Max Rostal

1905-1991

Portrait of Rostal, looking remarkably
like George Costanza from Seinfeld.

Austrian born, left the Austro-Germanic region with the rise of Hitler in 1933. Declared British citizenship later in life.
Studied with Flesch.
Played violin and viola.
Part of career included editing and creating piano reductions of large works.
Also wrote "Handbook of Violin Playing," an etude book.

Rostal performed an immensely wide variety of music. Composers include: Korngold Elgar, Walton, Bartok, Berg, Shostakovich, Schubert, Schumann, Debussy, Stravinsky, JS Bach, Tartini, Beethoven.

While touring through England, Rostal was acclaimed for his, "sweet, transparent tone underlaid by rhythmic drive and incisive attack." I think this praise for his tone is evident in the Korngold recording below.

Here is a rare recording of Rostal playing the Garden Scene from Korngold's suite of Incidental Music.
The performance took place in 1924, with young Rostal playing with an unknown piano accompanist.

There is now the International Max Rostal Competition for Violin and Viola
The competition is available to young players, age 30 or younger, perhaps reflecting the success Rostal saw young in life. Additionally, the fact that it is available to violinists and violists (Rostal played both) is reflected in the competition's requirements.

Giovanni Viotti

Young Viotti, soon after entering the court of Marie Antoinette.

Aside from Viotti being a legendary composer and virtuoso violinist, he also lead an interesting and intriguing life (1755-1824). He met and worked with famous historical leaders, ran into trouble with the British government, dabbled in an alcoholic business, and greatly influenced other well known composers. Here are a few fun facts that I came across while researching Giovanni Viotti:

Catherine the Great (of Russia) is said to have given him a prized Stradivarius as a "love token." It is still in existence and now famously known as "the Viotti Strad." Currently it belongs to the Royal Academy of Music in England.
Viotti served as musician in Marie Antoinette's court until the beginning of the French Revolution (1784-1790s)
He held the position of Opera Manager at King's Theatre in England until he was suspected of political treason in 1798 (*perhaps his ties to France at Marie Antoinette's court were related to his supposed political treason)
Opened an unsuccessful wine business in 1801
Born and died in a humble economic state.

Additionally, Beethoven and Brahms were inspired by Viotti's last ten concertos.
Viotti is strongly associated with creation of modern French bow (now accredited to Tourte)
Undeniably, "the style of [Viotti's] playing demanded such an improved stick."

Marie Hall with Viotti-Strad 1905.

Kreutzer and Rode were influenced by Viotti's playing and bow technique:
"as a whole their methods greatly resemble that of their great master Viotti."

Widely recognized as a unique performer, and received well by public.
Here are several quotes from magazines and newspapers of the time:

"A strong, full tone, indescribable fluency, purity, precision, shadow and light."
"The ease and clarity with which he performed the most difficult passages."
"He performs both expressive and difficult passages perfectly."
"An accurate performance, an exquisite polish, and an admirable quality of tone in the Adagio."
"What energy and what grace combined! What polish in the adagios! What brilliance in the allegros!
"Nothing could be more exquisite than his tones in the second movement."
"His power over the instrument seems unlimited . . . he awakens emotion, gives a soul to sound, and leads the passions captive."
(these quotes found at: http://www.pamelagoldsmith.com/articles/Transitional_Bowing.html)

I never imagined Viotti living a cosmopolitan, yet slightly dangerous life. Furthermore, I was pleased to learn about his impact on the French bow and other great composers such as Beethoven and Brahms. I was particularly fascinated with the period-reviews; they provide insight into a time where much is lost and only rare historical recordings can honestly tell us of the events, opinions and trends of the period.

Georges Enesco

George Enescu (native spelling) lived from 1881-1951. I was curious to see whether he conformed to tradition 19th C compositional practices, or explored new territory along with many others at the turn of the century. I was also interested in what particular stylistic elements Enesco used. 

I listened to his Romanian Rhapsody no. 2 in D Major, which represented the exotic and nationalistic folk qualities of his native Romania. It was composed when he was 20—fascinating since that is only one year older than myself. The melodic content is based on an existing Romanian folk tune, and was influenced by stories told in the Moldavian Chronicles. Since I am fascinated with history I did a bit of researching on these chronicles. They were written throughout the 14^th-16^th C, their purpose was to record ancient folklore from the Slavic region of the time. Grigore Ureche first translated the chronicles into Romanian and they now hold an important place in Romanian literature's history. Enesco references stories from the chronicles in his Rhapsodies (D Major and A Major).

The piece opens with a tutti string section solo, played with freedom. The sul G or C sound quality in the violins and violas creats a "rustic" musical atmosphere. Most of the piece is based on this single theme, taken from an original Romanian folk tune. It gradually builds in both dynamic level and orchestration; each time the theme is introduced, new instruments are added (horn, flute, brass, timpani). In the B section, there are some unusual harmonies which I would most accurately describe as modal, that is, they do not conform to the standard Western practices of the 17-18^th C. When the A section returns, the theme is embellished and transposed into a more ambiguous key, again sounding modal. Enesco employs stylistic elements such as: eerie ponticello in strings, exotic and sudden timpani rolls and strikes, dark sounding viola tremolo, celestial and otherworldly harp playing. The piece builds again to a climax, bringing bits of the A theme back in the string section, played gloriously in the high register of the violins, with remnants of the modal motifs played softly underneath by the winds and brass. The piece ends calmly, as if it has become just a distant memory.

In general, Enesco’s form seems standard: ABA, yet he employs greatly interesting stylistic elements in this piece. His references to national folklore reminds me of Chopin’s Mazurkas and Polonaises (which I love). The nationalistic elements utilized by Enesco and other composers add a certain exotic and intriguing yet nostalgic and heartwarming quality to their music that is worth attention and praise.

Here you can listen to a recording: Enesco, Romanian Rhapsody no. 2