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Carl Flesh The name of Carl (Karoly) Flesch, a noted teacher and methodologist, an eminent theoretician of violin playing of the 20th century, is well-known in musical circles all over the world. His famous pupils J. Wolfsthal, I. Haendel, S. Goldberg, A. Leshchinsky, G. Neveu, R. Odnoposoff, M. Rostal, H. Temianka, R. Totenberg, H. Szeryng have convincingly demonstrated the high standard of Flesch's teaching and the popularity of progressive ideas disseminated by his school. His fundamental methodological works ("Die Kunst des Violinspiels" and others) have been translated into many languages. As J. Szigeti said, they opened "a new era in teaching the art of violin playing". Flesch's editions of violin works by J. Bach, J. Haydn, W. A. Mozart, L. Beethoven, J. Brahms, N. Paganini and others are well-known all over the world. Much less known (especially to the listener of today) is C. Flesch the performer, a fellow-student of J. Thibaud and G. Enescu, the Paris Conservatoire first prize winner, a brilliant concert violinist who appeared for more than half a century with leading conductors and orchestras of Europe and the USA and played in ensemble with such renowned masters as A. Schnabel and J. Hofmann, F. Kreisler and J. Szigeti, G. Piatigorsky and E. Feuermann. A son of a military doctor, Carl Flesch was born in a small Hungarian town of Mosonmagyarovar, the region which was the birth-place of J. Haydn, F. Liszt, A. Nikisch, H. Richter, E. Dohnanyi and M. Mosonyi and also of a number of talented folk musicians. At the age of seven Karoly already played folk songs and dances learned with a local bandmaster. Musical impressions of his childhood must have made a lasting imprint on the future violinist's performing style; at times sunny, sultry sounds, just like his own Hungary, burst from his singing violin, and his fiery temperament, normally kept under a tight rein, blazes with a bright flame. In later years Flesch devoted much attention to studying various shades of rubato widely spread in musical practices of Hungarian folk violinists. His intellect having matured early, endowed with a keen analytical mind, Flesch had a constant urge to study, to absorb and assimilate all the best things which came his way. Remembering his first musical encounter with 10-year old Kreisler in 1885 in Vienna. Flesch said: "Kreisler became for me — as well as for many violinists of my generation — a guiding star, the ideal of violin playing of the time". His acquaintance with the performances of M. Elman and E. Zimbalist — the representatives of L. Auer's Russian musical school of violih playing — made him reconsider his own fingering technique. Having acknowledged the merits of the Russian school of sound production Flesch wrote: "I soon acquired that manner of holding the bow..." But it was not slavish imitation. Flesch, a strong artistic personality, did not need to copy other people. His acquaintance with the work of P. Sarasate and J. Joachim, F. Ondricek and E. Ysaye, H. Marteau and J. Kubelik, J. Heifetz and J. Thibaud made a vivid impression on Flesch, developed and nurtured his intellect, enriched his expressive palette giving a great impetus to his further work. Later, when Flesch was working at "Die Kunst des Violinspiels" and "Memoirs of Carl Flesch" his keen powers of observation, excellent memory and a sharp analytical mind helped him sort out the wealth of impression accumulated by him over the years. His artistic growth was greatly enhanced, as he himself admitted, by his association with outstanding conductors (A. Nikisch, F. Weingartner, W. Furtwangler) and his 15-year cooperation with pianist A. Schnabel. Flesch's artistic career both as a performer and teacher took him from one country to another. Dissatisfied with his studies in the Vienna Conservatoire (1886—1890) he went to Paris to M. P. J. Marsick graduating from his class with the first prize in 1894. Though his brilliant debuts in Vienna (1885) and Berlin (1886) with Paganini's D major Concerto, Bach's Chaconne, Saint-Saens's "Havanaise" were a real sensation carrying him to the first ranks of young violinists, he was not content. Critical of himself, Flesch felt he had to find his true self away from the busy life of the capitals, so went to the Bucharest Conservatoire where he played in a quartet and learned the ABC of pedagogy (1897—1902). He did very well in his studies evolving into a first-rate performer and gradually coming to realize that "teaching is the most noble part of artistic activities". While continuing his concert appearances he found his vocation in teaching. From 1897 to his death (Flesch died in Lucerne on November 14, 1944) he pursued a teaching career in various educational establishments, including those of higher learning — in Amsterdam (1903—1908, 1939—1940), Berlin (1921 — 1922, 1928—1934), Philadelphia (1923—1928), London (1934—1939), Lucerne (1943—1944); he also taught at mastership courses in other European cities. M. Rostal, Flesch's pupil who later became his assistant, remembered: "Flesch managed somehow to combine teaching, in which he put all of himself, with extensive concert activities. His first appearances in Berlin were quite unusual — he played Bach's six solo sonatas which was a bold programme even for a selected audience. His cooperation with Artur Schnabel was a highlight in the history of chamber music. A man of powerful intellect, Flesch was strongly attracted to history, striving to follow the evolution of violin repertoire. He was a true enlightener who set before himself serious theoretical and practical tasks, a scholar, a performing musician and an artist. This is attested to by his sponsoring cycles of three and five "historical" concerts in 1904 and 1905 at which more than 60 works by 48 composers belonging to different epochs and styles were played (he was among violinists to come forward with such an initiative). These concerts given in Amsterdam and Berlin were enthusiastically welcomed by the musical public paving the way for Flesch's world-wide recognition. He appeared several times in all European cities (in 1911 in Russia), in 1914 and 1923 made an extensive tour of the USA. His repertoire was vast. According to Szigeti Flesch "was wonderful" in H. Ernst's virtuoso concerto and at the same time famous for his monumental treatment of concertos by Beethoven, Brahms, Tchaikovsky; he was a subtle performer and an excellent ensemble player; the A. Schnabel — C. Flesch — G. Gerardi trio by rights shared European success with the trio of A. Cortot — J. Thibaud — P.Casals. "His bowing was first-rate but it did not have that ingratiating ease which appealed so much to an average listener. His playing was classical and monumental, totally devoid of any virtuoso tricks", M. Rostal wrote. "My creative efforts", Carl Flesch said, "were always lit with the bright light of conciousness through which I strove to penetrate into the mystery ou emotions". Flesch's pupil A. Leshchinsky remembered that Flesch had a perfect command of all kinds of violin-playing technique. Vertiginous passages, difficult combinations of double notes were performed by him with dazzling virtuosity, his nuances were immaculate, his powerful, opulent, beautiful sound, rich with the most delicate shades of tone colour, was extremely warm and expressive. Flesch taught his students to penetrate deep into the work's spirit and at the same time to think logically, to understand and feel differencesin styles, their special characteristic features. He often took violin to show what he had in mind, and he did it perfectly. Without ever attempting to suppress the pupil's personality Flesch attached tremendous importance to the purity of style, the depth of penetration into the author's concept which was the cornerstone of his own interpretations. To honour the memory of the distinguished teacher and musician the-Carl Flesch Medal was established in London in 1945 and a competition of young musicians is held. V. Rudenko
MP3: F. Gendel. Sonata for violin and basso continuo A-dur, HWV 372, op. 1 № 14. Ch. 1, Adagio. Carl Flesh, violin; Felix Van Deik, piano. Recorded in 1936.
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Carl Flesh
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