American violinist David Nadien passed away last week at the age of 88. A student of Ivan Galamian, Adolfo Betti and Adolf Busch, Nadien first soloed with the New York Philharmonic at the age of 14. Between 1966 and 1970 he served as concertmaster of the New York Philharmonic under Leonard Bernstein. You can hear him play the “Pas de deux” violin solo from Tchaikovsky`s Swan Lake here.
For years Nadien taught at the Mannes College of Music and performed as a top freelance studio musician in New York. His immaculately clean, Romantic style of playing, suggestive of violinists from Elman to Milstein, was an inspiration to a younger generation of musicians. The Suzuki violin repertoire, books 1-10, are among his diverse recording credits. Notable recordings include the Franck Sonataand Tchaikovsky Concerto as well as showpieces such as Sarasate’s Habañera,Weiniawski’s Scherzo Tarentelleand Massenet’s Meditation from Thais.
Here is his recording of Sarasate’s Introduction and Tarantella:
Recently, I found a few interesting links relating to Josef Gingold, the legendary violinist and teacher who died in 1995. If you’re not familiar with Gingold’s legacy, this short video offers insights into his life, distinguished career and great humanity.
Having studied with the nineteenth century Belgian violinist Eugene Ysaye, Gingold was one of the last links to an elegant earlier style of violin playing. Here is an excerpt from his 1976 recording Josef Gingold Plays Fritz Kreisler, featuring Kreisler’s Aucassin et Nicolette. It showcases his golden tone and the warmth of his playing:
[quote]No matter what you do, always con amore, always with love. You never play dutifully, you play beautifully.[/quote]
Gingold has many interesting things to say in this interview, conducted in the last years of his life by Kim Markl. He talks about the importance of constantly learning and changing throughout life. Despite his age, he exudes a love of the violin and a joy of discovery that suggests an amazing youthful vitality. He discusses the way styles of violin playing have changed over time, demonstrating in the style of Ysaye. He believes that the most fundamental aspect of good tone production is good intonation, which allows rich overtones to ring. When asked about teaching, Gingold stresses the importance of a student’s first teacher in establishing the correct foundation. He says that a good teacher must have patience and must recognize that each student is unique.
It’s also fascinating to hear Gingold’s thoughts on violinists of the past. In this episode of Music for the FingerboardGingold takes us through recordings of significant violinists of the past including Joachim, Sarasate, Auer, Kreisler, Huberman, Ysaye and Heifetz. Students of Gingold, such as Joshua Bell say that listening to recordings and studying the way legendary violinists played was an important part of their lessons with Gingold. Indeed, it’s important for all violinists to know the playing of the great violinists of the past. (Here are Parts 2, 3, 4 and 5 of Music for the Fingerboard).
Here is a recording of Josef Gingold playing Henryk Wieniawski’s Capriccio Valse. Wieniawski was a Polish violinist and composer who lived from 1835-1880: