Marcello Villa

C'mon, honey-chile! Look at that private room, the antiquery: paintings, furniture, furnishings, those tiny, rich-old lady-day champagne-lunch hags. So few, you can count them from their single-handed applause. Don't listen either to them drawing-room acoustics, darl, mothered n smothered in drapes n rugs. Forget that shameless accompanistario. . . Just guess who we had for lunch, sweetie, yesterday? No? Salvatore, my soul's sensation! He was a marvel, of course. His Horror Staccato?! I died n went to hell!! SO sorry you couldn't make it: too few chairs for our living airs, leave alone the dead. Perhappy another time, if you're free n easy? In sincerity, Auntie Sam. XX.

The pianist was a measure behind; he gave him an extra measure to catch up. The pianist, if anything, was incompetent because he failed to adjust to the soloist and forced the soloist to accommodate him instead.

But they ended together and started together -can the middle be immaterial so long as the Hora Dancers continued? I like the musicianship for survival through human frailty [that s what the arts are about -Being Human?] @@Musicrafter12

because its written like that !

Probably should've rehearsed it better (ie play through it beforehand and stick to it!)

@@Musicrafter12Very true!

nope. heifeitz and oistrakh

+Viiolynn shshshsh please....

et FERRAS

francesco cozzo You are right Accardo and the most musically astute too!

@@viiolynn4071 come on ,put Pearlman on that list too....this guy is up there too....

yes, I miss the down bow staccato !

Salvatore can easily do the down bow Staccato… he was likely distracted by the accompanist… who could be extremely unpredictable!

@@patzoffreo5982 yes, I have no doubt that Salvatore can easily do the down bow staccato.

M MB Hora Staccato

@@farhadviolin thanks!

Sopra, lei può trovare dettagli interessanti nel mio commento.

shhh :-)

what do you mean

Why do you think it's ridiculous to compare Accardo with Heifetz. If you want to have a valid comparison of Accardo's rendition of Heifetz encores you should purchase the never before released CDs from ABC Records International from Shanghai China. These 2 recordings including Sarasate's Ziguerneweisen and Sarasate's Carmen Fantasy recorded in January 1974 (Accardo in the period of his prime - 1974 - late 1980's perhaps early 1990s) with the London Philharmonic Orchestra and Charles Dutoit and a 2nd CD also recorded in January 1974 ... The Magic Violin with all the Heifetz encores with the London Philharmonic Orchestra and Charles Dutoit ... Accardo's performances rival any of the Heifetz efforts. Accardo's rendition of Kroll's Banjo & Fiddle far exceeds Heifetz's efforts and this is also true of a number of other encores presented in The Magic Violin CD. You're extremely mistaken in your views of Accardo who unlike Heifetz placed music first and the violin 2nd. Heifetz often made every conceivable effort to exploit the written score to draw attention to himself and his extraordinary pyrotechnical skills. Ofcourse, the state of the recording industry in its infancy stage became a factor in some of Heifetz' choices. The integration of the violin soloist's contribution as an intrinsic part of the fabric of the orchestra was not exactly a fashionable idea back in the 1940's and 1950's. These two performers couldn't be more different from one another but Accardo in his prime could certainly give Heifetz a run for his money. In my opinion the Accardo rendition of Sarasate's Ziguerneweisen far exceeds the Heifetz effort in beauty and technical skills. There are many passages but one section in particular where Heifetz and the rest of the great fiddle players pass through the section with barely a scant awareness of the sonic and musical possibilities. Accardo's vision of this section of the Gypsy Airs is absolutely riveting ... nothing like it anywhere either prior to 1974 or afterward. Although I started this response stating one could compare Heifetz and Accardo. The truth of the matter is that both figures were shaped by very different forces in society from the state of the recording industry to the needs of the marketplace. Heifetz had a different set of choices than Accardo did at the time of the latter's meteoric rise to fame. Both artists are truly great figures but for different reasons. I admire both violinists very much but to somehow imply that it is ridiculous to compare Accardo to Heifetz implying that Accardo is not in the league of Heifetz is at best foolish and naive. Accardo is one of the most influential figures of the violin in the past century. One could say the same of Heifetz!

What? "...Accardo rendition of Sarasate's Ziguerneweisen far exceeds the Heifetz effort in beauty and technical skills..." You are crazy!

who's better?

jascha is better but accardo is really good.

Hören Sie das noch einmal.

Yeah, that's what I thought!😒

Although i like Accardo, I am totally in agreement with the second part of you comment. He was afraid of downbow staccato. And I wonder why.

@@startupeco2257 cuz its prolly a lot harder than up

@@startupeco2257 He’s not at all afraid of it and has done it many times. The pianist was not the most stable of partners in this performance.

Reevu Adhikary that was intended, sir

were, professor?

IDIOT !!!