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Jascha Heifetz war ein russisch-amerikanischer Violinist. Er ist einer der bekanntesten Violinisten des Jahrhunderts. Jascha ist ein männlicher Vorname. Es gibt ihn als Kurzform für Jadwiga auch als weiblichen Vornamen. Jascha bedeutet Jahwe möge schützen. Alles zum Jungennamen Jascha wie Bedeutung, Herkunft, Namenstag und Beliebtheit auf hoskassurans.se Jascha ist eine russische Variante des hebräischen Namens Jakob. Bedeutung von Jascha. Jascha bedeutet ursprünglich “Gott möge schützen”. Biblisch. Der Jungenname Jascha ♂ Herkunft, Bedeutung, Beliebtheit und soziales Prestige. Entdecke ähnliche Namen, die Schreibweise im Flaggenalphabet und.
Jascha ist eine russische Variante des hebräischen Namens Jakob. Bedeutung von Jascha. Jascha bedeutet ursprünglich “Gott möge schützen”. Biblisch. Jascha als Jungenname ♂ Herkunft, Bedeutung & Namenstag im Überblick ✓ Alle Infos zum Namen Jascha auf hoskassurans.se entdecken! Jascha Horenstein, , russ-österr. Dirigent, Schüler von Adolf Busch, Joseph Marx, Franz Schreker; Emigration nach Frankreich, Belgien, Polen,.
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Imagem de exemplo Lentes espelhados em azul. Imagem de exemplo Lentes espelhados em vermelho. In , he performed with the Berlin Philharmonic conducted by Arthur Nikisch.
The conductor said he had never heard such an excellent violinist. Heifetz and his family left Russia in , traveling by rail to the Russian far east and then by ship to the United States, arriving in San Francisco.
In , Heifetz was elected an honorary member of Phi Mu Alpha Sinfonia , the national fraternity for men in music, by the fraternity's Alpha chapter at the New England Conservatory of Music in Boston.
At 16, he was perhaps the youngest person ever elected to membership in the organization. Heifetz remained in the country and became an American citizen in A story circulates that tells of an interaction with one of the Marx brothers : when he told the brother usually Groucho or Harpo that he had been earning his living as a musician since the age of seven, he received the reply, "Before that, I suppose, you were just a bum.
In , Heifetz began working with pianist Brooks Smith, who was Heifetz's accompanist for many years until he changed to Ayke Agus as his accompanist.
After the seasons of —56, Heifetz announced that he would sharply curtail his concert activity, saying "I have been playing for a very long time.
He was invited to play Beethoven at the United Nations General Assembly, and entered leaning on a cane. By , Heifetz had considerably curtailed his concert performances.
Virgil Thomson called Heifetz's style of playing "silk underwear music", a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composer's intentions.
His style of playing was highly influential in defining the way modern violinists approached the instrument. His use of rapid vibrato , emotionally charged portamento , fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz's playing instantly recognizable to aficionados.
Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, described Heifetz's tone as like "a tornado" because of its emotional intensity.
Perlman said that Heifetz preferred to record relatively close to the microphone—and as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance.
Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut G string, plain unvarnished gut D and A strings, and a Goldbrokat medium steel E string, and employed clear Hill-brand rosin sparingly.
Heifetz believed that playing on gut strings was important in rendering an individual sound. Heifetz made his first recordings in Russia during —11, while still a student of Leopold Auer.
On Oct. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues.
Some notable collaborations include his recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky , with whom he recorded trios by Maurice Ravel , Tchaikovsky , and Felix Mendelssohn.
Both formations were sometimes referred to as the Million Dollar Trio. Heifetz also recorded some string quintets with violinist Israel Baker , violists William Primrose and Virginia Majewski, and Piatigorsky.
He performed and recorded Erich Wolfgang Korngold's Violin Concerto at a time when Korngold's scoring of numerous films for Warner Brothers prompted many classical musicians to develop the scarcely warranted opinion that Korngold was not a "serious" composer and to avoid his music in order to avoid being associated with him.
During the war, Heifetz commissioned a number of pieces, including the Violin Concerto by William Walton. Heifetz also played and composed for the piano.
