Yo-Yo Ma 馬友友
Ma plays the cello during the "Presentation of the Crystal Award" at the Annual Meeting 2008 of the World Economic Forum in Davos, Switzerland, January 25, 2008.
Background information
Born	(1955-10-07) October 7, 1955 (age 56) Paris, France
Genres	Classical
Occupations	Cellist, composer, pedagogue
Instruments	Cello, piano, viola, violin
Years active	fl. ca. 1961–present
Labels	CBS, RCA, Sony Classical
Associated acts	Silk Road Ensemble
Website	yo-yoma.com
Notable instruments
Violoncello Davydov 1712 Stradivarius Domenico Montagnana 1733 Luis and Clark

Yo-Yo Ma (born October 7, 1955) is an American^[1] cellist, virtuoso, and orchestral composer. He has received multiple Grammy Awards, the National Medal of Arts in 2001^[2] and the Presidential Medal of Freedom in 2011.^[3] Ma is regarded by some as the most famous cellist of the modern age.^[4]

Early life[link]

Yo-Yo Ma was born in Paris on October 7, 1955, to Chinese parents and had a musical upbringing. His mother, Marina Lu, was a singer, and his father, Hiao-Tsiun Ma, was a violinist and professor of music at Nanjing National Central University. His family moved to New York when he was five years old.

At a very young age, Ma began studying violin, and later viola, before settling on the cello in 1960 at age four. According to Ma, his first choice was the double bass due to its large size, but he compromised and took up cello instead. The child prodigy began performing before audiences at age five, and performed for Presidents John F. Kennedy and Dwight D. Eisenhower when he was seven.^[5][6] At age eight, he appeared on American television with his sister, Yeou-Cheng Ma, in a concert conducted by Leonard Bernstein. Ma attended Trinity School in New York but transferred to the Professional Children's School which he graduated at fifteen years of age. ^[7]He appeared as a soloist with the Harvard Radcliffe Orchestra in a performance of the Tchaikovsky Rococo Variations.

A painting featuring Yo-Yo Ma hanging in Currier House, his residence at Harvard University

Ma studied at the Juilliard School at age nine with Leonard Rose and briefly attended Columbia University before ultimately enrolling at Harvard University later on. Prior to entering Harvard, Ma played in the Marlboro Festival Orchestra under the direction of nonagenarian cellist and conductor Pablo Casals. Ma would ultimately spend four summers at the Marlboro Music Festival after meeting and falling in love with Mount Holyoke College sophomore and festival administrator Jill Hornor his first summer there in 1972.^[8]

However, even before that time, Ma had steadily gained fame and had performed with most of the world's major orchestras. His recordings and performances of Johann Sebastian Bach's Cello Suites recorded in 1983 and again in 1994–1997 are particularly acclaimed. He has also played a good deal of chamber music, often with the pianist Emanuel Ax, with whom he has a close friendship back from their days together at the Juilliard School of Music in New York.

Ma received his bachelor's degree from Harvard in 1976.^[9] In 1991, he received an honorary doctorate from Harvard.^[10]

Career[link]

Ma performs at the White House for (left to right, seated) President Ronald Reagan, Crown Princess Michiko and Crown Prince Akihito of Japan, and First Lady Nancy Reagan, 1987

Ma currently plays with his own Silk Road Ensemble, which has the goal of bringing together musicians from diverse countries all of which are historically linked via the Silk Road, and records on the Sony Classical label.^[11] Ma's primary performance instrument is the cello nicknamed Petunia, built by Domenico Montagnana in 1733. It was named this by a female student that approached him after one of his classes in Salt Lake City asking if he had a nickname for his cello. He said, "No, but if I play for you, will you name it?" She chose Petunia, and it stuck.^[12] This cello, more than 270 years old and valued at US$2.5 million, was lost in the fall of 1999 when Ma accidentally left the instrument in a taxicab in New York City.^[13] It was later recovered undamaged. Another of Ma's cellos, the Davidov Stradivarius, was previously owned by Jacqueline du Pré who passed it to him upon her death, and owned by the Vuitton Foundation. Though Du Pré previously voiced her frustration with the "unpredictability" of this cello, Ma attributed the comment to du Pré's impassioned style of playing, adding that the Stradivarius cello must be "coaxed" by the player.^{[citation needed]} It was until recently set up in a Baroque manner, since Ma exclusively played Baroque music on it. He also owns a modern cello made by Peter and Wendela Moes of Peissenberg, Germany, and one of carbon fiber by the Luis and Clark company of Boston.^[14]

In 1997 he was featured on John Williams' soundtrack to the Hollywood film, Seven Years in Tibet. In 2000, he was heard on the soundtrack of Crouching Tiger, Hidden Dragon, and in 2003 on that of Master and Commander: The Far Side of the World. He collaborated with Williams again on the original score for the 2005 film Memoirs of a Geisha. Yo-Yo Ma has also worked with world-renowned Italian composer Ennio Morricone and has recorded Morricone's compositions of the Dollars Trilogy including The Good, the Bad and the Ugly. He also has over 75 albums, 15 of which are Grammy Award winners. Ma is a recipient of the International Center in New York's Award of Excellence.

Ma was named Peace Ambassador by UN then Secretary-General Kofi Annan in January 2006.^[15]

On November 3, 2009, President Obama appointed Ma to serve on the President's Committee on the Arts and Humanities.^[16] His music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.^[17][18][19]

Playing style[link]

Ma with Condoleezza Rice after performing a duet at the presentation of the 2001 National Medal of Arts and National Humanities Medal Awards.

Ma has been referred to as "omnivorous" by critics, and possesses a more eclectic repertoire than is typical for classical musicians.^[20] A sampling of his versatility in addition to numerous recordings of the standard classical repertoire would include his recordings of Baroque pieces using period instruments; American bluegrass music; traditional Chinese melodies including the soundtrack to the film Crouching Tiger Hidden Dragon; the tangos of Argentinian composer Ástor Piazzolla; an eclectic and unusual collaboration with Bobby McFerrin (where Ma admitted to being terrified of the improvisation McFerrin pushed him toward); as well as the music of modern minimalist Philip Glass in such works as the 2002 piece Naqoyqatsi. He is known for his smooth, rich tone as well as his considerable virtuosity, including a cello recording of Niccolò Paganini's 24th Caprice for solo violin, Zoltán Kodály's cello sonata, and other demanding works.

