974:, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
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in importance by the competition. Szigeti was dismayed by this trend, especially since he considered the fast-paced and intense preparation necessary for high-level competitions to be "…incompatible with the slow maturing either of the performing artist or of the repertoire." Szigeti believed that such accelerated development of a musician led to performances that "lack(ed) the stamp of authenticity, the mark of a personal view evolved through trial and error." In a similar vein, he was skeptical of the effects produced by the recording industry on the culture of music-making. In
Szigeti's opinion, the allure of the recording contract and the instant "success" that it implied led many young artists to record works before they were musically ready, and thus contributed to the problem of artificially fast development and resulting musical immaturity.
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political situation in Europe, many unexpected bureaucratic obstacles were thrown up in their path. The first problem was the impossibility of contacting
Ostrowska's family, and the couple were forced to go ahead without parental consent, with the permission only of Ostrowska's sister and the headmistress of the finishing school. Further bureaucratic entanglements threatened the young couple's hopes, but eventually the officials responsible granted them a dispensation to marry. Szigeti recalls in his memoirs the words of Consul General Baron de Montlong at the critical moment:
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450:. Szigeti said that this job, although generally satisfying, was often frustrating due to the mediocre quality of many of his students. The years teaching in Geneva provided an opportunity for Szigeti to deepen his understanding of music as an art, along with other aspects such as chamber music, orchestral performance, music theory and composition. Also during that time, Szigeti met and fell in love with Wanda Ostrowska, a young woman of Russian parentage who had been stranded in Geneva by the
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535:. He was taken aback by the American concert scene, and the way that its publicity and popularity driven agents and managers determined much of what was heard in American concert halls. He believed they were not interested in works by the great masters, but preferred the popular light salon pieces he had left behind in his prodigy days. (To the end of his life, Szigeti loved to quote one memorable, cigar-chewing impresario who told him, with regard to
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laziness and indifference brought on by the then-typical life of a young prodigy violinist. He had grown accustomed to playing crowd-pleasing salon miniatures and dazzling virtuosic encores without much thought. He knew little of the works of the great masters; he could play them, but not fully understand them. As
Szigeti put it, Busoni—particularly through their careful study of
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351:, where he appeared under the pseudonym "Jóska Szulagi". Also in 1906, Hubay took Szigeti to play for Joseph Joachim in Berlin. Joachim was impressed, and suggested that Szigeti should finish his studies with him. Szigeti declined the offer, both out of loyalty to Hubay and a perceived aloofness and lack of rapport between Joachim and his students.
1021:: he advised that "The player should cultivate a seismograph-like sensitivity to brusque changes of tone colour caused by fingerings based on expediency and comfort rather than the composer’s manifest or probable intentions." Other topics prominently discussed include the most effective position of a violinist's left hand, the violin works of
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A recurring theme in the first part is the changing nature of violinist's lives during
Szigeti's later years. In his youth, concert artists relied primarily on recitals to establish themselves and attract critical attention and acclaim; by the time of Szigeti's writings, the recital had been eclipsed
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Wanda is happy, doing wonders with her gardening, chicken and rabbit raising, preserve and pâté de foie making. She doesn't budge from our place, doesn't want to come back to New York even for a visit, which I, for one, can well understand! Two dogs, an aviary full of exotic birds, tomatoes, grapes,
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Szigeti also offers a lengthy and detailed explanation of his approach to violin technique. He believed that a violinist should be concerned primarily with musical goals, rather than simply choosing either the easiest or most impressively virtuosic way to play a certain passage. He was particularly
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In 1960 Szigeti officially retired from performing, and returned to
Switzerland with his wife. There he devoted himself primarily to teaching, although he still traveled regularly to judge international violin competitions. Top-class students from all over Europe and the United States came to study
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Mr. Szigeti has a rather small but beautiful tone, elegance, finish. He played with a quiet sincerity which grew upon the audience, though not with the virility and sweep that other violinists find ... it is clear that Mr. Szigeti is a player to command esteem and respect for his musicianship, for
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This comment illustrates well the general nature of
Szigeti's reception by both critics and fellow musicians: while his musical insights, intellect, and depth of interpretation were almost universally lauded, the purely technical aspect of his playing was awarded a more mixed reaction. His tone in
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Let us not, if we can avoid it, fall victim to the dead letter of the law. I don't want to postpone the happiness of these two youngsters if we can help it. All laws have been twisted and tortured out of semblance of law, what with war and revolutions. For once let's twist and turn one for a good
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for piano, violin and clarinet. In 1944, by which time
Szigeti and Bartók had both fled to the United States to escape the war in Europe, Bartók's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works
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The most significant of the new contacts was Busoni. The great pianist and composer became
