(String Letter Publishing). An exceptional variety of dynamic violin soloists are making their mark on the world's stages at the dawn of this new century. Violin Virtuosos takes you into their world. In these compelling profiles, each musician reveals the personal, technical and psychological aspects of their lives in music: how they cope with isolation, how they approach and interpret their repertoire, and what kindles their passions and unites them with their audiences. This fascinating companion volume to 21st-Century Violinists includes profiles of Joshua Bell, Chee-Yun, Vadim Repin, Kyung-Wha Chung, Hilary Hahn, Viktoria Mullova, Leila Josefowicz, Christian Tetzlaff, Mark Kaplan and other gifted performers. Also available: 21st-Century Violinists 00699221 $12.95

The singing tone and wide range of the violin have made it the archetypal musical instrument, and in Violin Virtuosos, violinist and music critic Henry Roth has created a work of rare insight into this singular and beloved instrument.

Driven by a passion for music, for excellence, and for fame, violin soloists are immersed from early childhood in high-pressure competitions, regular public appearances, and arduous daily practice. An in-depth study of nearly one hundred such children, Producing Excellence illuminates the process these young violinists undergo to become elite international soloists. A musician and a parent of a young violinist, sociologist Izabela Wagner offers an inside look at how her young subjects set out on the long road to becoming a soloist. The remarkable research she conducted—at rehearsals, lessons, and in other educational settings—enabled her to gain deep insight into what distinguishes these talented prodigies and their training. She notes, for instance, the importance of a family culture steeped in the values of the musical world. Indeed, more than half of these students come from a family of professional musicians and were raised in an atmosphere marked by the importance of instrumental practice, the vitality of music as a vocation, and especially the veneration of famous artists. Wagner also highlights the highly structured, rigorous training system of identifying, nurturing, and rewarding talent, even as she underscores the social, economic, and cultural factors that make success in this system possible. Offering an intimate portrait of the students, their parents, and their instructors, Producing Excellence sheds new light on the development of exceptional musical talent, as well as draw much larger conclusions as to “producing prodigy” in other competition-prone areas, such as sports, sciences, the professions, and other arts. Wagner’s insights make this book valuable for academics interested in the study of occupations, and her clear, lively writing is perfect for general readers curious about the ins and outs of training to be a violin soloist.

Smart and savvy high school junior Melissa Jensen is unprepared when life takes a turn for the seemingly tragic: her father accepts a teaching assignment in a small town in the Midwest, far from her home and friends (and bagels) in New York City. She's too old to throw a tantrum, and her father's offer of letting her live in New York with her grandparents is simply not an option. No way will she follow their strict Orthodox Jewish rules when her own parents didn't even make her go to Hebrew school. Melissa's reluctant arrival in Henryville brings some surprises. To her amazement the college town offers more than she ever anticipated, including a fantastic school orchestra and the chance to star in the school play, not to mention her immediate popularity with the "coolest kids in school." And then there's Daniel Goodman, the remarkable boy who shares Melissa's passion for acting and playing the violin. Everything seems too good to be true, until Melissa comes across something she has never experienced before--antisemitism. No one in the school suspects she is Jewish, but when Daniel is taunted by a bigoted schoolmate, Melissa must make a decision. Her choice to speak out should be clear-cut, but life is never that simple. The Violin Players examines the price we pay when bigotry is met with silence.

"In a brief moment in time, Michael Rabin left an indelible impression on the world of classical music. His few recordings survive on the Columbia, EMI, and Angel labels, and he holds the distinction of recording, at age twenty-two, all the Paganini caprices, in the process setting the standard by which subsequent violinists would be judged."--BOOK JACKET.

From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim. It is a sign of his importance that, in 1863, Brahms gave two public performances in Vienna of his own and Ernst's music to raise money for the now mortally ill violinist. Berlioz described Ernst as 'one of the artists whom I love the most, and with whose talent I am most sympathetique', while Joachim was in no doubt that Ernst was 'the greatest violinist I ever heard; he towered above the others'. Many felt that he surpassed the expressive and technical achievements of Paganini, but Ernst, unlike his great predecessor, was also a tireless champion of public chamber music, and did more than any other early nineteenth-century violinist to make Beethoven's late quartets widely known and appreciated. Ernst was not only a great virtuoso but also an accomplished composer. He wrote two of the most popular pieces of the nineteenth century - the Elegy and the Carnival of Venice - and he is best known today for two solo pieces which represent the ne plus ultra of technical difficulty: the transcription of Schubert's Erlking, and the sixth of his Polyphonic Studies, the variations on The Last Rose of Summer. Perhaps he made his greatest contribution to music through his influence on Liszt's outstanding masterpiece, the B minor piano sonata. In 1849, Liszt conducted Ernst playing his own Concerto Path?que, a substantial single-movement work, in altered sonata form, using thematic transformation. Soon after this performance, Liszt wrote his Grosses Konzertsolo (1849-50), his first extended single-movement work, using altered sonata form, and thematic transformation. This is now universally acknowledged to be the immediate forerunner of the sonata, which refines and develops all these techniques. Liszt made his debt clear when, three years after completi

Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists’ ‘separate but unequal’ status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867–1920), Australian-born Alma Moodie (1898–1943), and the British Marie Hall (1884–1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.