HIs style of pllaying is so different from anyone I've heard play this song. He really plays it harshly, wihout hesitation. Not always good in every song, but it fits this one perfectly! I've never heard anyone with such style like his.
Ferras used to play two Strads: the Präsident and the Milanollo. He got the latter in 1967 and this video is from 1961. So it's very likely that the one he uses for this Tzigane version be the Präsident, a 1721 Strad.
that all holds true, but I still admire Maxim, especially in his interpretation of Ravel. Nobody else quite touches me similarly and I don't think some square prescriptions on how an artist should behave on stage must prevail. But Ferras was absolutely great, especially on Foure. Astonishing.
It's a damn shame that this was recorded in a sterile TV studio. It really lacks the acoustic of a concert hall to draw you into the violin sound after those dramatic phrases in the cadenza. Superb performance!
I agree that he plays it amazingly(obviously), but I wouldn't use the word "harshly" to describe his playing, I think that word fits Maxim Vengeroiv's interpretation better lol.
@semisavage I would beg to differ on the subject of Heifetz; I'm not sure I could describe any element of his playing as "sterile" other than his relatively impassive physical appearance. In fact, the particular brand of burning lyricism and virtuosity he brought to violin playing is anything but "sterile," I feel. But I do agree that Ferras was/is amazing and deserves far more attention than he gets. I'd take Ferras over someone like Vengerov and his spastic gyrating any day.
Comme toujours chez Ferras, le violon est légèrement à gauche. Le délié, le musculaire, le son tactile, la netteté ambiante montre à quel point l'harmonique et la beauté se rejoignent. L'archet est à la fois présent et cambré. Autre particularité de monsieur Ferras, les cordes sont souvent "glissées" et non frottées ou même touchées. Ravel s'ennuie dans cette composition d'un autre âge. La partie de piano est là nous savons tous pourquoi, inutile d'insister.
Jextxadore used the word "harsh", he didn't mean it in a bad way though, he meant it in the same way you said violent. It's just that I couldn't help but feel that even with good intention the word "harsh" could be used to describe this playing. I agree with your opinion on Vengerov, he's the ONLY person who makes extraneous scratchy noises in his interpretation of this piece. I don't see how any one could like his playing unless they are ignorant as to what gypsy playing really is.
comparing this with the sibelius concerto (interpretation and dynamics) here, his intense vibrato is applicable. He starts out the Sibelius concerto with the same vibrato, and in my taste, I would have used a much softer vibrato.... just a thought
@cleansky10 and what kind of vibrato you like ? those superslow and superwide? that kind of vibratos have majority of nowaday violinists and many people can agree me- that vibrato is completely boring and at least for me- disgusting. But Heifetz,Ferras,Hirshhorn and Kogan- even on slow piecies faster vibrato sounds so beautiful and gives extra excitement to listener.
Ferras stays one of the best violinists for me!!!
Incomparable Christian Ferras!
I've heard this many times, many great technicians play it well, but I found this haunting.
Ferras was fantastic.Musically so allive and he had brilliant technique.
his vibratos are so powerful!
HIs style of pllaying is so different from anyone I've heard play this song. He really plays it harshly, wihout hesitation. Not always good in every song, but it fits this one perfectly! I've never heard anyone with such style like his.
It's been a while since I've been genuinely and thoroughly touched by a (to me) new violin performance. It happened just now:)
This is a superior performance of the Tzigane, although I once favored Szeryng's rendition, this is now my favorite, it's simply out of this world.
I agree. In fact, around minute 2, he lifts his cheek to adjust and you can just glimpse the absence of a chin rest. Amazing.
Ferras used to play two Strads: the Präsident and the Milanollo. He got the latter in 1967 and this video is from 1961. So it's very likely that the one he uses for this Tzigane version be the Präsident, a 1721 Strad.
Awesome!!!
great soloist :)
stellar
that all holds true, but I still admire Maxim, especially in his interpretation of Ravel. Nobody else quite touches me similarly and I don't think some square prescriptions on how an artist should behave on stage must prevail. But Ferras was absolutely great, especially on Foure. Astonishing.
It's a damn shame that this was recorded in a sterile TV studio. It really lacks the acoustic of a concert hall to draw you into the violin sound after those dramatic phrases in the cadenza. Superb performance!
I agree that he plays it amazingly(obviously), but I wouldn't use the word "harshly" to describe his playing, I think that word fits Maxim Vengeroiv's interpretation better lol.
@semisavage I would beg to differ on the subject of Heifetz; I'm not sure I could describe any element of his playing as "sterile" other than his relatively impassive physical appearance. In fact, the particular brand of burning lyricism and virtuosity he brought to violin playing is anything but "sterile," I feel.
But I do agree that Ferras was/is amazing and deserves far more attention than he gets. I'd take Ferras over someone like Vengerov and his spastic gyrating any day.
I heard 1:44-1:47 and I was like "WHOA HOW DOES HE DO THAT???"
And I still can't fathom it.
It's a really nice performance, though you should listen to Jascha Heifetz play it in comparison. czcams.com/video/x9mAqK2Tuik/video.html
ferras's version feels a bit faster, but it is beautiful in its own right
Comme toujours chez Ferras, le violon est légèrement à gauche. Le délié, le musculaire, le son tactile, la netteté ambiante montre à quel point l'harmonique et la beauté se rejoignent. L'archet est à la fois présent et cambré. Autre particularité de monsieur Ferras, les cordes sont souvent "glissées" et non frottées ou même touchées. Ravel s'ennuie dans cette composition d'un autre âge. La partie de piano est là nous savons tous pourquoi, inutile d'insister.
Ferras played the "Milanollo" Strad and the Prasident Strad. Anyone know if he's playing one of those here?
Jextxadore used the word "harsh", he didn't mean it in a bad way though, he meant it in the same way you said violent. It's just that I couldn't help but feel that even with good intention the word "harsh" could be used to describe this playing. I agree with your opinion on Vengerov, he's the ONLY person who makes extraneous scratchy noises in his interpretation of this piece. I don't see how any one could like his playing unless they are ignorant as to what gypsy playing really is.
comparing this with the sibelius concerto (interpretation and dynamics)
here, his intense vibrato is applicable. He starts out the Sibelius concerto with the same vibrato, and in my taste, I would have used a much softer vibrato....
just a thought
@cleansky10
and what kind of vibrato you like ?
those superslow and superwide? that kind of vibratos have majority of nowaday violinists and many people can agree me- that vibrato is completely boring and at least for me- disgusting.
But Heifetz,Ferras,Hirshhorn and Kogan- even on slow piecies faster vibrato sounds so beautiful and gives extra excitement to listener.
who is the pianist?
I think it's a baroque violin
That's called "pronation" not arc-ing