Szigeti's mentor during these formative years, and the two would remain close friends until Busoni's death in 1924. By Szigeti's own admission, before meeting Busoni his life was characterized by a certain
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reviewed it favorably: although in their description the book was "constructed along utterly anarchistic lines, with each episode and anecdote left pretty much on its own", they asserted that "It also has the flavor of life in it, and it is marked by an exhilarating revolt against the custom of
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of 1920, unable to return to Geneva. The entire city had been paralyzed by a general strike, and the trains were not running. His scheduled concert could not go on as planned, but he was forced to stay in Berlin for "interminable days" while the Putsch ran its course. Szigeti writes: "... the
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In 1918, while teaching in Geneva, Szigeti met and fell in love with Wanda
Ostrowska. She was born in Russia and had been stranded by the Russian Revolution of 1917 with her sister at a finishing school in Geneva. In 1919, Szigeti and Ostrowska decided to get married, but due to the turbulent
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Szigeti's performing technique was not always flawless and his tone lacked sensuous beauty, although it acquired a spiritual quality in moments of inspiration ... Szigeti held the bow in an old-fashioned way, with the elbow close to the body, and produced much emphatic power, but not without
439:. His doctor recommended to practice the violin 25 to 30 minutes a day. The two had known each other only in passing during their conservatory days, but now they began a friendship that would last until Bartók's death in 1945. Szigeti was allowed to visit Bartok for the last time in 1943 at
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Modern composers realize that when
Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the
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From the 1920s until 1960, Szigeti performed regularly around the world and recorded extensively. He also distinguished himself as a strong advocate of new music, and was the dedicatee of many new works by contemporary composers. Among the more notable pieces written for him are
99:. After completing his studies with Hubay in his early teens, Szigeti began his international concert career. His performances at that time were primarily limited to salon-style recitals and the more overtly virtuosic repertoire; however, after making the acquaintance of pianist
822:, to allow the plane to take on 15 soldiers who, it being wartime, had priority. The plane, off course at night and with wartime blackout conditions in effect, crashed into a mountain cliff after takeoff from an intermediate stop in Las Vegas, killing everyone on board.
847:" by the U.S. government. Szigeti said after his release that he had never belonged to any political organization in his life, but that gave money or loaned his name to "this cause or that" during the war. The following year, he became a naturalized American citizen.
958:"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
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Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as
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impossibility of communicating by phone or wire with my wife--whose condition I pictured with the somewhat lurid pessimism usual to young prospective fathers--was certainly a greater torment to me than all the other discomforts put together".
1200:. Most famously, Szigeti recorded the Bloch concerto, a premier recording made in 1939 with the Orchestre de la Société des Concerts du Conservatoire conducted by Charles Munch (originally released on Columbia LP and reissued on Membran CD).
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By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers.
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would never sell to an American audience. Szigeti came to his friend's aid by securing donations from the American Society of Composers and Publishers to pay for Bartók's medical treatment, and then, together with conductor and compatriot
1009:. In it Szigeti presents his opinions about the then-current state of violin playing and the various challenges and issues facing musicians in the modern world, as well as a detailed examination of violin technique as he understood it.
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The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that
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Toward the end of his life, Szigeti suffered from frail health. He was put on strict diets and had several stays in hospital, but his friends asserted that this did nothing to dampen his characteristic cheerfulness. He died in
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teamed up to commission a trio from Bartók: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement
910:... his performance was stiff and dry in its observance of letter and its absence of spirit ... Mr. Szigeti was not only inclined to dryness of tone and angularity of phrase, but there were also passages of poor intonation.
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During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy. Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's
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Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively:
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801:(1912-1992) earlier that year. They settled in California, where Wanda, always fond of nature, was delighted to be able to raise her own garden. In a letter to a friend, Szigeti describes their California life:
746:, who spent the summer of 1962 with Szigeti. He came to the conclusion that "Joseph Szigeti was a template for the musician I would like to become: inquisitive, innovative, sensitive, feeling, informed".
118:, where he became Professor of Violin at the local conservatory in 1917. It was in Geneva that he met his future wife, Wanda Ostrowska, and at roughly the same time he became friends with the composer
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in his hands and his playing deteriorated. Despite his weakened technical mastery, his intellect and musical expression were still strong, and he continued to draw large audiences to his concerts. In
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We must be humbly grateful that the breed of cultured and chivalrous violin virtuosos, aristocrats as human beings and as musicians, has survived into our hostile age in the person of Joseph Szigeti.