Notable live performances[link]

On July 5, 1986, Ma performed on the New York Philharmonic's tribute to the 100th anniversary of the Statue of Liberty, which was televised live on ABC Television.^[21]. The orchestra, conducted by Zubin Mehta, performed in Central Park.

Ma performed a duet with Condoleezza Rice at the presentation of the 2001 National Medal of Arts and National Humanities Medal Awards. Ma was the first performer on September 11, 2002, at the site of the World Trade Center, while the first of the names of the dead were read in remembrance on the first anniversary of the attack on the WTC. He played the Sarabande from Bach's Suite in C minor (#5). He performed a special arrangement of Sting's "Fragile" with Sting and the Mormon Tabernacle Choir during the opening ceremonies of the 2002 Winter Olympics in Salt Lake City, Utah. Ma has also appeared as a Pennington Great Performers series artist with the Baton Rouge Symphony Orchestra in 2005.

He performed John Williams' "Air and Simple Gifts" at the inauguration ceremony for Barack Obama on January 20, 2009, along with Itzhak Perlman (violin), Gabriela Montero (piano) and Anthony McGill (clarinet). While the quartet did play live, the music played simultaneously over speakers and on television was a recording made two days prior due to concerns over the cold weather damaging the instruments. Ma was quoted as saying "A broken string was not an option. It was wicked cold."^[22]

On May 3, 2009, Ma performed the world premiere of Bruce Adolphe's "Self Comes to Mind" for solo cello and two percussionists with John Ferrari and Ayano Kataoka at the American Museum of Natural History in New York City. The work is based on a poetic description written for the composer of the evolution of brain into mind by neuroscientist Antonio Damasio, and featured, at the premiere, a film of brain scans provided by Hanna Damasio plus other images, coordinated with the music during the performance.

On August 29, 2009, Ma performed at the funeral mass for Senator Edward M. Kennedy. Pieces he performed included the Sarabande movement from Bach's Cello Suite No. 6, and Franck's Panis Angelicus with Placido Domingo.^[23]

On October 3, 2009, Ma appeared alongside Canadian Prime Minister Stephen Harper at the National Arts Centre gala in Ottawa. Harper, a noted fan of The Beatles, played the piano and sang a rendition of "With A Little Help From My Friends" while Ma accompanied him on his cello.

On October 16, 2011, Ma performed at the memorial for Steve Jobs held in Stanford University's Memorial Church.^[24]

In 2011, Ma performed with American dancer Charles "Lil Buck" Riley in the United States and in China at the U.S.-China Forum on the Arts and Culture.^[25]

Media appearances[link]

Ma has appeared in an episode of the animated children's television series, Arthur, as well as on The West Wing (episode "Noël", in which he performed the prelude to the Bach Cello Suite No.1 at a Christmas dinner at the White House), Sesame Street and Mister Rogers' Neighborhood. In The Simpsons episode "Missionary: Impossible", Ma, (voiced by Hank Azaria) runs after Homer Simpson along with many other frequent guests of PBS.

He also starred in the visual accompaniment to his recordings of Bach's Six Suites for Unaccompanied Cello.

Ma was also seen with former Apple Inc. and Pixar CEO Steve Jobs. Ma was often invited to press events for Jobs's companies, and has performed on stage during event keynote presentations, as well as appearing in a commercial for the Macintosh computer.

Ma was a guest on the Not My Job segment of Wait Wait... Don't Tell Me! on April 7, 2007, where he won for listener Thad Moore.^[26]

On October 27, 2008, Ma appeared as a guest and performer on The Colbert Report.^[27] He was also a show's guest on November 1, 2011, where he performed songs from The Goat Rodeo Sessions with fellow musicians Stuart Duncan, Edgar Meyer and Chris Thile.^[28]

According to research done by Professor Henry Louis Gates, Jr., of Harvard University, in 2010 for the PBS series Faces of America, in which Ma made an appearance, a relative had hidden the Ma family genealogy in his home in China to save it from destruction during the Cultural Revolution. Ma's paternal ancestry can be traced back eighteen generations to the year 1217. This genealogy had been compiled in the 18th century by an ancestor, tracing everyone with the surname Ma, through the paternal line, back to one common ancestor in the 3rd century BC. Ma's generation name, "Yo", had been decided by his fourth great grand-uncle, Ma Ji Cang, in 1755.^[29][30]

Personal life[link]

Ma married his long-time girlfriend Jill Hornor, a German language professor, in 1977. He proposed outside her apartment. They have two children, Nicholas and Emily, and reside in Winchester, Massachusetts.^[31] Ma's elder sister, Yeou-Cheng Ma, who was also born in Paris, is a violinist married to Michael Dadap, a New York–based guitarist from the Philippines.^[32]

Discography[link]

Awards and recognitions[link]

Avery Fisher Prize

• 1978

Award of Distinction (International Cello Festival)

• 2007

Dan David Prize

• 2006

Doctor of Musical Arts (D.M.A.) (honoris causa)

• 2005 Princeton University

Grammy Award for Best Chamber Music Performance:

• 1996 Brahms/Beethoven/Mozart: Clarinet Trios (Sony 57499)
• 1993 Brahms: Sonatas for Cello & Piano (Sony 48191)
• 1992 Brahms: Piano Quartets Op. 25, Op. 26 (Sony 45846)
• 1987 Beethoven: Cello and Piano Sonata No. 4 in C & Variations (CBS 42121)
• 1986 Brahms: Cello and Piano Sonatas in E Minor Op. 38, and F Op. 99 (RCA 17022)

Grammy Award for Best Instrumental Soloist(s) Performance:

• 1998 Yo-Yo Ma Premieres – Danielpour, Kirchner, Rouse (Sony Classical 66299)
• 1995 The New York Album – Works of Albert, Bartók & Bloch (Sony 57961)
• 1993 Prokofiev: Sinfonia Concertante/Tchaikovsky: Variations on a Rococo Theme (Sony 48382)
• 1990 Barber: Cello Concerto, Op. 22/Britten: Symphony for Cello and Orchestra, Op. 68 (CBS 44900)

Grammy Award for Best Instrumental Soloist Performance:

• 1985 Bach: The Unaccompanied Cello Suites (CBS 37867)

Grammy Award for Best Classical Contemporary Composition:

