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From: nagari244
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  • Like a boss = D

  • For a second I thought he tossed his bow at the end. That was amazing!

  • Is it capriccio or caprice?

  • @nyrondi29

    capriccio because Paganini was italian!

  • Este es el capricho que más me gusta! Bastante rápido, complicado e inimitable. Me quedé Taciturno estos dos minutos de aprecio. Tan interesante que me inocúla ganas de aprender a tocar el violín.

  • @violinamore

    That's just his swag. He changes more notes, like adding a little extra on the end an changing accidentals in a few spots

  • je suis violoniste moi aussi

  • How is it possible to play like that so effortless?!

  • What is that in 0:19 ???? There is supposed to be a scale back as well ?? Not just few tones back a-e-c-a ?

  • @violinoamore

    How 'bout screeching?

  • I tuned into this video and I was like, "OMG! What was that again?" EFFORTLESS!

  • Perdón, cometí el error de no agradecer también al usuario de este canal por haber subido la interpretación de este brillante violinista.

    Muchas Gracias!

    Minerva

  • Impressive, You Are right Pablito, merci beaucoup come tous les jours, mon chéri ,)

    Hopefully this time the google translator don't get me wrong en come je vous appelle ..jajaja..

    Love ya!

    La Minè ;P

  • I'm very appreciated, Mine.

  • @PablitoBodhisattva There's no doubt for me, i do know, of course! Satisfied now Pablito or still in doubt?

    Je t'aime! E vou?

  • eugene's trickbag x1000000000

  • since i listened to paganini i want to play violin.... serious

  • Esta versión del capricho 5 es muy buena, simplemente Milstein tenia un estilo diferente al de Markov, lo cual es muy normal y sobre todo en los caprichos 5 y 24 de paganini. Para mi la mejor interpretacion de este capricho es la de Shlomo Mintz...echenle un vistazo y veran

  • wtf how do u do that!?

  • it's all fake, the music ... the movement is mounted to imitate the sound but do not produce it

  • 0:22 He looks like he's thinking..."Oh, great. Now I have to play the easiest part of this whole piece."

  • I just pooped myself

  • so effortless

  • Every single note speaks. That is SOOO crazy on this caprice.

  • Il redonne la beautée à ce caprice si souvent mal joué.

  • te falto el stacatto compa jajajaja, nadie como ALEXANDER MARKOV

  • magnifique

  • The most clean interpretation I know.

  • Too slow. Only at halfspeed. 

  • @LordShandor are you a 5-year old Chinese GM mutant? well you're invited to show your double-speed interpretation here on Youtube.

    And while practicing don't forget that what Milstein is doing is called MUSIC and not a sequence of fast notes.

  • @pichat1 Listen carefully stupid, he isn't playing it the way it was WRITTEN and therefore intended to be played.

    watch?v=QmfGnSyUf4s

  • @LordShandor Ha, you're right, it appears 'halfspeed' to the half-wits!

    You listen carefully moron, there's no metronome tempo indication, the middle section is marked Agitato- any idea what that means? Course not- you're not a musician. It means agitated and open to interpretation which Milstein does here beautifully.

    I'm only being like this because your initial statement inslults this great musician. This is NOT how I normally discuss music and will not engage in any further animosity

  • @pichat1 well said, well said :)

  • i just love the lightness and complete effortless look of his playing. i also love the fact that he brings out some of the modulations rather than just playing it like a metronome. amazing

  • he's version is gd but i still prefer markov's bowing

  • Demasiado genio Nathan Milstein, fue y es una legenda

  • muito fraco

  • No thrill, no emotion, waste of talent. Half the notes are decorum. Where's your heart Paganini?

  • @vladikazakh You're wrong

  • @vladikazakh it was not yet the time of "paganini's renaissance"! a diabolic interpretation

    of paganini is quite recent!

  • @vladikazakh your comment is out of place. you have no idea what your talking about. of course Paganini put emotion into his music! this composition is for technique sake and virtuosity.

  • Jeez, look at his fingers. Looks so fluid and effortless.

  • Wow!

  • FAR MORE BETTER MINTZ

  • I wonder how many notes he played in this piece! That's incredible.

  • at 1:06, he plays a b flat... which version is this?

  • Yeahhhhhh !!! Awesome

  • amo paganini...... <3

  • waoooo Milstein was a geniuss

  • c'mon, doesnt matter the speed, the important thing is the feeling and perfection of notes. This is the best performance of caprice 5 i've ever seen and listen

  • well, kavakos plays it almost the double speed

    and he sounds pretty much as clear as him

    cu

  • @HeiligerPavianarsch Kavakos plays it with more fluidity as well

  • @SquishyRainbow well, that too, but still milstein is playing great music, too

    but for paganini i would always prefer kavakos to anybody!!

    cu

  • @HeiligerPavianarsch Kavakos is the supreme master.

