Podcast appearances and mentions of carl flesch

Föstudagsgesturinn okkar í þetta sinn var Sigrún Eðvaldsdóttir fiðluleikari og konsertmeistari Sinfóníuhljómsveitar Íslands. Sigrún hóf fiðlunám 5 ára gömul hjá Gígju Jóhannsdóttur en lauk einleikaraprófi frá Tónlistarskólanum í Reykjavík árið 1984 undir handleiðslu Guðnýjar Guðmundsdóttur og lauk bakkalárprófi frá Curtis tónlistarháskólanum í Philadelphiu í Bandaríkjunum 1988. Hún hefur tekið þátt í fjölda alþjóðlegra fiðlukeppna; varð í öðru sæti í Leopold Mozart keppninni árið 1987, hlaut bronsverðlaun í Síbelíusar-keppninni árið 1990 og önnur verðlaun í Carl Flesch keppninni árið 1992. Sama ár hlaut hún bjartsýnisverðlaun Brøste. Hennar er getið sem eins af áhugaverðustu fiðluleikurum framtíðarinnar í bók Henry Roth og hún hefur gegnt stöðu 1. konsertmeistara Sinfóníuhljómsveitar Íslands frá árinu 1998 og sama ár var hún sæmd Riddarakrossi hinnar íslensku Fálkaorðu fyrir störf sín á sviði tónlistar. Við fórum með Sigrúnu aftur í tímann á æskuslóðirnar í Garðabæ og hún sagði okkur hvenær fiðlan kom inn í hennar líf, hún talaði um námið og keppnisskapið og frá erfiðri reynslu þegar hún handleggsbrotnaði í Svíþjóð árið 2022. Í matarspjalli dagsins með Sigurlaugu Margréti töluðum við aðeins meira um færeysku matreiðslubókina og þær athugasemdir sem komu frá glöggum hlustendum í kjölfarið og svo töluðum við um kjötbollur og kalkúnahakk. Tónlist í þættinum Óvissan / Guðmundur Rafnkell Gíslason (Björn Hafþór Guðmundsson) Minning / Sigrún Eðvaldsdóttir og Selma Guðmundsdóttir (Þórarinn Guðmundsson) Schindler's List meginstef / Sinfóníuhljómsveit Íslands, Sigrún Eðvaldsdóttir (John Williams höfundur, stjórnandi Daníel Bjarnason) UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

Sie ist eine der ersten weiblichen Stars im Klassik-Business, die Geigerin Ginette Neveu; geboren am 11. August 1919, also vor 105 Jahren. Mit fünf Jahren hält sie zum ersten Mal eine Geige in der Hand. Ihr Talent ist überwältigend. Mit elf Jahren beendet sie das Pariser Konservatorium mit Diplom, mit zwölf wird Carl Flesch ihr Lehrer. Und doch dauert die Karriere des Wunderkindes Ginette Neveu nur wenige Jahre. Unser ZOOM erzählt ihre kurze Lebensgeschichte.

This is the second of two podcasts featuring the life and music of Alma Moodie. Moodie was born in rural Australia, but moved to Europe early last century and eventually became a student of the legendary Carl Flesch, who referred to her as his favourite student.  The violinist collaborated with renowned composers, among them Stravinsky, Pfitzner and Reger, and cultivated friendships with aristocracy, philanthropists and artists including German poet Rainer Maria Rilke. Alma Moodie's influence and fame were far reaching, well beyond her untimely death in 1943.Guests include the Australian musicologist and historian Kay Dreyfus, who published “Bluebeard's Bride”, a biography of Alma Moodie in 2013. More recently Kay edited “The Fractured Self”,  a book featuring 270 letters from the Moodie collection.  Also joining me are musicians Diana Weekes, who translated Moodie's letters, and violinist Goetz Richter, Associate Professor at the University of Sydney's Conservatorium of Music.  We will also meet historian Michael Haas, author of “Forbidden Music,” a study of the Jewish composers and musicians banned by the Third Reich.