• 1995 The New York Album, Stephen Albert: Cello Concerto (Sony 57961)

Grammy Award for Best Classical Album:

• 1998 Yo-Yo Ma Premieres – Danielpour, Kirchner, Rouse (Sony Classical 66299)

Grammy Award for Best Classical Crossover Album:

• 2010 Songs of Joy & Peace (Sony Classical B001BN1V8U)
• 2004 Obrigado Brazil (Sony 89935)
• 2001 Appalachian Journey (Sony 66782)
• 1999 Soul of the Tango – The Music of Ástor Piazzolla (Sony Classical 63122)

Glenn Gould Prize

• 1999

Kennedy Center Honor

• 2011

Latin Grammy for Best Instrumental Album

• 2004 Obrigado Brazil (Sony 89935)

Léonie Sonning Music Prize

• 2006

National Medal of Arts

• 2001^[2]

Presidential Medal of Freedom

• Nominated: November 17, 2010^[33]
• Awarded: February 15, 2011^[34]

References[link]

External links[link]

	Asian Americans portal
	Biography portal
	Music portal

Wikimedia Commons has media related to: Yo-Yo Ma

• Official Website
• Yo-Yo Ma at Allmusic
• About Us, The Children's Orchestra Society, ChildrensOrch.org, 2007
• Yo-Yo Ma in Conversation from WGBH Radio Boston
• Yo-Yo Ma Interview on Time.com, October 2008
• Yo-Yo Ma Podcast Series produced by Sony BMG Masterworks
• Yo-Yo Ma TV Interview with Ennio Morricone from C Music TV
• 2006 Dan David Prize laureate
• Welcome to Baku: Yo-Yo Ma: Silk Road Ensemble with Alim Gasimov and Fargana," by Aida Huseinova in Azerbaijan International, Vol. 14:2 (Summer 2006), p. 14

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (August 2011)

Juan Luis Guerra
Juan Luis Guerra during a concert in Boston, Massachusetts.
Background information
Birth name	Juan Luis Guerra Seijas
Born	(1957-06-07) June 7, 1957 (age 55)
Origin	Santo Domingo, Dominican Republic
Genres	Merengue, bachata, salsa, Latin pop
Occupations	Record producer, songwriter, musician, composer, arranger, guitarist
Instruments	Vocals, guitar, piano
Years active	1984–present
Labels	EMI Records
Associated acts	Juanes, Enrique Iglesias, 440
Website	www.juanluisguerra.com

Juan Luis Guerra (born June 7, 1957) is a singer, songwriter and producer from the Dominican Republic who has sold over 30 million records, and won numerous awards including 12 Latin Grammy Awards, two Grammy Awards, and two Latin Billboard Music Awards. He recently won 3 Latin Grammy Awards in 2010, including Album of the Year.

He is one of the most internationally recognized Latin artists of recent decades. His pop style of merengue and bolero and Afro-pop/Latin fusion has garnered him considerable success throughout Latin America. Guerra is sometimes associated with the popular Dominican music called bachata, and while this association is partly true, he actually uses the basics of Bachata rhythm with a more bolero feel to the melodies in some of his songs.^[1] He does not limit himself to one style of music, instead, he incorporates diverse rhythms like merengue, bolero-bachata, balada, salsa, rock and roll, and even gospel as in the song "La Gallera". "Ojalá Que Llueva Café" ("I Wish It Would Rain Coffee") is one of his most critically acclaimed self-written and composed pieces. A remix of "La Llave de Mi Corazón" ("The Key of My Heart") with Taboo from The Black Eyed Peas is also an example of his fusion of genres.

Career[link]

Early life[link]

Born Juan Luis Guerra Seijas in Santo Domingo, Dominican Republic, he is the son of Olga Seijas and Gilberto Guerra, a basketball player. Before he committed to music, Guerra studied philosophy and literature at the Universidad Autónoma de Santo Domingo. He then studied guitar and music theory at El Conservatorio Nacional de Música de Santo Domingo, then decided to go to the United States to attend Berklee College of Music in Boston. He graduated from Berklee in 1982 with a diploma in jazz composition.^[2] After his return to the Dominican Republic, he released his first album, Soplando (1984) with a group of local musicians that subsequently became known as Juan Luis Guerra y 440. The group members were Maridalia Hernández, Roger Zayas-Bazán, and Mariela Mercado. The band's name in Spanish is officially publicized as Cuatro Cuarenta (Four Forty), a shortening of the normally strict reading of number "four hundred forty". The 440 part of the band's name refers to the standard tuning of A440. Reportedly the name for the band came from a practice session where Juan Luis's brother suggested the name because the name would reflect how "in-tune and precise they were".^{[citation needed]} According to Guerra, this first album was based on jazz tunes and concepts he had learned at Berklee, and it "wasn't intended to be a commercial hit." Subsequently, however, he began to write more merengues.^[2]

Two albums followed, Mudanza y Acarreo and Mientras Más Lo Pienso...Tú. The band was nominated to attend the Festival of OTI (Organization of Iberoamerican Television) to represent the Dominican Republic.

Their next album, in 1989, brought them international acclaim. Ojalá Que Llueva Café, a slow melodic number with superfast background tracks, became a number one hit in many Latin American countries, with the hit song of the same name. Subsequently, a video of the song was filmed and Juan Luis Guerra and his 440 band began touring. (The song's fame was revived in 1996 and 2008 with covers by Mexican band Café Tacuba and Spanish singer Rosario Flores.)

1990s[link]

In 1990, they released their next album, Bachata Rosa, which became a major hit and earned Guerra his first Grammy award. The album, having sold more than five million copies at that time, allowed Guerra to keep touring Latin America, USA and Europe. This album contains memorable love songs such as "Burbujas de Amor" (Bubbles of Love), "Bachata Rosa", "Rosalia", "Como Abeja al Panal" (Like a Bee to Honeycomb), "A Pedir Su Mano" (Asking For Her Hand), "Carta de Amor" (Love Letter), and "Estrellitas y Duendes" (Little stars and elves).

Guerra became a controversial figure in 1992 after he released his next album, Areíto (which is a Taíno word for song and dance). It featured the hit single "El costo de la vida", (The Cost of Living), whose video clearly has an anti-capitalist message. Other songs included in this album protest against the poor conditions in many Latin American countries, the celebration of the 'discovery' of the Americas ("1492"), and the double standards of first-world nations. "El costo de la vida" was his first number-one hit in the Hot Latin Tracks. Guerra became the first performer of tropical music to achieve this feat.

