Henryk Szeryng plays Corelli’s «La Folia» Sonata

Harpsichord: Huguette Dreyfus

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Video Rating: 4 / 5

39 Comments

  • ariyakantasila

    22 diciembre, 2012

    hilarious…I thought only pop music fans insulted each other in youtube comments. I WAS WRONG

  • leesm0821

    22 diciembre, 2012

    Then he is a tomfool orjackanapes

  • dziady1

    22 diciembre, 2012

    cont:Can’t speak for Dreyfus – who seems all over the map . The Durand edition is very basic and does not include all the tampering frills . Manfredo Kraemer is a violinist
    to hear in this ,
    being study in bowing techniques which he does wonderfully well .This music can be played as originally written .Being «in situ» it shows its true beauty and the historical advancement of the art .
    Otherwise all ends up as this recent tampering adventure of a stupid woman and the ruining of a fresco.

  • dziady1

    22 diciembre, 2012

    My original point was that some 250 odd years after the work is published along comes a 20 Cent. fiddle player and throws in romantic schmaltz and calls it the Corelli La Folia.
    Of all the arts only in music it seems is it fair game to pillage and alter to suit ones taste
    and then pass it off in performance as representing the true work .Of all the research
    given this work to do what this fiddler does is «non thinking » and stupid no matter
    how celebrated a performer he may be to some people .

  • Cor Elly

    22 diciembre, 2012

    DZIADY1

    We recently exchanged a few thoughts on great violinists of the past. Szeryng is of the same generation as Neveu, but was not in your preferred list. Leaving aside Nick.Osia’s irony, a few questions come to mind :

    whose interpretation of the Corelli would you recommend ?

    what is the interest of the Durand edition ?

    would not Dreyfus have played directly from the original, if the aim were to be stylistically accurate ?

    can (or should) this music really be played «as written» ?

  • Bach Tobach

    22 diciembre, 2012

    @leesm0821
    If you have a few minutes to spare, read back through the discussion, starting with dziady1 calling Henryk Szeryng a „non thinking fiddle player» about 3 weeks ago. It’s not easy to follow, with a lot of multiple postings, but see what you think !

  • leesm0821

    22 diciembre, 2012

    hm…. lots of conversation going down?

  • Nick Osia

    22 diciembre, 2012

    And so, as the gibbering, battered remains of DZIADY1 are scraped from the floor and transported back to his padded cell, where he can be heard blubbering incoherently about acolytes and mice, we are pleased to announce that, in recognition of his devotion to musical ignorance, boorish arrogance and inability to understand simple English, DZIADY1 has been voted winner of our coveted «GORMLESS IDIOT OF THE YEAR» award, 2012.

  • dziady1

    22 diciembre, 2012

    I replied to you because I found you mildly amusing -there is no discussion to
    be had with zurich geige as he is to me a mediocre bore , but perhaps not to you ..
    That you find him «simply right » is well and good for you at the same
    time your persistence that I challenge him to prove him» wrong » is indeed
    strange .No way for an acolyte to behave .With this latest you have passed being amusing.Stay with zurich you deserve each other .

  • Nick Osia

    22 diciembre, 2012

    [continued from below]

    … and I have not failed to notice that you still reply to me and are too cowardly to re-enter a musical discussion with zurich.geige. You haven’t even got the guts to put forward some sort of counter-argument.

    Try telling him where he’s wrong about the Léonard arrangement, or about the Berlioz quotation (which you, not he, introduced). But give some musical arguments. He does – and it appears as easy to him as it is impossible for you.

  • Nick Osia

    22 diciembre, 2012

    I do not need to think zurich.geige’s answer «clever». It is simply right. He states clear facts which can be verified.

    If, as you claim, he does not answer the question, but «dances around», then how is it you cannot produce even the most meagre shred of evidence to support your claim ?

    Which, of course, is the point of Andersen’s story. But even that appears to be beyond your comprehension.

  • dziady1

    23 diciembre, 2012

    Is seemingly being an idiot a studied pose with you ?
    The Berlioz question was not answered ,it was danced around in a manner
    that was thought as clever -but unfortunately not as clever as you might think . You are beyond understanding what someone may think
    of you and your manny inane comments. No insults aimed at you , just observations .In reading the exchanges of geige,ulrich, tobach one cannot but notice how they reflect the superb story of the emperor and his new clothes .

  • Nick Osia

    23 diciembre, 2012

    Dziady1, I can understand you wanting to slink off after receiving such a thrashing – it is a natural reaction of the weak when humiliated.