This is part I of two podcasts featuring the life and music of Alma Moodie.She was born in 1898  in rural Australia, and moved to Europe early last century. She became a student of the legendary Carl Flesch, who referred to her as his favourite student.  The violinist collaborated with renowned composers, among them Stravinsky, Pfitzner and Reger, and cultivated friendships with aristocracy, philanthropists and the poet Rainer Maria Rilke. Alma Moodie's influence and fame were far reaching, well beyond her untimely death in 1943.In this podcast we meet the Australian musicologist and historian Kay Dreyfus, who published “Bluebeard's Bride”, a biography of Alma Moodie in 2013. More recently Kay edited “The Fractured Self”,  a book featuring 270 letters from the Moodie collection. Also joining me are musicians Diana Weekes, who translated Moodie's letters, and violinist Goetz Richter, Associate Professor at the University of Sydney's Conservatorium of Music. Goetz has researched and performed many of the pieces associated with Moodie during her lifetime. Two of his recordings of Moodie inspired works also featured in the podcast. 

In deze uitzending ruim aandacht voor het SNAAR-festival dat op 28 mei in TivoliVredenburg in Utrecht wordt gehouden - muziek en wetenschap smelten samen! En natuurlijk een paar fijne andere tips voor een smaakvol muzikaal lentegevoel. 23.04 CD Telemann | Fasch | Bach | Graupner (Challenge Classics CC 72903) Christoph Graupner: Concerto in F, GWV 323 - Allegro Thomas Triesschijn [blokfluit]; The Counterpoints XL 3'48” 23.10 CD Kreisler: The Complete Recordings, vol. 3 (1914-1916) (Naxos 8.112064) Johann Sebastian Bach: Concert voor 2 violen BWV 1043 - Largo ma non tanto Fritz Kreisler [viool] 1'00” frag 2 CD Joseph Szigeti & Carl Flesch Plays Bach - 1937 (NAXOS 8.110979) Johann Sebastian Bach: Concert in d voor 2 violen BWV 1043 - I Vivace Joseph Szigeti [viool]; Carl Flesch [viool]; orkest olv Walter Goehr 4'02” 23.21 CD For Mattia (TRPTK TTK037) Douwe Eisenga: For Mattia Douwe Eisenga [piano] 7'43” 23.32 CD Sounds of Interstellar Space (eigen uitgave z.nr.) Rick Cornelissen: Jupiter Trifid 8'34” 23.42 eigen opname ereprijs (bandcamp https://ereprijs.bandcamp.com/album/young-composers-meeting-1998) Martin Fondse: Cinematographics orkest de ereprijs 3'59” incl applaus 23.46 CD Young Composers Meeting 2022 (eigen uitgave) Annija Zarina: Of mere being Orkest De Ereprijs 4'50” CD All of us (Mercury KX 3599026) Luke Howard: Critical Spirit Luke Howard 4'49”

This week, we're talking scales and etudes. Are they the foundational blocks on which your entire technique is built? Or more like raw vegetables that you have to choke down if you want to stay healthy? Akiko actually had a scale class as a kid, while I got a crash course in scales from my Curtis teacher Felix Galimir (who had studied with Carl Flesch himself). Etudes were a different story. Both of us went through a progression of Sevcik, Schradieck, Kretuzer, Dont, and all the rest. But back then, we just played without knowing why. These days, we like to know the point of an etude before we dive in: the key that unlocks each etude's benefit. Developing my Virtuoso Master Course has given me a chance to reevaluate my relationship with the classics, but I wanted Akiko's take on the topic as well. Enjoy a roll in the hay of fundamental violin techniques! Key points Akiko recounts her distaste for practicing scales at Juilliard Scales: more like meditation or workout? Akiko's time at Juilliard pre-college with Ševčík, Schradieck, Kreutzer, Paganini and Yost Why Akiko stopped practicing scales after a Paganini concerto got her down Scales and etudes as prep for challenging pieces Nathan's first scale, at the end of Suzuki studies How Ivan Galamian adjusted a three-octave scale to give it 24 notes Akiko's scale class Nathan and Akiko's take