In his next album, Fogaraté (1995), he stayed away from recording any protest songs. This album is particularly centered in the more rural and lesser known types of Dominican music, like the Perico Ripiao.

Guerra's 1998 release Ni Es Lo Mismo Ni Es Igual (Neither The Same Nor Equal) garnered much critical acclaim, winning three Latin Grammys in 2000 for Best Merengue Performance, Best Tropical Song, and Best Engineered Album. Its hits include "Mi PC" (My PC), "Palomita Blanca" (Little White Dove), and "El Niágara en Bicicleta" (The Niagara on Bicycle - literal; to ride a bicycle across Niagara Falls, i.e. a difficult task - coloquial "al pasar el Niagara en bicicleta", Cuban).

Juan Luis Guerra in concert in Madrid, Spain, during the Para ti tour. July 2005.

2000s[link]

In 2003, Guerra released his first new album in six years. Entitled "Para Ti" (For you), the album's songs are mostly religious in nature, reflecting Guerra's fervent Christianity. With this album the singer won two awards at the 2005 Billboards, in the categories of Gospel-Pop and Tropical-Merengue, for the hit single Las Avispas (The wasps), the first time ever that one song has won these two categories at the same time. Other hits included "Para Ti" and "Soldado" (Soldier). At the same time, Guerra was honored with the Latino Special Award for the Music Academy of Spain for his contributions to the music of his country and the Caribbean in the last 20 years.

In January 2006, Juan Luis performed at Berklee's 60th anniversary along with other artists such as Paul Simon, Herbie Hancock, Michel Camilo and Chiara Civello. That same year, he recorded with Diego Torres in "Abriendo Caminos" (Opening roads) and with Maná in "Bendita Tu Luz" (Blessed your light).

Notably, Juan Luis Guerra was part of the former highest grossing music tour of all time,(U2's 360 tour is currently the highest grossing music tour of all time) as he was the opening act for The Rolling Stones' A Bigger Bang Tour at their San Juan, Puerto Rico show in February, 2006.

He was also invited by Sting to sing with him at a concert at Altos de Chavón, La Romana in the Dominican Republic in 2006. At the Premio Lo Nuestro awards in 2007, he was given the honorary lifetime achievement award. He also performed the lead single of his new album, "La Llave De Mi Corazón", released in March 2007.

"La llave de mi corazón" reached number one on the Billboard charts for four consecutive weeks, and was the #1 selling album in Colombia while climbing the charts in other countries^{[citation needed]}. Guerra won more than 20 awards with this CD, including 5 Latin Grammy Awards, 6 Premios Casandra awards, 4 billboard Awards, 2 lo nuestro, and one Grammy Award.

On April 6, 2006, Juan Luis Guerra was honored as a BMI Icon at the 13th annual BMI Latin Awards. Named BMI's 1995 Latin Songwriter of the Year, Guerra's songwriting has garnered 14 BMI Latin Awards.^[3]

Juan Luis Guerra was honored at the Latin Grammy Awards in 2007 with 5 awards, sweeping each category he was nominated in: Record of the Year, Album of the Year, Song of the Year, Best Tropical Song & Best Merengue Album. The engineers of the album, Allan Leschhorn, Luis Mansilla, Ronnie Torres, and Adam Ayan were awarded Best Engineered album. One night prior to the Latin Grammy Awards he received the Academy's Person of the Year Award for his contribution to Latin music and for his philanthropy.

On March 10, 2008, Juan Luis was honored with 6 awards in los Premios Casandra, the most important award event in the Dominican Republic. He won for Orchestrator of the year, Outstanding artist abroad, Music album of the year for "La Llave de mi Corazón" and "El Soberano" (The Sovereign), the most important award of the night.

On March 16, 2008 He and other artists participated in the Paz Sin Fronteras concert raised by Juanes, because of the conflict in recent days between Colombia, Venezuela and Ecuador.

On April 11, 2008 Juan Luis Guerra was the Billboard Latin awards big winner, with 7 nominations and 3 awards.

On September 15, 2008 Guerra was named a UNESCO Artist for Peace "in recognition of his efforts for the benefit of children with disabilities and children in need."^[4]

On May 9, 2009, Guerra was awarded an honorary doctorate from his alma mater, Berklee College of Music at its commencement ceremony.

2010 Juan Luis Guerra was featured in Enrique Iglesias' Spanish single, Cuando Me Enamoro, and appeared with Iglesias in the music video. The single has currently spent 17 non-consecutive weeks at #1, the longest tenure at the peak position for both artists. In addition, the single was a self-replacement at #1 for Guerra as it replaced his own single Bachata en Fukuoka from his album A Son de Guerra.

Singing in other languages[link]

Guerra has recorded several songs in English, like "July 19th" on his Fogaraté release (1995), and more recently "Medicine for My Soul" and "Something Good" with Italian singer Chiara Civello. Some of his songs have verses in both English and Spanish such as "Woman del Callao", "Guavaberry", "Señorita" and more recently "La Llave de Mi Corazón". Album Areíto featured two songs, cover-title song "Areíto" and "Naboria daca, mayanimacaná" which are sung in the Arawak language of the extinct Taino natives of Hispaniola. Juan Luis Guerra also recorded the album "Bachata Rosa" in Portuguese. He uses Japanese words in Bachata en Fukuoka (Bachata in Fukuoka), 2010 Latin Grammy winner for Best Tropical Song.

Lyrical style[link]

Being a native Dominican, his music is heavily influenced by native Caribbean rhythms, such as merengue and bachata.

His lyrics are often charged with intentionally simple, heavily metaphorical, erotic, or popular expressions, such as "Burbujas de Amor" (Bubbles Of Love) or "El Niágara en Bicicleta" (Niagara on Bicycle), an idiom for something difficult to do.

Discography[link]

Singles[link]

440 band members[link]

• Roger Zayas
• Maridalia Hernández
• Mariela Mercado
• Marco Hernández (replaced Maridalia Hernández)
• Adalgisa Pantaleón (replaced Mariela Mercado)
• Quico Rizek (replaced Marco Hernández)

Quotation[link]

This section is a candidate to be copied to Wikiquote using the Transwiki process.

