifetz (Heifetz) and Mischa Elman (ellman). There are nathan Milstein, Hungarian Joseph sigeti, Soviet David Oistrakh and Belgian Arthur grumiou. So why do I think Heifetz is the greatest violinist since Paganini? I want to explain it from the following aspects. 1. Extraordinary skills and musical charm. Kaffitt's super violinist skills are universally recognized. After receiving early violin education, Kaffitt played Mendelssohn's Violin Concerto in E minor "brilliantly" at the age of 7. After becoming a student of Orr in the Petersburg Conservatory of Music at the age of 9, Kafitz completely mastered the skills and essence of Russian schools. Heifetz swept Europe at the age of11(1912). Chrysler, the "king of violins" at that time, lamented: "We can smash our violins on our knees" ("We might as well smash our violins across our knees"). (For the source, see my essay Kaffitt's Violin) [4]. When Heifetz 16 years old (19 17), the October Revolution broke out in Russia. He immigrated to America. A very successful concert was held at Carnegie Hall in new york. He played Viniasky's violin concerto in D minor and Paganini's 24 caprices. Make a sensation in America. Since then, Heifetz has started his all-around playing career. Kheifits' super violinist skills are reflected in his unparalleled two-handed skills. His performances are usually fast-paced, but they are also very musical. The biggest feature of its fast performance is extremely clear. What impressed me the most was that he chose Ravel's Tzgang in his last Heifetz recital at the age of 7/kloc-0 [5]. I listened to this recording many times, trying to find out the shortcomings of the 70-year-old man's quick performance when playing this violin piece, which is recognized as the most skilled and fastest. However, I still can't find even the slightest imperfection All the jumping bows are extremely perfect and clear, accompanied by extremely touching musicality and the highest appeal. At this age, few people can play such difficult music. Besides Kaffitt, I only know Kaffitt's younger brother milstein (we will talk about milstein's performance later). And playing so perfectly and clearly, no less than his middle age, and accompanied by extremely touching musicality and the highest appeal (as can be seen from the thunderous cheers and applause that broke out at the end of this song), I am afraid that only Kafitz has done it in history. It should be noted that Paganini's playing career ended at the age of 53, seven years before his death [1] (please see my essay "From Paganini to the Origin and Development of Modern Violin Technology"). Another feature of Kaffitt's music is his sliding and vibrato methods. When playing western music, we should pay special attention to the glide (of course, China's music such as "Butterfly Lovers" is not in this case). Lingfeng is not contagious enough, but a little more will make people sick. There is a well-known Chinese violinist, whose slipperiness is slightly Heifetz-style, which was very good at first. After listening to it several times, it was a little boring. But Kheifits's gliding has reached a seamless feeling. One more point is too much, and one less point is not enough. You have to listen to Kaffitt's music many times to understand it. Kaffitt's tremolo string method endows his music with a special charm. This is also recognized as the original kneading string of Kheifits. Sometimes it makes people feel melancholy (such as sibelius violin concerto, Scottish fantasy); Sometimes it makes people feel very sweet (such as "The Girl with Flaxen Hair"); Sometimes people feel passionate (such as the third movement of Tchaikovsky's violin concerto). Paalmann is famous for his enthusiasm and slipperiness among the younger generation. He once praised Kafitz's piano sound for its emotional intensity like lava from a volcano [4]. These characteristics make Kaffitt's music known as Kaffitt. In addition, Kheifits' mastery of intonation, the biggest difficulty in violin playing, has reached a perfect level. Not only myself, but also many people have communicated and agreed that Kafitz's intonation is the best. This is related to Kaffitt's genius and his great concern about it. It is said that Kheifits spent his whole life practicing scales for about 20 minutes at the beginning of practicing piano every day. In short, although Kafitz did not invent or apply a lot of new techniques such as double overtones like Paganini, he has reached a superb level in the development and application of existing violin techniques. This is beyond the reach of other violinists in the 20th century. (Words exceeded, to be continued)