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Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably
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in Berlin, had by that time established himself as one of the preeminent teachers in Europe and a fountainhead of the Hungarian violin tradition. Szigeti joined such violinists as
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a standard part of his repertoire, and frequently performed and recorded works of Stravinsky (including the Duo Concertante, recorded with the composer at the piano in 1945.) The
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in Switzerland, close to the home of their daughter and son-in-law. They remained there for the rest of their lives. Wanda died in 1971, predeceasing her husband by two years.
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734:, Italy, in November 1956, just after the Soviets crushed the Hungarian uprising, as soon as he walked onto the stage the audience burst into wild applause and shouts of
1146:(or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to
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comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
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for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.
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later that year: it was his American debut. Szigeti had never played with an American orchestra before, nor heard one, and later he wrote of suffering
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1025:, a cautionary list of widely accepted misprints and editorial inaccuracies in the standard repertoire, and most notably, the vital importance of
103:, he began to develop a much more thoughtful and intellectual approach to music that eventually earned him the nickname "The Scholarly Virtuoso".
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Szigeti spent the next few months with a summer theater company in a small Hungarian resort town, playing mini-recitals in between acts of folk
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Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
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431:, Switzerland to recover, interrupting his concert career. During his stay at the sanatorium, he became re-acquainted with the composer
2036:"Joseph Szigeti." Baker's Biographical Dictionary of Musicians, Centennial Edition. Nicolas Slonimsky, Editor Emeritus. Schirmer, 2001.
363:, he met a music-loving couple who effectively adopted him, extending an invitation to stay with them for an indefinite length of time.
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Szigeti quickly showed a talent for the violin. Several years later, his father took him to Budapest to receive proper training at the
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Perhaps Szigeti's most fruitful musical partnership was with his friend Béla Bartók. The first piece Bartók dedicated to him was the
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180:). He grew up surrounded by music, as the town band was composed almost entirely of his uncles. After a few informal lessons on the
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577:. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the
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168:. His mother died when he was three years old, and soon thereafter the boy was sent to live with his grandparents in the little
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144:. After retiring from the concert stage in 1960, he worked at teaching and writing until his death in 1973, at the age of 80.
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As well as performing new works dedicated to him, Szigeti also championed the music of other contemporary composers, notably
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In contrast, a review from the previous year in the same journal remarked after a performance of the Beethoven concerto that
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1174:. The work's success brought Bartók some measure of financial security and provided him with a much-needed emotional boost.
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Schwarz, Boris: The New Grove Dictionary of Music and Musicians, Second Edition. Macmillan Publishers, London, 2001, p. 886
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Just before the birth of their only child, daughter Irene (1920-2005), Szigeti found himself stuck in Berlin during the
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forced the Szigetis to leave Europe for the United States, while Irene remained in Switzerland, having married pianist
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Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond".
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Soon after the meeting with Joachim, Szigeti embarked on a major concert tour of England. Midway through the tour, in
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next to his wife. Their daughter Irene and son-in-law Nikita Magaloff are buried just a few meters from their grave.
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and formed by rigorous teaching and enthusiastic parents. The Hubay studio was no exception; Szigeti and his fellow
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Throughout England, he gave many successful concerts, including the premiere of the first work dedicated to him:
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370:'s Violin Concerto. Also during this time, Szigeti toured with an all-star ensemble including legendary singer
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in January 1942. Szigeti, who was on his way to Los Angeles for a concert, was forced to give up his seat on
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particular seems to have been occasionally uneven from performance to performance. A 1926 recital review in
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extraneous sounds. Minor reservations, however, were swept aside by the force of his musical personality.
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In 1917, having by then made a full recovery, at age 25 Szigeti was appointed Professor of Violin at the
443:, New York with his illness worsening, reading Turkish poems while they spread out on his hospital bed.
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1560:"' Hollywood Canteen,' Variety Show, Opens at Strand -- 'House of Frankenstein' Is New Film at Rialto"
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performed extensively in special recitals and salon concerts during their study at the Liszt Academy.
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persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in
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strawberries, asparagus, artichokes, lovely flowers (camellias too!), right in our own little world.
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from his aunt, he received his first lessons on the violin from his Uncle Bernat at the age of six.