We write for our home audience. We play music that appeals to those at home, a music that feels natural and intuitive.^[7]

References[link]

Bibliography[link]

• Manuel, Peter. Caribbean Currents: Caribbean Music from Rumba to Reggae. 

External links[link]

Wikimedia Commons has media related to: Juan Luis Guerra

• Official website in English and Spanish.
• Biography of Juan Luis Guerra With particular focus on his relationship to bachata.
• Juan Luis Guerra at National Geographic World Music
• Juan Luis Guerra Online Scholarship from Berklee College of Music
• Juan Luis Guerra at the Internet Movie Database
• Encarta bio (Archived 2009-10-31)

Jascha Heifetz (/ˈhaɪfɪts/; February 2 [O.S. January 20] 1901 – December 10, 1987) was a violinist, born in Vilnius, Lithuania. He is widely regarded as one of the greatest violinists of all time.^[1][2][3][4]

Photo by Yousuf Karsh

Early life[link]

Heifetz was born into a Litvak family in Vilnius, Lithuania, then part of the Russian Empire.^[5] His father, Reuven Heifetz, son of Elie, was a local violin teacher and served as the concertmaster of the Vilnius Theatre Orchestra for one season before the theatre closed down. Jascha took up the violin when he was three years old and his father was his first teacher. At five he started lessons with Ilya D. Malkin, a former pupil of Leopold Auer. He was a child prodigy, making his public debut at seven, in Kovno (now Kaunas, Lithuania) playing the Violin Concerto in E minor by Felix Mendelssohn. In 1910 he entered the Saint Petersburg Conservatory to study under Leopold Auer himself.

He played in Germany and Scandinavia, and met Fritz Kreisler for the first time in a Berlin private house together with other noted violinists in attendance. Kreisler, after accompanying the 12-year-old Heifetz at the piano in a performance of the Mendelssohn concerto, said to all present, "We may as well break our fiddles across our knees." Heifetz visited much of Europe while still in his teens. In April 1911, Heifetz performed in an outdoor concert in St. Petersburg before 25,000 spectators; there was such a sensational reaction that police officers needed to protect the young violinist after the concert. In 1914, Heifetz performed with the Berlin Philharmonic conducted by Arthur Nikisch. The conductor was very impressed, saying he had never heard such an excellent violinist.^[6]

Career[link]

Heifetz and his family left Russia in 1917, traveling by rail to the Russian far east and thence by ship to the United States, arriving in San Francisco.

On October 27, 1917, Heifetz played for the first time in the United States, at Carnegie Hall in New York, and became an immediate sensation.^[7] Fellow violinist Mischa Elman in the audience asked "Do you think it's hot in here?", whereupon the pianist Leopold Godowsky, in the next seat, imperturbably replied, "Not for pianists."^[8] The reviews by the New York critics were rapturous.

In 1917, Heifetz was elected as 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. As he was aged 16 at the time, he was perhaps the youngest person ever elected to membership in the organization. Heifetz remained in the country and became an American citizen in 1925. When he told admirer Groucho Marx he had been earning his living as a musician since the age of seven, Groucho answered, "And I suppose before that you were just a bum."

Technique and timbre[link]

Heifetz is considered to be one of the finest violinists of all time. Heifetz's technical command of his instrument – his physical ability to play the violin with stunning precision – is regarded by many critics as unequaled. That physical control enabled Heifetz to produce a distinctive tone quality, intense and shimmering, that came to be regarded as his trademark. Yet, from time to time his near-perfect technique and conservative stage demeanor caused some critics to accuse him of being overly mechanical, even cold. 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 composers' intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempos, and superb bow control coalesced to create a highly distinctive sound that make Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity. Perlman also said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance as opposed to a recording.^[9]

In creating his sound, Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut g-string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound.

Early recordings[link]

Jascha Heifetz around 1920

Heifetz made his first recordings in Russia during 1910–11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides (most notably François Schubert's L'Abeille) were reissued on an LP included as a supplement to The Strad magazine.

Shortly after his Carnegie Hall debut on November 7, 1917, Heifetz made his first recordings for the Victor Talking Machine Company; he would remain with Victor and its successor, RCA Victor, for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA cut back on classical recordings during the Great Depression; these discs were issued in the US by RCA Victor. 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 1941 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.

He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance from April 9, 1944, of Heifetz playing the Mendelssohn Violin Concerto, again with Toscanini and the NBC Symphony, has also been released.

He performed and recorded Erich Wolfgang Korngold's Violin Concerto, at a time when many classical musicians avoided Korngold's music because they did not consider him a "serious" composer after he wrote many film scores for Warner Brothers.

Wartime[link]

Heifetz commissioned a number of pieces, perhaps most notably the Violin Concerto by William Walton. He also arranged a number of pieces, such as Hora Staccato by Grigoraş Dinicu, a Romanian whom Heifetz is rumoured to have called the greatest violinist he had ever heard. Heifetz also played and composed for the piano;^[7] he performed mess hall jazz for soldiers at Allied camps across Europe during the Second World War, and under the alias Jim Hoyl he wrote a hit song, "When You Make Love to Me (Don't Make Believe)", which was sung by Bing Crosby.

Decca recordings[link]

From 1944 to 1946, largely a result of the American Federation of Musicians recording ban (which actually began in 1942), Heifetz went to American Decca Records to make recordings because Decca settled with the union in 1943, 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. Among the more uncommon discs featured one of Decca's most popular artists, Bing Crosby, in the "Lullaby" from Benjamin Godard's opera Jocelyn and Where My Caravan Has Rested (arranged by Heifetz and Crosby) by Hermann Lohr (1872–1943); Decca's studio orchestra was conducted by Victor Young in the July 27, 1946, session. Recorded mostly in small studios, the digitally remastered performances (issued by MCA) have remarkably clear, high fidelity sound. However, Heifetz soon returned to RCA Victor, where he continued to make recordings until the early 1970s.^[10]

Later recordings[link]

Returning to RCA Victor in 1946, Heifetz continued to make a number of 78-rpm discs for the company, including solo, chamber, and orchestral recordings.