on Simon Fischer's Warming Up The times in life to discover etudes (i.e. bachelor freedom) Thirds for 20 minutes a day, thanks to Ruggiero Ricci Nathan's first lesson with Felix Galimir, and the four-hour-a-day scale workout Every etude has a key to unlock its benefit How to practice scales so they lead to confident performance Akiko's feeling of impending violinistic disaster, as inThe Godfather. Quotes “I feel like the goal for the Delay students was to get to Paganini ASAP.” — @Akiko Tarumoto  [0:10:31] “I think that's the real argument for learning skills in scales and etudes, so that when you get to them in in the repertoire, you feel like you can say, ‘I've got this.'” — @natesviolin  [0:14:43] “Opening up an etude book, trying to play one and just – whether your reaction is just stopping and closing it or breaking down crying, it is actually a pretty common thing.” — @natesviolin  [0:26:56] “Great strides are made when there is not a lot else going on.” — @Akiko Tarumoto  [0:29:17]  “it wasn't like I was sitting here watching TV and you came up to me and you said, ‘You need to work on your arpeggios.'” — @Akiko Tarumoto  [0:47:04] Links from the episode Juilliard Pre-CollegeAspen FestivalThe Virtuoso Master CourseKreutzer SonataHenry SchradieckOtakar ŠevčíkNicolò PaganiniFranz WohlfahrtJacques Féréol MazasGaylord YostCurtis Institute of MusicSuzuki Violin BooksMozart Fifth Concerto in A MajorMozart's Fourth Concerto in D majorJohannes BrahmsJoachim CadenzaDan MasonVienna Philharmonic OrchestraCarl FleschIvan GalamianPierre Gaviniès Simon FischerMoritz MoszkowskiSaint Paul Chamber OrchestraAnimal FarmRuggiero RicciSergei ProkofievJack Benny William PreucilThe Godfather Transcript [0:00:00.7] NC: Hello and welcome back to Stand Partners for Life. I am Nathan Cole. [0:00:04.7] AT: I am Akiko Tarumoto. [0:00:18.7] NC: That's it, it's just the two of us this time. We've had a couple of episodes lately with some very special guests, especially cellists. [0:00:26.6] AT: Yeah, I guess it goes along with my theory that violinists aren't really friends with other violinists. [0:00:32.9] NC: Well, we're married to other violinists but just not friends. [0:00:36.3] AT: I said friends. [0:00:37.8] NC: That's true, it took us a while to become friends. [0:00:39.8] AT: Yeah, right? [0:00:41.7] NC: Because of that, I thought that maybe this episode could be a little bit more violin centric, you know, we talk a lot about the orchestra life, playing in orchestra,

This week, we're talking scales and etudes. Are they the foundational blocks on which your entire technique is built? Or more like raw vegetables that you have to choke down if you want to stay healthy? Akiko actually had a scale class as a kid, while I got a crash course in scales from my Curtis teacher Felix Galimir (who had studied with Carl Flesch himself). Etudes were a different story. Both of us went through a progression of Sevcik, Schradieck, Kretuzer, Dont, and all the rest. But back then, we just played without knowing why. These days, we like to know the point of an etude before we dive in: the key that unlocks each etude's benefit. Developing my Virtuoso Master Course has given me a chance to reevaluate my relationship with the classics, but I wanted Akiko's take on the topic as well. Enjoy a roll in the hay of fundamental violin techniques! Key points Akiko recounts her distaste for practicing scales at JuilliardScales: more like meditation or workout?Akiko's time at Juilliard pre-college with Ševčík, Schradieck, Kreutzer, Paganini and YostWhy Akiko stopped practicing scales after a Paganini concerto got her downScales and etudes as prep for challenging piecesNathan's first scale, at the end of Suzuki studiesHow Ivan Galamian adjusted a three-octave scale to give it 24 notesAkiko's scale classNathan and Akiko's take on Simon Fischer’s Warming UpThe