From to , largely as a result of the American Federation of Musicians recording ban which began in , Heifetz went to American Decca Records to make recordings because Decca settled with the union in , well before RCA Victor resolved their dispute with the musicians.
He recorded primarily short pieces, including his own arrangements of music by George Gershwin and Stephen Foster ; these were pieces he often played as encores in his recitals.
He was accompanied on the piano by Emanuel Bay or Milton Kaye. Recorded mostly in small studios, the digitally remastered performances issued by MCA have remarkably clear, high fidelity sound.
Heifetz soon returned to RCA Victor, where he continued to make recordings until the early s.
At the time, many considered Strauss and a number of other German intellectuals Nazis, or at least Nazi sympathizers, and Strauss works were unofficially banned in Israel along with those of Richard Wagner.
Despite the fact that the Holocaust had occurred less than ten years earlier and a last-minute plea from the Israeli Minister of Education, the defiant Heifetz argued, "The music is above these factors … I will not change my program.
I have the right to decide on my repertoire. Heifetz was attacked after his recital in Jerusalem outside his hotel by a young man who struck Heifetz's violin case with a crowbar, prompting Heifetz to use his bow-controlling right hand to protect his priceless violins.
The attacker escaped and was never found. The attack has since been attributed to the Kingdom of Israel terrorist group. Threats continued to come, however, and he omitted the Strauss from his next recital without explanation.
His last concert was cancelled after his swollen right hand began to hurt. He left Israel and did not return until The Soviet establishment considered Heifetz and his teacher Leopold Auer traitors to their home country for emigrating to the US.
Meanwhile, musicians who remained, such as David Oistrakh , were seen as patriots. Heifetz greatly criticized the Soviet regime, and condemned the International Tchaikovsky Competition for bias against Western competitors.
During the Carl Flesch Competition in London, Oistrakh tried to persuade Erick Friedman , Heifetz's star student, to enter the Tchaikovsky Competition, of which he was the principal juror.
Hearing of this, Heifetz strongly advised against it, warning Friedman, "You will see what will happen there.
Consequently, the competition received international outrage after Friedman, already a seasoned performer and RCA Victor recording artist, who had performed with the Chicago Symphony Orchestra , London Symphony Orchestra , and the Boston Symphony Orchestra , among many others, was placed sixth behind players who had yet to establish themselves.
Joseph Szigeti later informed Heifetz himself that he had given his student top scores. After an only partially successful operation on his right shoulder in , Heifetz ceased giving concerts and making records.
His prowess as a performer remained, and he still played privately until the end—but his bow arm was affected, and he could never again hold the bow as high as before.
Heifetz taught the violin extensively, holding master classes first at UCLA , then at the University of Southern California , where the faculty included renowned cellist Gregor Piatigorsky and violist William Primrose.
For a few years in the s he also held classes in his private studio at home in Beverly Hills. His teaching studio can be seen today in the main building of the Colburn School and serves as an inspiration to the students there.
During the last ten years of his life, Heifetz visited Hans Benning at Benning Violins for maintenance on his Guarneri violin.
The famed Guarneri is now in the San Francisco Legion of Honor Museum, as instructed by Heifetz in his will, and may only be taken out and played "on special occasions" by deserving players.
The instrument has recently been on loan to San Francisco Symphony's concertmaster Alexander Barantschik , who featured it in with Andrei Gorbatenko and the San Francisco Academy Orchestra in Heifetz's son Jay is a professional photographer.
He lives and works in Fremantle , Western Australia. He later appeared in the film, Carnegie Hall , performing an abridged version of the first movement of Tchaikovsky's Violin Concerto , with the orchestra led by Fritz Reiner , and consoling the star of the picture, who had watched his performance.
In , he appeared in the film Of Men and Music. In , he appeared in a televised series of his master classes, and, in , Heifetz on Television aired, an hour-long color special that featured the violinist performing a series of short works, the Scottish Fantasy by Max Bruch , and the Chaconne from the Partita No.
Heifetz conducted the orchestra, as the surviving video recording documents. It is described as "The only film biography of the world's most renowned violinist, featuring family home movies in Los Angeles and all over the world.
The documentary-like film talks about Heifetz's life and accomplishments and gives an inside view of his personal life.