RCA Victor began releasing long-playing recordings in 1950, including concertos taken from 78-rpm masters. The company began to make new high fidelity recordings with Heifetz, primarily with the Boston Symphony Orchestra under Charles Munch and the Chicago Symphony Orchestra under Fritz Reiner. Beginning in early 1954, most of RCA's classical sessions were also taped on three-track tape machines. These were eventually issued in the "Living Stereo" series, which began in 1958. RCA later reissued the recordings on a series of CDs. While many earlier Heifetz recordings used close miking, which led to a dry sound, the post 1954 RCA concerto recordings have somewhat more distant and effective miking, creating a more effective concert ambience that shows Heifetz's tone to excellent advantage. In 2000, RCA released a double CD compilation entitled Jascha Heifetz – The Supreme which gives a sampling of Heifetz's major recordings, including the 1955 recording of Brahms's Violin Concerto with Reiner and the Chicago Symphony Orchestra; the 1957 recording of Tchaikovsky's Violin Concerto (with the same forces); the 1959 recording of Sibelius's Violin Concerto with Walter Hendl and the Chicago Symphony Orchestra; the 1961 recording of Max Bruch's Scottish Fantasy with Sir Malcolm Sargent and the New Symphony Orchestra of London; the 1963 recording of Glazunov's A minor Concerto with Walter Hendl and the RCA Victor Symphony Orchestra (drawn from New York musicians); the 1965 recording of George Gershwin's Three Preludes (transcribed by Heifetz) with pianist Brooks Smith; and the 1970 recording of Bach's unaccompanied Chaconne from the Partita No. 2 in D minor.

Third Israel tour[link]

Heifetz in Be'er Sheba, Israel, 1953

On his third tour to Israel in 1953, Heifetz included in his recitals the Violin Sonata by Richard Strauss. At the time, Strauss was considered by many to be a Nazi composer, and his 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." Throughout his tour the performance of the Strauss sonata was followed by dead silence.

Heifetz was attacked after his recital in Jerusalem outside his hotel by a young man who struck Heifetz's violin case, Heifetz resorting to using his right hand to protect his priceless violins from the crowbar. As the attacker started to flee, Heifetz alerted his companions, who were armed, "Shoot that man, he tried to kill me." The attacker escaped and was never found. The attack has since been attributed to the Kingdom of Israel terrorist group.^[11][12] The incident made headlines in the press and Heifetz defiantly announced that he would not stop playing the Strauss. 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 1970.

Russian defector[link]

Soviet musicians considered Heifetz and his teacher Leopold Auer as traitors to their home country for emigrating to the US, and Heifetz especially because of his very young age. Meanwhile, musicians who remained, such as David Oistrakh, were seen as patriots. Heifetz greatly criticized the Soviet regime; he condemned the International Tchaikovsky Competition for being biased 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 recording artist for RCA, who had performed with the Chicago Symphony Orchestra, London Symphony Orchestra, and the Boston Symphony Orchestra, among many others, placed sixth behind players who had yet to establish themselves. Joseph Szigeti later informed Heifetz himself that he had given his student top scores.

Later life[link]

After an only partially successful operation on his right shoulder in 1972, Heifetz ceased giving concerts and making records. Although his prowess as a performer remained intact and he continued to play privately until the end, his bow arm was affected and he could never again hold the bow as high as before.

Rudolf Koelman (left) with Jascha Heifetz, 1979

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 1980s 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, where it is now used for masterclasses and serves as an inspiration to the students there. During his teaching career Heifetz taught, among others, Erick Friedman, Elaine Skorodin,^[13] Pierre Amoyal, Rudolf Koelman, Endre Granat, Eugene Fodor, Paul Rosenthal, and Ayke Agus.

It was rumored that Heifetz was such a strict disciplinarian that the main gate of his Beverly Hills home was closed exactly at the time his classes were to begin in order to shut out students who arrived late. Heifetz died at Cedars-Sinai Medical Center in Los Angeles, California in December 1987.

Heifetz owned the 1714 Dolphin Stradivarius, the 1731 "Piel" Stradivarius, the 1736 Carlo Tononi, and the 1742 ex David Guarneri del Gesù, the last of which he preferred and kept until his death. The Dolphin Strad is currently owned by the Nippon Music Foundation. The Heifetz Tononi violin used at his 1917 Carnegie Hall debut was left in his will to Sherry Kloss, Master-Teaching Assistant to Heifetz, with "one of my four good bows" (Violinist/author Kloss wrote "Jascha Heifetz Through My Eyes" and is a co-founder of the Jascha Heifetz Society). 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 concertos with Andrei Gorbatenko and the San Francisco Academy Orchestra in 2006.^[14] In 1989, Heifetz received a posthumous Grammy Lifetime Achievement Award.

Family life[link]

Heifetz was married in 1928 to the silent motion picture actress Florence Vidor, ex-wife of King Vidor, whose seven year old daughter, Suzanne, Heifetz adopted. The couple had two more children, Josefa (born 1930) and Robert (1932–2001) before divorcing in 1945. In 1947, Heifetz took a sabbatical during which he married Frances Spiegelberg, with whom he had another son, Joseph (known as Jay). The second marriage ended in divorce in 1962.

Heifetz's son Jay is a professional photographer. He was formerly head of marketing for the Los Angeles Philharmonic and Hollywood Bowl, and the Chief Financial Officer of Paramount Pictures' Worldwide Video Division. He lives and works in Fremantle, Western Australia. Heifetz's daughter, Josefa Heifetz Byrne, is a lexicographer, the author of the Dictionary of Unusual, Obscure and Preposterous Words.^[15]

Heifetz's grandson Danny Heifetz is an accomplished drummer/percussionist and has played with Mr. Bungle, Dieselhed, Secret Chiefs 3 and Link Wray.

His extended family was active in Los Angeles progressive political circles in addition to music.

Heifetz had a difficult personality, and has even been described as "misanthropic". He tended to drive away the very people who could have been his most trusted allies. His own childhood had been difficult; his father was an extremely stern man who, even after Jascha had become the family's sole breadwinner, would still roundly criticise every performance.^[16]

Notable Instruments[link]

• Dolphin 1714 Stradivarius
• Heifetz-Piel 1731 Stradivarius
• Antonio Stradivari 1734
• Carlo Tononi 1736
• ex-David 1742 Guarneri

Filmography[link]

Heifetz in They Shall Have Music

Heifetz played a featured role in the movie They Shall Have Music (1939) directed by Archie Mayo and written by John Howard Lawson and Irmgard von Cube. He played himself, stepping in to save a music school for poor children from foreclosure. He later appeared in the 1947 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. Heifetz later recorded the complete Tchaikovsky concerto with Reiner and the Chicago Symphony Orchestra as one of RCA Victor's "Living Stereo" discs.^[17] In 1951, he appeared in the film Of Men and Music. In 1962. he appeared in a televised series of his master classes, and, in 1971, 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. 2 by Bach. Heifetz even conducted the orchestra, as the surviving video recording documents.