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reported that Szigeti had been a "sponsor or patron" of committees or organizations viewed as "
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inquiry cleared him of unrevealed charges. At the time of his release from Ellis Island, the
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Szigeti narrowly escaped being killed in the plane crash that claimed the life of movie star
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for him. Less than two weeks later, Szigeti received a telegram from Stokowski's manager in
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738:(Italian for "Long live Hungary!"), delaying the concert for nearly fifteen minutes.
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1029:'s Six Sonatas and Partitas for any violinist's technical and artistic development.
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upon returning from a European concert tour and was held for five days under the
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Among his fellow musicians, Szigeti was widely admired and respected. Violinist
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Johannes Brahms: Violin Concerto in D major—Allegro giocoso ma non troppo
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He went to study at the Conservatory in Budapest for 2 years before his debut.
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88:. He quickly proved himself to be a child prodigy on the violin, and moved to
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Les grands violonistes du XXe siècle. Tome 1- De Kreisler à Kremer, 1875-1947
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1974:
Szigeti on the Violin: Improvisations on a Violinist's Themes (N.Y., 1969).
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193:. After a brief stint with an inadequate teacher, Szigeti auditioned at the
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Born into a musical family, he spent his early childhood in a small town in
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ran a front-page obituary that ended with this 1966 quote from violinist
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talking about—your Krewtzer Sonata bores the pants off my audiences!")
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In 1905, at the age of thirteen, Szigeti made his Berlin debut playing
77:; 5 September 1892 – 19 February 1973) was a Hungarian
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on clarinet and the composer at the piano; the violin concertos of
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to commission from Bartók what eventually became his much-beloved
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arranging catastrophes and triumphs under neat chapter headings".
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During his time in America, Szigeti took to writing; his memoirs,
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386:, a famous French flutist of the day, as well as the young singer
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286:, inspired by the phenomenal success of the young Czech virtuoso
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Joseph Szigeti, Violinist, Dead; Exponent of Classical Tradition
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2014:, Los Angeles, California Classics Books, 1997, pp. 92–101
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the genuineness of his interpretations, and his artistic style.
411:—"shook me once and for all out of my adolescent complacency".
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Szigeti was born Joseph "Jóska" Singer to a Jewish family in
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347:. In that same vein, the next year he played at a circus in
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Montreux, Switzerland, where Szigeti spent his later years
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Scene from Máramaros county, near Szigeti's childhood home
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Szigeti found his final resting place at the cemetery of
545:, "Well, let me tell you, Mister Dzigedy—and I know what
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Academic staff of the Conservatoire de Musique de Genève
1185:. He was among the first violinists to make Prokofiev's
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In 1960, the couple returned to Europe and settled near
1935:"Royal Concertgebouw Orchestra, 9 November 1939: Bloch"
1548:, Grove Music Online ed. L. Macy. Retrieved 2007-09-26
1139:, to which they are intended as a modern counterpart.
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In 1969, he published his treatise on violin playing,
754:, Switzerland on February 19, 1973, at the age of 80.
1966:
With Strings Attached: Reminiscences and Reflections
1745:"SZIGETI RELEASED AT ELLIS ISLAND; ADMITTED TO U.S."
993:
With Strings Attached: Reminiscences and Reflections
565:
Béla Bartók, Szigeti's longtime friend and colleague
241:"Preludio" from J.S. Bach's Partita No. 3 in E major
2012:
Violin Virtuosos, From Paganini to the 21st Century
688:
1818:, Henry Holt and Company, New York, 1990, p. 93
1123:Szigeti was also the dedicatee of the first of
332:captioned: "A Musical Prodigy: Josef Szigeti".
2032:, Paris, Buchet Chastel, 2011, pp. 83–89
1989:, by Joseph Szigeti. Dover Publications, 1979
1826:
1824:
8:
1102:, along with lesser-known composers such as
699:You may listen to Joseph Szigeti performing
282:In those days, Europe produced a great many
201:, without the usual delays and formalities.
197:and was admitted directly into the class of
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1196:he even recorded twice, under the baton of
941:In his memoirs, published in 2004, cellist
885:New Grove Dictionary of Music and Musicians
726:During the 1950s, Szigeti began to develop
92:with his father to study with the renowned
1051:"Csillagok, csillagok, szépen ragyogjatok"
631:; and various works by J.S. Bach, Busoni,
122:. Both relationships were to be lifelong.