times in life to discover etudes (i.e. bachelor freedom)Thirds for 20 minutes a day, thanks to Ruggiero RicciNathan's first lesson with Felix Galimir, and the four-hour-a-day scale workoutEvery etude has a key to unlock its benefitHow to practice scales so they lead to confident performanceAkiko’s feeling of impending violinistic disaster, as inThe Godfather. Quotes “I feel like the goal for the Delay students was to get to Paganini ASAP.” — @Akiko Tarumoto  [0:10:31] “I think that’s the real argument for learning skills in scales and etudes, so that when you get to them in in the repertoire, you feel like you can say, ‘I’ve got this.’” — @natesviolin  [0:14:43] “Opening up an etude book, trying to play one and just – whether your reaction is just stopping and closing it or breaking down crying, it is actually a pretty common thing.” — @natesviolin  [0:26:56] “Great strides are made when there is not a lot else going on.” — @Akiko Tarumoto  [0:29:17]  “it wasn’t like I was sitting here watching TV and you came up to me and you said, ‘You need to work on your arpeggios.’” — @Akiko Tarumoto  [0:47:04] Links from the episode Juilliard Pre-CollegeAspen FestivalThe Virtuoso Master CourseKreutzer SonataHenry SchradieckOtakar ŠevčíkNicolò PaganiniFranz WohlfahrtJacques Féréol MazasGaylord YostCurtis Institute of MusicSuzuki Violin BooksMozart Fifth Concerto in A MajorMozart’s Fourth Concerto in D majorJohannes BrahmsJoachim CadenzaDan MasonVienna Philharmonic OrchestraCarl FleschIvan GalamianPierre Gaviniès Simon FischerMoritz MoszkowskiSaint Paul Chamber OrchestraAnimal FarmRuggiero RicciSergei ProkofievJack Benny William PreucilThe Godfather Transcript [0:00:00.7] NC: Hello and welcome back to Stand Partners for Life. I am Nathan Cole. [0:00:04.7] AT: I am Akiko Tarumoto. [0:00:18.7] NC: That’s it, it’s just the two of us this time. We’ve had a couple of episodes lately with some very special guests, especially cellists. [0:00:26.6] AT: Yeah, I guess it goes along with my theory that violinists aren’t really friends with other violinists. [0:00:32.9] NC: Well, we’re married to other violinists but just not friends. [0:00:36.3] AT: I said friends. [0:00:37.8] NC: That’s true, it took us a while to become friends. [0:00:39.8] AT: Yeah, right? [0:00:41.7] NC: Because of that, I thought that maybe this episode could be a little bit more violin centric, you know, we talk a lot about the orchestra life, playing in orchestra, obviously Stand Partners refers to the orchestra life but sometime we can nerd out a ...

This week, we're talking scales and etudes. Are they the foundational blocks on which your entire technique is built? Or more like raw vegetables that you have to choke down if you want to stay healthy? Akiko actually had a scale class as a kid, while I got a crash course in scales from my Curtis teacher Felix Galimir (who had studied with Carl Flesch himself). Etudes were a different story. Both of us went through a progression of Sevcik, Schradieck, Kretuzer, Dont, and all the rest. But back then, we just played without knowing why. These days, we like to know the point of an etude before we dive in: the key that unlocks each etude's benefit. Developing my Virtuoso Master Course has given me a chance to reevaluate my relationship with the classics, but I wanted Akiko's take on the topic as well. Enjoy a roll in the hay of fundamental violin techniques! Key points Akiko recounts her distaste for practicing scales at JuilliardScales: more like meditation or workout?Akiko's time at Juilliard pre-college with Ševčík, Schradieck, Kreutzer, Paganini and YostWhy Akiko stopped practicing scales after a Paganini concerto got her downScales and etudes as prep for challenging piecesNathan's first scale, at the end of Suzuki studiesHow Ivan Galamian adjusted a three-octave scale to give it 24 notesAkiko's scale classNathan and