  • @HeiligerPavianarsch also Salvatore Accardo is not to bad.. I sow him with "le campanelle". I stayed breathless for a week.

  • I wonder what this looks like on sheet music.... probably a bunch of black dots...

  • heifetz' playing is more angular, his bow is a paintbrush. milstein's approach is more aggressive, though, and the playing of these two it's a matter of preference. no objective standards exist to distinguish these two masters.

  • nobody better

  • im agree..!! NOBODY...!!

  • Besides Heifetz of course

  • fantastic

  • beautiful....

  • si "insinua" nel pezzo meravigliosamente

  • this is crazy insanity.

  • he almost slips and crashes the whole piece at 1:31 but since Milstein is a badass he keeps right on going and sweeping

  • INSANE!!

    look up yngwie malmsteen

  • hhelpmaboab: Actually, Ill Cannone was Paganini's favorite violin and he preferred to use it over other violins. In actuality, the composition of the instrument helped him to perform the double, triple and quadruple stops that he is so well known for. The flatter bridge allowed him to play chords so that no arpeggio effect was audible. For drawn out chords he used the lower part of the bow and raised the hand and lower part of the arm higher while bringing his elbow away from his body.

  • a King !!

  • actually, Milstein's intonation is more accurate than Markov's, especially in the higher positions.

  • @emilywilliams420 Maybe, but he does not play the original bowing :P

  • uh oh :p

  • @emilywilliams420 True. Markov generally doesn't play really in tune (compared to Milstein or Mintz) in any of the caprices - although he has incredible presence and it's really fun watching him.

  • awesome....

  • There was a program on BBc Radio 2 last night which included a short but entertaining section on Paganni -

    Episode 3

    Listen:Listen (Duration: 30 minutes)

    Availability:

    6 days left to listen

    Last broadcast Thursday 1st Oct 2009, 22:30 on BBC Radio 2

    Synopsis David Quantick's quick-paced and occasionally fabricated guide to classical music.

  • I agree 123mortimer456. Paganini was known to break three strings and play on only one string during concerts as sort of a parlor trick, but there is no way of knowing which songs he would play. Not only did he have extremely long fingers (presumably from Marfan's Syndrome) but his violin the "Il Cannone" had all the strings on the same plane, which allowed for bowing of three, sometimes all four strings at a time.

  • Another of his tricks concerned the 1st violin concerto.I believe that when he 1st performed this it was billed as being in e flat major-nobody could work out how he managed to play this in such a challenging key.The answer is he didn't,he used scordatura so that the fingering was in d major!

  • Hah! Knew a bit about Paganini, but didn't know he used that little trick for the 1st. Thanks shiveringflower, guess you learn something new every day.

  • if strings were all in the same plane, how could he avoid also playing the 1st or 4th when playing the 2nd and 3rd strings? I assume the violin was for specialised pieces only?

  • Somehow my reply to a comment about Bach has appeared here?????

  • All of it.  He'd ask someone in the audience to name the string he used.

  • simply amazing...

  • You know what's even more amazing. Paganini could play this on one string.

  • even the arpeggios? D:

  • That was just a myth. He never did that.

  • No, it's a legend. No one knows if it's true or not. I like to think it is. You can practice enough to do anything. Paganini had Marfan's syndrome, which made his fingers extraordinarily long.

  • I stand corrected. Then again, I still doubt he did it, but that's just my opinion.

  • It is impossible to play this on one string.Physically!The G string is not long enough for all the high notes and wouldn´t allow a fast tempo either.Paganini played the ¨Moises¨ variations on the G string after the other three were torn up

  • Lassann - you're wrong. Paganini could NOT play the 5th Caprice on one string. And there is no legend or myth that he could. It is true, of course, that Paganini had a whole grab bag full of single-string stunts. But this Caprice is not one of them.

  • there aren't enough notes on a single string anyway.

  • This is killer to play on guitar. It'll make you break a sweat.

  • q lokaso

  • perfect U.U

  • I love to hear Kogan play this, any one has it ? please up load, thanks !

  • hujowo

  • i guess when you have played that you can play anything after!

  • Dilemma amletico: Kogan o Milstein?

  • .Exelente ! , gracias ,desde argentina.

  • Heifetz knew Paganini wasn't his strong suit, that why he didn't try too many Paganini's. powerful and dynamic belong to Kogan, he knew his style is close to Paganini, tynicaly being equal, where the charator come out to play, Kogan is better candidate to carry Paganini's torch.

  • Salvatore Accardo's is recording is top-shelf as well.

  • Accardo of course is on top of the shelf, so as the legendary of Kreisler(my favorit) Francescatti, Heifetz (I went to see him in the middle of 60' in music center LA), but they are not Paganini, no one can interprete Paganini except Kogan because of they two share the same personalyties, devil's bow spirits, you can tell the intensity through out the music. It was told Kogan he disregarded friends & manager's advise, went ahead for the performance(by train), turned out be his last.

