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Nathan Milstein Nathan Milstein by right ranks with the world's finest musicians. His performance is matted by ideal technique, dazzling virtuosity, subtle taste, profound conceptions, artistic simplicity and inspiration. In his childhood and youth N. Milstein lived in Russia. He was born in Odessa on December 31, 1904. He began his musical education under the guidance of the well-known teacher P. S. Stoliarsky, who after three years of study sent him to the St. Petersburg Conservatory. Here the young musician studied in the class of Professor L. S. Auer, who won world-wide recognition through the success of his pupils M. Elman, E. Zimbalist, M. Polyakin and J. Heifetz. Auer advocated the realistic manner of interpretion of a work and sought to develop the virtuosic skill, natural individuality and musical taste in his pupil. Milstein gave his first public concerts in 1920. His repertory included not only large works of J. S. Bach, W. A. Mozart, L. Beethoven, F. Mendelssohn, J. Brahms and P. Tchaikovsky, but numerous virtuosic pieces by Paganini, H. Ernst, and H. Wieniawski, the performance of which brought him his first success. Beginning with 1923 the violinist appeared in ensemble with pianist V. Horowitz, who had shortly graduated from the Kiev Conservatory. According to the recollections of their contemporaries, their joint recitals fascinated the audience by their romantic inspiredness, remarkable virtuosity, artistic perfection and subtle ensemble playing. His Paris debut and the tours of European countries that followed it, gained him the reputation of one of the most brilliant virtuosos. In 1928, by invitation of the distinguished American conductor L. Stokowski, he appeared with the Philadelphia Orchestra for the first time. This debut was highly successful. Since then he took up permanent residence in the USA. He toured the world many times giving hundreds of concerts a year in different cities of America and Europe. Already in the early 30s, critics, apart from his phenomenal virtuosity, that virtually stunned the audience, remarked upon his keen perception of the style of the work he played, and convincing communication of the author's conception. They took special note of the unusual warmth and sincerity of his statement in combination with the emotionally full sounding of the instrument. Milstein's advanced training under the guidance of E. Ysaye, and his friendship of many years standing and joint recitals with such foremost masters as V. Gorowitz and G. Pyatigorsky, contributed to the further creative development of the violinist. Grigory Pyatigorsky thus described the creative friendship of the musicians:«ln the evening Gorowitz, Milstein and I went to visit the Rachmaninov family. Nathan took his violin and I my cello. Volodya had the music of Rachmaninov's Trio with him. We had rehearsed the work for the concert in New York and we now wanted to play it for the author. Gorowitz, who had in advance thought up many apologies, timidly begged Sergei Rachmaninov to play the piano part. Nathan supported Volodya, saying that there were no critics present and, therefore, it was no risk. Rachmaninov laughed, but refused to play. We began to play and our performance turned out to be good, I think, and the four listeners appreciated it. Our small audience consisted of Rachmaninov, his wife and two daughters». With years the works of old masters and the concertos, sonatas, and miniatures of contemporary authors gained prominence in Milstein's repertory. For example, his performance of G. Tartini's «The Devil's Trill Sonata» and Bach's six sonatas and partitas for the unaccompanied violin was particularly impressive. When playing the latter works the violinist charmed the audience by his ability to subordinate the most difficult technical problems to the highest aim — the communication of the profundity of Bach's ideas and the vitality of his music. In one of his interviews Milstein stated the following: «No matter what music I present to my listeners, two authors — Bach and Paganini — are invariably present in my programmes. As regards Bach, I cannot imagine giving a recital without playing at least one work by the master. And though their music differs greatly in style, I think that apart from Bach and Paganini there are no other composers, who wrote such stirring music for the violin». It was evidently no accident that Milstein should create the «Paganiniana» variations for the solo violin. Here on the basis of the theme of N. Paganini's Caprice No. 24 he gives a retrospection of the great virtuoso's art. «Paganiniana», a unique work in violin literature, has become an original «musical portrait» of the founder of virtuosic and romantic music of the early 19th century, written by one of the most distinguished virtuosos of the 20th century. The first thing that one notes in N. Milstein's playing is his remarkable craftsmanship and the free and easy way in which he overcomes the most incredible technical difficulties. The violinist holds the audience spellbound by his will, temperament and dynamic energy. Taste and sense of style and form of the work he playes help him to produce a complete artistic impression. At the same time intellectual saturation and deep penetration into the inmost recesses of one's heart create that particular fullness and vitality of musical subjects for which the art of this harmonious musician is famous. V. Rudenko |
Nathan Milstein
Henri Marteau |
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