Akiko's take on Simon Fischer’s Warming UpThe times in life to discover etudes (i.e. bachelor freedom)Thirds for 20 minutes a day, thanks to Ruggiero RicciNathan's first lesson with Felix Galimir, and the four-hour-a-day scale workoutEvery etude has a key to unlock its benefitHow to practice scales so they lead to confident performanceAkiko’s feeling of impending violinistic disaster, as inThe Godfather. Quotes “I feel like the goal for the Delay students was to get to Paganini ASAP.” — @Akiko Tarumoto  [0:10:31] “I think that’s the real argument for learning skills in scales and etudes, so that when you get to them in in the repertoire, you feel like you can say, ‘I’ve got this.’” — @natesviolin  [0:14:43] “Opening up an etude book, trying to play one and just – whether your reaction is just stopping and closing it or breaking down crying, it is actually a pretty common thing.” — @natesviolin  [0:26:56] “Great strides are made when there is not a lot else going on.” — @Akiko Tarumoto  [0:29:17]  “it wasn’t like I was sitting here watching TV and you came up to me and you said, ‘You need to work on your arpeggios.’” — @Akiko Tarumoto  [0:47:04] Links from the episode Juilliard Pre-CollegeAspen FestivalThe Virtuoso Master CourseKreutzer SonataHenry SchradieckOtakar ŠevčíkNicolò PaganiniFranz WohlfahrtJacques Féréol MazasGaylord YostCurtis Institute of MusicSuzuki Violin BooksMozart Fifth Concerto in A MajorMozart’s Fourth Concerto in D majorJohannes BrahmsJoachim CadenzaDan MasonVienna Philharmonic OrchestraCarl FleschIvan GalamianPierre Gaviniès Simon FischerMoritz MoszkowskiSaint Paul Chamber OrchestraAnimal FarmRuggiero RicciSergei ProkofievJack Benny William PreucilThe Godfather Transcript [0:00:00.7] NC: Hello and welcome back to Stand Partners for Life. I am Nathan Cole. [0:00:04.7] AT: I am Akiko Tarumoto. [0:00:18.7] NC: That’s it, it’s just the two of us this time. We’ve had a couple of episodes lately with some very special guests, especially cellists. [0:00:26.6] AT: Yeah, I guess it goes along with my theory that violinists aren’t really friends with other violinists. [0:00:32.9] NC: Well, we’re married to other violinists but just not friends. [0:00:36.3] AT: I said friends. [0:00:37.8] NC: That’s true, it took us a while to become friends. [0:00:39.8] AT: Yeah, right? [0:00:41.7] NC: Because of that, I thought that maybe this episode could be a little bit more violin centric, you know, we talk a lot about the orchestra life, playing in orchestra, obviously Stand Partners refers to the orchestra life but sometime we can nerd out a ...

durée : 00:59:18 - 5. Exils et migrations violonistiques : Paris, New York, Buenos Aires, Tel Aviv... - par : Marina Chiche - En 1935, le professeur de Ginette Neveu, juif hongrois Carl Flesch est contraint de quitter l’Allemagne. 1935 - c’est justement l’année du fameux concours Wieniawski à Varsovie si important pour le lancement de la carrière internationale de Ginette Neveu. - réalisé par : Philippe Petit

Ribbons & Bows Podcast 6  In this episode, “Surprising Strengths, FABULOUS FIRSTS & and Cool Connections.” Podcast 6 Segment 1 Featured Violinists Florence Hardeman, Vera Barstow, Florence Austin, Maud Powell, Estelle Gray-Lhevinne, Barbaba Lull, Ilse Niemack, Ruth Ray, Ruth Breton, Leona Flood, Viola Mitchell, Byrd Elliott, Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Lea Luboshutz, Frances Berkova, Isolde Menges, Orrea Pernel, Ida Haendel, Genette Neveu, Renee Chemet, Jelly d’Aranyi, Stefi Geyer, Valentina Crespi, Erika Morini, Marjorie Edwards, Thelma Given, Kemp Stillings, Cecilia Hansen, May Harrison, Mary Gale Hafford, Marie Caslova, Evelyn Starr, Cordelia Lee, Ruth Breton, Helen Kwalwasser, Betty-Jean Hagen, Erika Morini, Gisella New, Ruth Kemper, Mary Gale Hafford, Guila Bustabo, Fredell Lack, Dorothy Minty, Johanna Martzy, Erna Rubinstein, Madelein