  • They can interpret it, just not in maybe the way that Paganini would.

  • Better than Ricci?

  • When compare to R. Ricci please ref. to utube's posting, they both have #24 there. for the clearity of the tone, vibratos, it shows on the live concert of ASTONISING-Leonid Kogan....

  • I mean none of them is better than Kogan. refer. to "Astonising..." on U-2

  • Love this! Some people play this and all you hear is the bow, not the notes. This man is so clear and beautiful!

  • しっかし、易しそうに弾きますね。

    フィンガリングなんて全く無駄がないというか、合理的というか。

    大家の貫禄ですね。

    脱帽!

  • makes it look so easy! haha

  • IN fucking Credible. Ive heard this played at least 20 times, and none have done as well as this guy. BRAVO. IN ESPANOL.

  • 0_0 my... hero!!

  • This is....AMAZING!!!!!!!!!!!!!!!!!­!

  • mais waouh quoi *.* impressionnant et beau à la fois !

  • where is that sheet music?

  • each note is so clear

  • prestige at its best

  • Oops, not Rabin, but Markov ^^

  • Nice speed, nice intonation... But the staccatto is not quite done as it should be where Rabin (I think) did it in a quite impressive way !

  • Better than Rabin on this one, in my books.

  • Paganini was a true genius

  • This guy is insanley good. Wow he is soooo talented I can't play that fast yet!

  • Fooly & cooly...

  • God!!! incredible!! this is an extreme masterpiece

  • Good Job!!!!!

  • ur all idiots, the russian hold simply meant not relying on pressure on strings to create a louder sound, but rather having minimal pressure on the string to create a more resonating and clear sound that echoes alot further than if you were to apply pressure, it's got nothing to do with posture...this is why 21st century violin playing has decayed so badly, it's nothing but pressure on the strings in the hope that the sound would be louder, russian style aka 20th century is still much better

  • So let me just get this clear in mind ... because the people below do not share your specific understanding of the 'Russian Hold', they are all idiots. An idiot is a person so mentally deficient as to be incapable of ordinary reasoning. Don't you think you may have gone overboard somewhat with that presumptuous insult? If these people are idiots, then you must be an insufferable boor (and an arsehole of the first order, to boot).

  • What you're talking about is a style of sound production, not a bow hold. There is in fact a Russian bow-hold, Carl Flesch writes to great detail about it in his book "The Art of Violin Playing," and in his writing, he does specifically state that the Russian hold permits considerably more leverage to apply weight into the bow than its counterparts. Of course, whether one chooses to take advantage of this leverage is up to the player.

  • The violinist Leonidas Kavakos employs the Russian bow hold, at least by popular definitions: deeper first finger contact, and higher inward rotation. He plays very cleanly with a very even tone, and remarkable projection. His un-miked Sibelius recordings are a testament to that. He also happens to tend towards the heavier side of bowing.

  • no way he lacks ferocity...every piece milstein plays he always takes it head on, thats whats really characteristic of the russian style, and thats what makes milstein one of the greatest ever violinists, his technique was so perfect and refined, his tone was just as good, this in combination with his direct and powerful approach to many standard repetoirs earned him a reputation as a violinist on par with heifetz

  • I agree completely..

  • You gotta love the russian bow-hold. Why is it that violin teachers on the whole (at least in America) say that this hold doesn't facilitate good playing? What do they say to a player like Milstein?

  • What is Russian bow-hold? When the thumb grips the underside of the frog?

  • Simplified, a russian bow-hold has to do with a straightened pinky and subsequently, the other fingers become more straight.

  • You could go by that definition, but then all beginners use the Russian bow hold lol. According to Carl Flesch, the Russian bow hold involves a deeper contact point between the bow and the first finger. With the Franco-Belgian hold, the bow contacts the index finger between the 1st and 2nd joints from the tip, whereas with the Russian hold, the bow contacts the index finger between the 2nd and 3rd joints.

    (continued ->)

  • (...continued from previous post)

    The deeper contact point results in more inward rotation of the forearm, which then results in a more extended pinky because it has to reach farther to contact the stick.

    A lot of people claim to use the Russian bow hold when they're actually using a poorly-formed Franco-Belgian (or similar Galamian) bow hold (their joints collapse and their pinky sticks straight).

  • Oh okay, thanks stickfiguremasterdx and kyriaeus

  • A lot of violin teachers in the US claim the Russian hold is stiff and inflexible at the frog due to the relatively high amount of forearm rotation. However, the problem lies not in the bow hold, but the VIOLIN hold and posture. A lot of people hold the violin such that the scroll points directly in front (perpendicular to their body), which means they have to contort their wrist to get the bow perpendicular to the strings. (continued ->)

  • (continued from prev. post)

    By turning the violin around so that its scroll is pointing far left, the bow will naturally be perpendicular to the strings without the player having to twist his wrist around. Generally, the taller you are, the more you want to point the scroll away from the center. Heifetz was relatively tall, while Milstein wasn't. Note the differences in how they hold the violin.