1814:Milstein, Nathan (with Volkov, Solomon):
1834:, Indiana University Press, 2004, p. 114
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643:. One of his last recordings was of the
1996:. Doubleday and Company, New York, 1981
1832:The World Of Music According To Starker
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1144:First Rhapsody for violin and orchestra
1073:With Béla Bartók, piano. Recorded 1930.
619:under the batons of such conductors as
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1643:
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1628:"Legendary Violinists. Joseph Szigeti"
1080:
1065:Excerpt from Szigeti's arrangement of
835:Immigration and Naturalization Service
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505:
262:
2132:20th-century Hungarian male musicians
742:under him. One of these students was
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7:
1728:"Szigeti Being Held on Ellis Island"
1294:Desert Island Discs - Joseph Szigeti
1150:.) In 1938, Szigeti and clarinetist
419:In 1913, Szigeti was diagnosed with
45:For other people named Szigeti, see
2097:Hungarian male classical violinists
114:in Switzerland, Szigeti settled in
2001:Unfinished Journey: 20 Years Later
705:Violin Concerto in D major, Op. 61
397:Szigeti's mentor, Ferruccio Busoni
25:
2127:20th-century classical violinists
1969:. Alfred A. Knopf, New York, 1947
825:In 1950, Szigeti was detained at
527:inviting him to perform with the
390:, were also part of these tours.
339:Hubay (left) and Szigeti, c. 1910
255:The young Szigeti. Recorded 1908.
204:Hubay, who had been a student of
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1081:Problems playing this file? See
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694:
506:Problems playing this file? See
480:
441:Mount Sinai Hospital (Manhattan)
263:Problems playing this file? See
245:
2072:Analysis of a Szigeti recording
1985:Hughes, Spike: Introduction to
1558:Crowther, Bosley (1944-12-16).
569:In 1939, to escape the war and
454:of 1917. They married in 1919.
2092:Hungarian classical violinists
1866:"Szigeti Writes His Biography"
1:
1937:. Andante.com. Archived from
130:'s Violin Concerto, Bartók's
448:Geneva Conservatory of Music
195:Franz Liszt Academy of Music
42:when mentioning individuals.
2102:Jewish classical violinists
1291:Plomley, Roy (1965-05-31).
1129:Six Sonatas for Solo Violin
833:. He was released after an
2148:
2003:, Sync Music Company, 1996
1980:. Dover Publications, 1979
906:for example, laments that
656:in a comic performance of
435:, who was recovering from
415:Illness and new beginnings
110:that required a stay in a
44:
29:
793:By 1940, the outbreak of
693:
2021:, Houghton Mifflin, 2006
1137:Six Sonatas and Partitas
995:were published in 1947.
646:Six Sonatas and Partitas
148:Early life and education
74:[ˈsiɡɛtiˈjoːʒɛf]
38:. This article uses
30:The native form of this
2112:Musicians from Budapest
1816:From Russia To The West
1801:Downes, Olin, "Music",
1788:Downes, Olin, "Music",
1590:Steinhardt, pp. 137–138
1524:Review by Noel Straus,
820:Albuquerque, New Mexico
818:at a refueling stop in
652:In 1944, Szigeti joined
1172:Concerto for Orchestra
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318:in F-sharp minor, and
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1987:Szigeti on the Violin
1978:Szigeti on the Violin
1922:Szigeti on the Violin
1909:Szigeti on the Violin
1896:Szigeti on the Violin
1883:Szigeti on the Violin
1716:With Strings Attached
1694:With Strings Attached
1681:With Strings Attached
1668:With Strings Attached
1504:With Strings Attached
1491:With Strings Attached
1478:With Strings Attached
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1274:With Strings Attached
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1187:First Violin Concerto
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2017:Steinhardt, Arnold:
1994:The Great Violinists
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1843:Menuhin, pp. 356–357
701:Ludwig van Beethoven
553:International repute
519:and played the Bach
106:Following a bout of
1803:The New York Times,
1790:The New York Times,
1198:Dimitri Mitropoulos
904:The New York Times,
718:here on archive.org
579:Library of Congress
521:Chaconne in D minor
355:Broadening horizons
308:Chaconne in D minor
224:in Hubay's studio.
