Michael Rabin - Wieniawski Concerto No.2 Part 1

Violin Concerto No. 2 in D minor, Op. 22
Composed by Henryk Wieniawski
Performed by London Philharmonia Orchestra
with Michael Rabin
Conducted by Eugene Goossens

Biography

Michael Rabin (May 2, 1936 - January 19, 1972) was an American violinist of Romanian descent.
He began to learn the violin when he was seven. His father George, a violinist in the New York Philharmonic, noticed his talent. A lesson with Jascha Heifetz was arranged and the master advised him to study with Ivan Galamian, who said he had: "no weaknesses, never." His mother Jeanne was a Juilliard-trained and successful pianist. He began studies with Galamian in New York and at Meadowmount and The Juilliard School, and went on to appear with a number of American orchestras before his 29 November 1951 Carnegie Hall debut in the Paganini D major Concerto, with Dimitri Mitropoulos conducting the New York Philharmonic. He first appeared in London on 13 December 1954, playing the Tchaikovsky Concerto at the Royal Albert Hall with the BBC Symphony Orchestra.
Michael Rabin recorded concertos by Mendelssohn, Bruch (Scottish Fantasy), Glazunov, Paganini (no. 1 in D major-2 recordings), Wieniawski (No.1 in f-sharp minor, No. 2 in d-minor), and Tchaikovsky, as well as the Paganini Caprices. He recorded the Bach Sonata in C major for solo violin and the Ysaÿe Third and Fourth Sonatas for solo violin, as well as virtuoso pieces, including an album with the Hollywood Bowl Orchestra.
Rabin played in a Bel Canto style. During a recital in Carnegie Hall, he suddenly fell forward and momentarily lost his balance, and this was the beginning of a neurological condition which was to affect his career adversely. He died prematurely at the age of 35 from a head injury sustained in a fall at his New York apartment.
He performed for many years on the "Kubelik" Guarnerius del Gesu of 1735

Category:

Music

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• rabin
• heifetz
• menuhin
• elman
• gitlis
• haendel
• stern
• wieniawski
• paganini
• love
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• music
• classical
• alternative

[CrockSkinTesticles]

I just turned 2 and am starting this piece, it will be easy having learned the 24 caprices though....

[DownMemoryAve]

...

why the heck do comments from classical pieces always end up in heated arguments about composers and soloists and how they play...dont pick at them/it so much! Leave it be!....

[xilibai]

@squeatley Well said, sir/madam. Well said.

[GangsterGiraffitti]

@iwavns it's called...idk...SARCASM

[xilibai]

@iwavns Ahem. Whoever is actually skeptical and gave it some thought is the fool. It's obviously a joke. Not a bad one at that---Rabin was a genius as well, so it's fitting.

[squeatley]

Hear that up bow staccato? Thats how its done. And very classy. No one else on you tube can do it properly like this - not even rachel b-p. In fact this performance is pretty definitive and to be honest nothing much holds a candle to it. I know theres lots of 13 year old (and younger) kids knocking it out but so what? Thats novelty not music. Who can play Paganini 24 the youngest ! Or the fastest flight of the b-b before being potty trained. You need to have loved and lost to play this piece.

[mizzothify]

@NSSpaser (2) … than the other notes in that chord, again blurring the G-maj. All in all, the instrumentation in these bars is just not particular successful in clarifying the harmonic progression ... Brahms and Mozart and the like would have done better …

[mizzothify]

@NSSpaser First, I share your confusion about that note! Second, I will try to explain: Harmonically, the progression is tonic (F) – double dominant (G; third inversion = F in the cellos) – dominant (C) (2nd inversion = E in the cellos) – tonic (F). This is quite a simple progression by itself. It is not easy to follow it though bc it is played by the strings in pizz. only, whereas the chromatic line in the solo vln gives no harmonic support. On top, the open G sounds much stronger …

[jhglobal1]

Wonderful....I also think his playing of No.1 is the best ever. His own teacher, Galamian, himself said that Michal Rabin was the best of all..."never a weakness, never"...that includes Perlman who borrowed from Rabin's style in many aspects.

[stradrools]

@iwavns you are a smart one, aren't you?

[MrEcho711]

@DownMemoryAve It's because the best things in life are all surrounded by conspiracies and lots of perspective. Thats life.

[PawCat]

@NSSpaser Grothamanus said it all correct... I also think he maybe used the harmonic for the slide upwards. The chromatic line down afterwards is completely on the d string so the d''' on the d string is a good idea. The slide up there to the harmonic simply sounds better and is easier... at the very end it sounds similar to a slide where you slide first and then put a higher finger on, like at 4:15. In the edition I have, this is also printed as an harmonic, but that does not say very much.