LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Askin, C.
Languages: English
Types: Doctoral thesis
Subjects: 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.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 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
    • Figure 3.2 Extract from Sarasate Capricho Vasco op.24
    • Figure 3.3 Extract from Sarasate Capricho Vasco op.24
    • Figure 3.4 Extract from Sarasate Zigeunerweisen op.20
    • Figure 3.5 Extract from Sarasate Capricho Vasco op.24
    • Figure 3.6 Extract from Sarasate Zigeunerweisen op.20
    • Figure 3.7 Extract from Chopin Nocturne in E flat op.9 no.2
    • Music example no. 1 Bach Adagio in G minor from solo sonata no 1 BWV 1001 Joseph Joachim
    • Music example no. 2 Bach Tempo di Borea in B minor from solo Partita no 1 BWV 1002 Joseph Joachim
    • Music example no. 3 Extract from Romance by Joachim illustrating intonation Joseph Joachim
    • Music example no. 4 Bach Adagio in G minor from solo sonata no 1 BWV 1001 Bar 18 Joseph Joachim
    • Music example no. 5 Bach Preludio in E from solo Partita no 3 BWV 1006 Pablo de Sarasate
    • Music example no. 6 Bach Preludio in E from solo Partita no 3 BWV 1006 Hugo Heermann
    • Music example no. 7 Bach Preludio in E from solo Partita no 3 BWV 1006 Jascha Heifetz
    • Music example no. 8 Extract from Nocturne by Ernst illustrating vibrato Hugo Heermann
    • Music example no. 9 Extract from Nocturne by Ernst illustrating glissandos Hugo Heermann
    • Music example no .10 Extract from Nocturne by Ernst illustrating vibrato Hugo Heermann
    • Music example no .11 Extract from Nocturne by Ernst illustrating legato Hugo Heermann
    • Music example no .12 Extract from Nocturne by Ernst illustrating scales and arpeggios Hugo Heermann
    • Music example no .13 Extract from Preludio by Bach illustrating detachĂȘ Hugo Heermann
    • Music example no .14 Extract from Preludio by Bach illustrating spiccato Hugo Heermann
    • Music example no .15 Extract from Zigeunerweisen by Sarasate illustrating staccato Pablo de Sarasate
    • Music example no .16 Extract from Capricho Vasco by Sarasate illustrating spiccato Pablo de Sarasate
    • JOACHIM, Joseph. [1914] Letters from and to Joseph Joachim, Edited by Nora Bickley, [London: Macmillan ]
  • No related research data.
  • No similar publications.

Share - Bookmark

Download from

Cite this article