  • muy bueno. Sólo me queda la duda si este personaje es familiar de Nicolo Paganini

  • porq habria de serlo?

  • Very good!! But I think that there are another better performances.

  • nathan milstein is a GOD!!! just listen to his beethoven, mendelsshon, brahms, and tschaikovsky concerti.

  • that was awesome

    he has amazing speed

  • Is Milstein considered the top interpretor of Paganini's Capriccio's? Replys wanted.

  • I wouldn't say so. He lacks ferocity.

  • i dont think so, i would say heifetz is the best but unfortunately he only recorded the number 13 and the 24, maybe u would like to check is rendition of the 24 and see what i mean...

  • Some say Kogan is the best Paganini player.Of course , they are all very good.Too bad Heifetz didn't record more Paganini caprices...Then we would have known for sure:)

  • Technically, Ruggiero Ricci is considered to be the Paganini man, and nowadays Salvatore Accardo is acquiring that status as well. Personally, I prefer the way the old masters such as Milstein/Heifetz play Paganini because they play Paganini in a more standard concerto-like fashion. Although Ricci/Accardo are probably more authentic when it comes to playing Paganini in the Italian, Paganini-esque way.

  • SO FREAAAAAAKING FAST

  • ever time he hits that high note a kitten dies... haha. just kidding. theres no telling how many times this guy rehearsed this... amazing.

  • FABULOUS! Perhaps all do not appreciate Paganini's Caprices but all violinist's do! They are challenging for most of us, but out and out fun at the same time. Personally, I love listening to them, but I am a violinist..I also love comparing and contrasting styles of different players on these caprices. These pieces are a fine study in bowing, intonation (tons of chromatics) and runs--playing in the symphony often consists of playing RUNS:runs and runs and runs, These are an interesting study

  • lol i hate runs, especiall for the rachmaninov no. 3 :(

  • that's becouse you can t play them

  • pobre interpretacion la verdad se queda corta comparada con la de Perlman. La toca muy bajito y se equivoca mucho a lo largo de la pieza

  • que demonios?? no es una pobre interpretación, es uno de los mejores violinistas del siglo XX interpretando de manera magistral una pieza dificilísima,muy bajito? bajito respecto de que? ademas no se equivoca para absolutamente nada, es afinadisimo, su tecnica es concisa, su arco espectacular, el tempo es apropiado, es una de las mejores interpretaciones de la historia, y de hecho Perlman, aunque es casi mi favorito y lo idolatro, en una grabación de este mismo capricho, se equivoca rotundamente

  • se nota q no has escuchado otras interpetaciones de este capricho con renombrados violinistas

    o a lo mejor para ti este es la mejor de todas pero para mi no

  • Milstein es un renombrado violinista

  • Milstein es considerado uno de los genios del siglo pasado, con una limpieza unica y una obsesion por la articulacion de los dedos. El fue unico aunque pienso que Heifetz fue el mejor tocando piezas de Paganini

  • Pviola and Isosphere, you are the hell wrong!! Paganini, Locatelli, Bazzini for example, those who wondered and took the technique to unknown limits, were extreme musicians an excelent players, Schumann, Beethoven, Bach, these are virtuoso too! and no one will say they irrespected the music right? you know Pierre Rode? Fiorillo? Dont? Kreutzer? those where virtuoso players that aported to the study of technic and playing,virtuoso of course, which is part of the music, as well as Paganini

  • No no no WTF?? how you can say or even think, going to the ultimate technic and develop de violin to the extreme, ultimate and most wonderful limits is overstressing the instrument and somwhow irrespecting the music?? this is part of the music!! virtuosity and extreme technic es part of playing any instrument, if you know how is to play and instrument, would know that ALWAYS you have yo play velocity, afination and virtuoso exercises, this is music, difficult, top technique, and WONDERFUL music

  • it's all about the tourte... or kittel

  • 1 min and 32 listen

  • Oye klk palomo, pongase a estudiar en su casa, y deje de estar criticando a un maestro como Milstein. oyó carajo! Buena mierda

  • Oh yes....VOCÊ TEM UM BOM OUVIDO...deve entender muito de musica!!!

  • Oh yes....VOCÊ TEM UM BOM OUVIDO...deve entender muito de musica!!!

  • the brain it's the only limit to understand

  • I talk again i can not speark any think about great iolinists.

  • impresionante este conchesumadre

  • Care to elaborate?

  • That's your opinion, I suppose. Pressing boundaries as far as they can go is something that I admire about all forms of music.