    Zurich.geige has answered the Berlioz question for you ; why it is irrelevant to 18th century performance practice, but how it relates to this 19th century arrangement. From the moment I made a remark about «scores», you saw your opportunity to wriggle out of the musical discussion and concentrate on aiming your primitive insults at me.

  • zurich geige

    23 diciembre, 2012

    Quite right. Editions based closely on the original (Rome c.1700) for violin & figured bass, continued to appear until the late 18th century. Léonard’s arrangement reflects a radical change of approach in the 19th century. Dolmetsch tries to give a practical edition, adding indications deemed „necessary» for interpretation as well as a continuo realisation suitable for piano. The Joachim/Chrysander is a scholarly text from which few 19th century musicians would actually be able to play.

  • Nick Osia

    23 diciembre, 2012

    I’m not sure where that leaves the scores, except that dziady1 is still firmly stuck on NIL and looking more & more feeble by the minute.

  • Bach Tobach

    23 diciembre, 2012

    Looking at the dates of those editions makes the «old» Joachim/Chrysander (almost exactly contemporary with the Dolmetsch) seem all the more remarkable.

    It also makes dziady1’s simplistic view of musical history seem all the more grotesque.

  • zurich geige

    23 diciembre, 2012

    Absolutely. It is sad to note that in his frenetic efforts to denigrate anyone who contradicts him, dziady1 completely misses the potential significance of his own remark.

    By Berlioz’s time, musicians expected to have very clear indications on their scores (tempo, phrasing, dynamics etc). The composer could indeed ask his musicians to play „as written». Léonard, only 15 younger than Berlioz, would have been brought up in this tradition. contd

  • zurich geige

    23 diciembre, 2012

    contd. For most players of Léonard’s generation, 18th century editions would be largely unusable – precisely because you CAN’T play them „as written» : figured bass, few dynamics or phrase markings… So he prepared a score as Berlioz would have expected, with a fully written-out accompaniment (for piano), and extensive expression indications – all to be played „as written». In the event he went much further, making it (to use dziady1’s term) „his own».

  • jorgen ulrich

    23 diciembre, 2012

    So in a sense, you could say that Szeryng is doing as Berlioz requested : playing it «as written» (in the Léonard edition).

  • zurich geige

    23 diciembre, 2012

    Happy memories !

    Pity the Szeryng/Corelli comments got bogged down with dziady’s habitual insults in place of discussion. What we hear goes far beyond dziady’s „dumb fiddler» routine. This is, of course, the 19th century arrangement (for violin & piano) by Hubert Léonard, a wonderful glimpse of how baroque music was seen 150 years ago, with its chromatic embellishments and cadenza… The score even proposes a „more effective» ending, which Szeryng & Dreyfus choose not to include ! contd.

  • zurich geige

    23 diciembre, 2012

    contd. The arrangement dates from long before the modern „early music» revival, and it is extraordinary to find this recording, over a century later, by a great romantic violinist with harpsichord (Dreyfus more or less sticks to Léonard’s „piano» part!)

    A comparison with the late 1880s edition (also for violin & piano) by the baroque pioneer Arnold Dolmetsch makes the journey towards 20th century „historically informed» interpretations all the more fascinating.
    

  • Nick Osia

    23 diciembre, 2012

    Good try – but another failure.

    Once again, I see you have abandoned any pretence at musical discussion (it never lasts long before you bring out the «ignorant» or «you are too stupid to understand»).

    Zurich.geige certainly kept it simple ; but not simple enough for you. We’re still waiting for your answer to the Bach/Mozart question.

    I know you’ll not answer. Perhaps you’ll spin some ludicrous story about your superior intelligence – but the truth is a plain as can be : you are incapable.

  • dziady1

    23 diciembre, 2012

    You are totally unfair in implying that I poke fun at you .

  • Nick Osia

    23 diciembre, 2012

    What’s all this talk about performance practice? – ornamentation, pitch, tuning… Does nobody care that dziady1 is having problems with mice? They distract him as he looks down from on high to poke fun at the ignorant.

  • Bach Tobach

    23 diciembre, 2012

    This is amazing ! I was a young student at that colloquium and am now a professional early musician. That zurich.geige is able to appreciate Szeryng’s Corelli on its own terms is no surprise. I remember a scholar & performer committed to historical practice (there was a vivid illustration of different pitches & temperaments in baroque music) yet able to present different viewpoints with scholarly impartiality. Musicianship of Szeryng’s calibre is simply wonderful.

  • magget150

    23 diciembre, 2012

    I bought the super expensive version (Collectors Edition) and it didn’t contain a product registration Key so now i am fucked and spent 161$ for NOTHING. Customer service is a joke.

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