The most recent film featuring Heifetz, Jascha Heifetz: God's Fiddler, premiered on April 16, 2011 at the Colburn School of Music. It is "The only film biography of the world's most renowned violinist, featuring family home movies in Los Angeles and all over the world."^[4]

In popular culture[link]

• In season 5 episode 11 of Mad About You Fran tells Jamie that Ryan's violin teacher says he is a regular Jasha Heifetz.
• Heifetz was often mentioned by Jack Benny in his long-running radio program. Benny often cited his violin playing as being on par with Heifetz.
• Heifetz is referenced in The Muppet Show (1977) where Rowlf the Dog opposite George Burns mentions "Oh listen, I can play any key. I'm another Jascha Heifetz", to which George replies, "Jascha Heifetz played the violin." Rowlf then replies, "Nobody will know the difference, George".
• Heifetz is later mentioned in The Muppet Movie (1979) when Rowlf the Dog, after being praised by Kermit the Frog for playing an impressive piece of music on the piano, shrugged modestly and replied, "I'm no Heifetz, but I get by."
• Heifetz is mentioned by Woody Allen in Broadway Danny Rose (1984). As one of Danny Rose's clients plays a glass harmonica Danny remarks "She's the Jascha Heifetz of her instrument!"
• In Season 3, Episode 5 of The Golden Girls, "Nothing Left To Fear But Fear Itself" (1987), Sophia Petrillo (played by Estelle Getty) makes reference to Jascha Heifetz in sarcastic retort, when her daughter Dorothy (Bea Arthur) asks an obvious question: "Ma, are you going to tell a story?" Sophia: "Please! Does Heifetz rosin a bow?"
• He was mentioned by the character, Data, on the Star Trek: The Next Generation episode "The Ensigns of Command" (1989) as one of the violinists he studied prior to his concert in Ten-Forward aboard the USS Enterprise.
• From Woody Allen's Hollywood Ending (2002): "If there's a brownout, Heifetz will still be on key, but your guitarist won't be."
• The character of Yasha the violinist in Marc Blitzstein's The Cradle Will Rock is a reference to Jascha Heifetz.
• In the book The Jordan Rules, then-Chicago Bulls coach Phil Jackson made a reference to Heifetz by saying that, just as the musician was the featured performer no matter where he played in a performance, Michael Jordan would be the center of the Bulls' triangle offense, even when its design provided greater offensive opportunities for Jordan's teammates.
• Heifetz is one of the subjects of George Gershwin's 1922 song "Mischa, Jascha, Toscha, Sascha" recorded by the Funnyboners.^[18]

See also[link]

• Lithuanian Jews
• Strauss and the Nazis

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Jascha Heifetz

Wikimedia Commons has media related to: Jascha Heifetz

Wikisource has the text of a 1921 Collier's Encyclopedia article about Jascha Heifetz.

• Jascha Heifetz official website
• Jascha Heifetz fan website
• Prominent People – Jascha Heifetz
• Jascha Heifetz at Sony BMG Masterworks
• NPR Classical Music: Heifetz at War: Behind the Scenes, Near the Front
• "The Violinist of the Century" – 3-part series on AdventuresInMusic.biz
• Jascha Heifetz at Find a Grave
•  "Heifetz, Jascha". Encyclopedia Americana. 1920. 

Nathan Mironovich Milstein (January 13, 1904 [O.S. December 31, 1903] – December 21, 1992) was a Russian-born American virtuoso violinist.

Widely considered one of the finest violinists of the 20th century, Milstein was known for his interpretations of Bach's solo violin works and for works from the Romantic period. He was also known for his long career: he performed at a high level into his mid 80s, retiring only after suffering a broken hand.

Biography[link]

He was born in Odessa, then part of the Russian Empire (now in Ukraine), the fourth child of seven, to a middle-class Jewish family with virtually no musical background. It was a concert by the 11-year-old Jascha Heifetz that inspired his parents to make a violinist out of Milstein. As a child of seven, he started violin studies (as suggested by his parents, to keep him out of mischief) with the eminent violin pedagogue Pyotr Stolyarsky, also the teacher of renowned violinist David Oistrakh.

When Milstein was 11, Leopold Auer invited him to become one of his students at the St. Petersburg Conservatory. Milstein reminisced:

Every little boy who had the dream of playing better than the other boy wanted to go to Auer. He was a very gifted man and a good teacher. I used to go to the Conservatory twice a week for classes. I played every lesson with forty or fifty people sitting and listening. Two pianos were in the classroom and a pianist accompanied us. When Auer was sick, he would ask me to come to his home.^[1]

Milstein may in fact have been the last of the great Russian violinists to have had personal contact with Auer. Auer did not name Milstein in his memoirs but mentions "two boys from Odessa ... both of whom disappeared after I left St. Petersburg in June 1917."^[2] Neither is Milstein's name in the registry of the St Petersburg Conservatory.

Milstein also studied with Eugène Ysaÿe in Belgium. He told film-maker Christopher Nupen, director of Nathan Milstein – A Portrait, that he learned almost nothing from Ysaÿe but enjoyed his company enormously. In a 1977 interview printed in High Fidelity, he said, "I went to Ysaÿe in 1926 but he never paid any attention to me. I think it might have been better this way. I had to think for myself."^[3]

Milstein met Vladimir Horowitz and his pianist sister Regina in 1921 when he played a recital in Kiev. They invited him for tea at their parents' home. Milstein later said, "I came for tea and stayed three years."^[4] Milstein and Horowitz performed together, as "children of the revolution," throughout the Soviet Union and struck up a life-long friendship. In 1925, they went on a concert tour of Western Europe together.

He made his American debut in 1929 with Leopold Stokowski and the Philadelphia Orchestra. He eventually settled in New York and became an American citizen. He toured repeatedly throughout Europe, maintaining residences in London and Paris.

A transcriber and composer, Milstein arranged many works for violin and wrote his own cadenzas for many concertos. He was obsessed with articulating each note perfectly and would often spend long periods of time working out fingerings which would make passages sound more articulated. One of his best known compositions is Paganiniana, a set of variations on various themes from the works of Niccolò Paganini.

In 1948, his recording of Mendelssohn's Violin Concerto in E minor, with Bruno Walter conducting the New York Philharmonic, had the distinction of being the first catalogue item in Columbia's newly introduced long-playing twelve-inch 33 rpm vinyl records, Columbia ML 4001.

He was awarded the Légion d'honneur by France in 1968, and received a Grammy Award for his recording of Bach's sonatas and partitas in 1975. He was also awarded Kennedy Center honors by US President Ronald Reagan.

A recital he gave in Stockholm in July 1986 proved to be his final performance. This recital was recorded in its in entirety and shows the remarkable condition of his technique at age 82. A fall shortly afterwards in which he severely broke his left hand ended his career.

After playing many different violins in his earlier days, Milstein finally acquired the 1716 "Goldman" Stradivari in 1945 which he used for the rest of his life. He renamed this Stradivari the "Maria Teresa" in honour of his daughter Maria (presently wife of Marchese GiovanAngelo Theodoli-Braschi, Duke of Nemi and Grandee of Spain, descendant from Pope Pius VI) and his wife Therese. He also performed on the 1710 ex-"Dancla" Stradivarius for a short period.

During the late 1980s, Milstein published his memoirs, From Russia to the West, in which he discussed his life of constant performance and socializing. Milstein discusses the personalities of important composers such as Alexander Glazunov, Sergei Prokofiev, Sergei Rachmaninoff and Igor Stravinsky and conductors such as Arturo Toscanini and Leopold Stokowski, all of whom he knew personally. He also discusses his best friends, pianist Vladimir Horowitz, cellist Gregor Piatigorsky and ballet director George Balanchine, as well as other violinists such as Fritz Kreisler and David Oistrakh.

Milstein was married twice, remaining married to his second wife, Therese, until his death. He died of a heart attack in London on December 21, 1992, just three weeks before his 89th birthday.^[5]

References[link]

• From Russia to the West: The Musical Memoirs & Reminiscences of Nathan Milstein by Nathan Milstein & Solomon Volkov. Limelight Edition, 1991.
• Nathan Milstein by Tully Potter, 1995. From CD booklet notes (Testament SBT 1047).
• Henry Roth, Nathan Milstein, in Violin Virtuosos, From Paganini to the 21st Century, Los Angeles, California Classics Books, 1997, pp. 130-138
• Paolo Cecchinelli, Nathan Milstein. Paganiniana. Variations for violin solo, in Quaderni dell’Istituto di Studi Paganiniani, n. 12 (2000), pp. 25-36.
• Beethoven and Brahms violin concertos. (2001) EMI Records Ltd. Barcode 0724356758353

External links[link]

• http://www.geometry.net/violinists/milstein_nathan.html
• Milstein website (but with dead links)
• Inkpot.com biography

Christian Ferras (June 17, 1933 – September 14, 1982) was a French violinist.

Ferras was born at Le Touquet in 1933. He began studying the violin with his father, who was a pupil of Marcel Chailley. He entered the Conservatoire de Nice as a student of Charles Bistesi in 1941, and in 1943 obtained the First Prize. In 1944 he went to the Conservatoire de Paris. In 1946 he won the First Prize in both disciplines (violin and chamber music), and started his performing career with the Pasdeloup Orchestra under Albert Wolff, and later Paul Paray. He worked with Romanian violinist and composer George Enescu, who also acted as an instructor. The Violin Concerto by Federico Elizalde was premiered by Ginette Neveu in Paris in 1944,^[1] but Christian Ferras gave its London premiere under the direction of Gaston Poulet, in the presence of the composer,^[2][3] and made the world premiere recording on November 7, 1947, when he was aged only 14.

In 1948 Ferras won First Prize at the international Scheveningen Festival; Yehudi Menuhin was among the judges. He premiered Arthur Honegger's Sonata for Solo Violin in the Salle Gaveau on November 16, 1948. In 1949, Ferras won the second prize (the first prize was not awarded) in the international Marguerite Long-Jacques Thibaud Competition. It was there that he met Pierre Barbizet, with whom he formed one of the most famous partnerships in the history of piano-violin collaboration. In 1950 he, along with Jean-Pierre Rampal and George Enescu, recorded various works by J.S. Bach. It was at this point that his career took off when he was invited by Karl Böhm to play with the Vienna Philharmonic in 1951. He subsequently gave a series of concerts in, amongst other places, Japan and South America.

In 1952, he premiered both Claude Pascal's violin sonata and, with Pierre Barbizet, Ivan Semenoff's Double Concerto. In 1954, he recorded Brahms's Violin Concerto with Carl Schuricht. This was his first recording that can be said to have been a veritable success. 1959 was a year in which Ferras rose to real prominence: he began his career in the United States by playing Brahms's concerto under Charles Munch; recorded Bach's Double Concerto with Yehudi Menuhin; played at the Prades Festival with Pablo Casals and Wilhelm Kempff; and premiered Gyula Bando's Violin Concerto. In 1960 he premiered Serge Nigg's Concerto, which the composer is said to have written "for the violin and not without the violin".

Ferras then made many recordings with EMI, including

• Beethoven's sonatas for piano and violin with Pierre Barbizet (1958)
• Berg's chamber concerto and his Violin Concerto 'to the memory of an angel'.

He went on in 1964 to record the Brahms Concerto with Herbert von Karajan under the Deutsche Grammophon label, and then the concertos of Sibelius, Tchaikovsky, Beethoven and Bach, which are the recordings for which he is most admired. He continued to make recordings with Deutsche Grammophon: with Barbizet, the violin sonatas of Brahms, Schumann, Franck and Lekeu; and also a disc with Jean-Claude Ambrosini at the piano.

Please refer to the French Wikipedia page for a list of Ferras' commercially available recordings.

In 1975, he was awarded recognition by the Conservatoire de Paris for his works, and retired from regular public performance for health reasons. He returned to playing in Paris on March 9, 1982 with Alain Lefèvre and then on May 6 with Pierre Barbizet. He gave his last concert in Vichy on August 25, 1982.

Christian Ferras struggled with severe lifelong depression. He committed suicide in Paris on September 14, 1982.

References[link]

External links[link]

• Les Amis de Christian Ferras (in French)