27:Hungarian violinist
2067:Profile of Szigeti
1941:on 7 December 2006
1870:The New York Times
1748:The New York Times
1732:The New York Times
1655:The New York Times
1608:Steinhardt, p. 142
1564:The New York Times
1544:2008-05-16 at the
1526:The New York Times
1168:Serge Koussevitzky
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998:The New York Times
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69:Szigeti József
61:Joseph Szigeti
56:Joseph Szigeti
36:Szigeti József
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1943:. Retrieved
1939:the original
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1759:. Retrieved
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1632:thirteen.org
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1575:. Retrieved
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1096:Ernest Bloch
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709:Bruno Walter
665:
664:in the film
661:
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621:Bruno Walter
615:(No. 1) and
590:
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533:stage fright
525:Philadelphia
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421:tuberculosis
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138:Eugène Ysaÿe
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128:Ernest Bloch
124:
108:tuberculosis
105:
86:Transylvania
83:
60:
59:
35:
2122:1973 deaths
2117:1892 births
1911:, Chapter 5
1415:, pp. 34-35
1337:, pp. 52–54
1315:, pp. 41–42
1254:, pp. 12–13
1092:Béla Bartók
1067:Béla Bartók
1023:Béla Bartók
970:Apart from
932:wrote that
892:commented:
860:Lake Geneva
787:Kapp Putsch
781:cause, yes?
674:Later years
609:Mendelssohn
433:Béla Bartók
288:Jan Kubelík
222:Stefi Geyer
120:Béla Bartók
2081:Categories
1956:References
1945:2007-06-25
1805:1925-12-16
1792:1926-03-25
1761:2023-07-06
1577:2023-07-07
1480:pp.172-173
1428:pp.128-129
1083:media help
1019:tone color
987:The writer
962:Violinist
845:subversive
654:Jack Benny
575:California
508:media help
425:sanatorium
265:media help
199:Jenő Hubay
170:Carpathian
112:sanatorium
97:Jenő Hubay
1920:Szigeti:
1907:Szigeti:
1894:Szigeti:
1881:Szigeti:
1756:0362-4331
1714:Szigeti:
1692:Szigeti:
1679:Szigeti:
1666:Szigeti:
1572:0362-4331
1502:Szigeti:
1489:Szigeti:
1476:Szigeti:
1463:Szigeti:
1450:Szigeti:
1437:Szigeti:
1424:Szigeti:
1411:Szigeti:
1398:Szigeti:
1385:Szigeti:
1372:Szigeti:
1359:Szigeti:
1346:Szigeti:
1333:Szigeti:
1311:Szigeti:
1297:(Audio).
1276:pp. 39-40
1272:Szigeti:
1250:Szigeti:
1241:, pp. 3–4
1237:Szigeti:
1224:Szigeti:
1158:Contrasts
1133:J.S. Bach
1033:New music
1027:J.S. Bach
924:Musicians
873:Reception
728:arthritis
613:Prokofiev
601:Beethoven
592:Contrasts
537:Beethoven
437:pneumonia
349:Frankfurt
94:pedagogue
79:violinist
65:Hungarian
2062:AllMusic
1696:, p. 203
1683:, p. 173
1542:Archived
1493:, p. 243
1467:, p. 208
1454:, p. 206
715:in 1947
662:Souvenir
627:and Sir
408:Chaconne
345:operetta
320:Paganini
316:Concerto
183:cimbalom
172:town of
162:Budapest
90:Budapest
1924:, p. 52
1898:, p. 18
1885:, p. 14
1402:, pg 32
1389:, p. 84
1376:, p. 75
1363:, p. 70
1350:, p. 62
1228:, p. 36
878:Critics
867:Clarens
752:Lucerne
633:Corelli
313:Ernst's
178:Szigeti
1754:
1570:
1119:music.
1098:, and
982:Legacy
972:Enesco
732:Naples
641:Mozart
637:Handel
605:Brahms
404:Bach's
361:Surrey
304:Bach's
273:Career
136:, and
116:Geneva
2028:, in
2010:, in
1204:Notes
937:well.
707:with
617:Bloch
595:with
490:With
429:Davos
1752:ISSN
1568:ISSN
1191:Berg
1181:and
1106:and
639:and
571:Nazi
378:and
220:and
2060:at
1653:",
1299:BBC
1135:'s
1127:'s
1069:'s
703:'s
660:'s
581:in
547:I’m
539:'s
427:in
322:'s
140:'s
34:is
2083::
1868:,
1857:^
1823:^
1770:^
1730:,
1640:^
1630:.
1566:.
1562:.
1281:^
1110:.
1094:,
888:,
762::
670:.
635:,
623:,
611:,
607:,
603:,
585:)
382:.
311:,
216:,
212:,
164:,
81:.
71:,
67::
1948:.
1764:.
1634:.
1580:.
1301:.
1085:.
510:.
267:.
63:(
49:.
20:)
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