Carabo, and Beverly Somach Podcast 6 Segment 2 Featured Violinists Madeline Carabo, Regina Carter, Albena Danailova, Ida Haendel, Jana Jae, Dylana Jenson, Elissa Lee Koljonen, Fredell Lack, Erika Morini, Kathleen Parlow, Orrea Pernel, Rachel Barton Pine, Maud Powell, Eudice Shapiro, Ethel Stark, Camilla Urso, Marie Caslova, Frances Berkova, Evelynn Starr, Ruth Breton, Thelma Given, Emily Gresser, Lea Luboshutz, Gisella Neu, Helen Teschner-Tas, Catherine Wade-Smith, Jelly d’Aranyi Podcast 6 Segment 1 Other Mentions Fritz Kreisler, John Philip Sousa, Elissa Koljonen, Aaron Rosand, Efrem Zimbalist, Karen Shaffer, Devon Filo, Tracey Sherry, Cheryl Frank, Lauren Speeth, Sheridan Speeth, Joseph Knitzer, Christopher Speeth, Joseph Gingold, Chris Kranyak, Betty Haag, Joseph Gold, Jeremy Cohen, Mitchell Sardou Klein, Kay Raney, Rachel Barton Pine, Eileen Flissler, Leonard Bernstein, Mayra Hess, Guiamar Novaias, Mischa Mischakoff, Stephanie Jeong, Otakar Sevcik, Leopold Auer, Carl Flesch, Galamian, Henry Holmes, Isobel Murray, Henry Schradieck, Galamian, Eugene Ysaye, Persinger, Jeno Hubay, George Enesco, Jascha Heifetz Podcast 6 Segment 2 Other Mentions Otakar Sevcik, Carl Flesch, Arrigo Serato, Leopold Auer, Joseph Joachim Podcast 6 Segment 1 Music & Credits Maud Powell – Souvenir (Drdla), String Quintet in E Major Op 11 No 5 (Boccherini), Capriccio-Valse Op 7 (Wieniawski), Tamborin (Le Clair), Act Three (Thais) Vera Barstow – Ballet Music from ‘Rosamunde’ (Schubert-Kreisler) Bill Brown and His Brownies – Hot Lips (Busse, Lange, Davis) Deborah Tien-Price/Karen Shinozaki Sor – Violin Concerto No 1 in D major Op 6 (Paganini), Hungarian Dance No 1 (Brahms), Aucassin (Kreisler), Nocturne in C#m (Chopin) Deborah Tien-Price – Partita No 1 in Bm (Bach) Josh Workman – War Theme Ginette Neveu – Violin Concerto in D maj Op 61 (Beethoven) John Henry’s Farm – Trouble Ain’t Goin Lauren Speeth and Joe Gold – Double Concerto III (Bach) Elfenworks Festival Ensemble – Orchestra Tuning Aaron Rosand/Eileen Flissler – Hungarian Dance No 2 (Brahms) Kathleen Parlow – Minuet in Gb major (Beethoven) Guila Bustabo -Concerto for Violin and Orchestra Op 61 (Beethoven) Podcast 6 Segment 2 Music & Credits Maud Powell – Souvenir (Drdla), Minuet Waltz Op 64 No 1 (Chopin), Minuetto (Gluck) Deborah Tien-Price/Karen Shinozaki Sor – Aucassin (Kreisler), Violin Concerto No 1 in D major Op 6 (Paganini), Concerto Op 64 (Mendelssohn), Sonata for Violin KV454, 2nd Movement (Mozart) Kathleen Parlow – Romance in F Op 50 (Beethoven) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Ribbons & Bows Podcast 6  In this episode, “Surprising Strengths, FABULOUS FIRSTS & and Cool Connections.” Podcast 6 Segment 1 Featured Violinists Florence Hardeman, Vera Barstow, Florence Austin, Maud Powell, Estelle Gray-Lhevinne, Barbaba Lull, Ilse Niemack, Ruth Ray, Ruth Breton, Leona Flood, Viola Mitchell, Byrd Elliott, Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Lea Luboshutz, Frances Berkova, Isolde Menges, Orrea Pernel, Ida Haendel, Genette Neveu, Renee Chemet, Jelly d’Aranyi, Stefi Geyer, Valentina Crespi, Erika Morini, Marjorie Edwards, Thelma Given, Kemp Stillings, Cecilia Hansen, May Harrison, Mary Gale Hafford, Marie Caslova, Evelyn Starr, Cordelia Lee, Ruth Breton, Helen Kwalwasser, Betty-Jean Hagen, Erika Morini, Gisella New, Ruth Kemper, Mary Gale Hafford, Guila Bustabo, Fredell Lack, Dorothy Minty, Johanna Martzy, Erna Rubinstein, Madelein Carabo, and Beverly Somach Podcast 6 Segment 2 Featured Violinists Madeline Carabo, Regina Carter, Albena Danailova, Ida Haendel, Jana Jae, Dylana Jenson, Elissa Lee Koljonen, Fredell Lack, Erika Morini, Kathleen Parlow, Orrea Pernel, Rachel Barton Pine, Maud Powell, Eudice Shapiro, Ethel Stark, Camilla Urso, Marie Caslova, Frances Berkova, Evelynn Starr, Ruth Breton, Thelma Given, Emily Gresser, Lea Luboshutz, Gisella Neu, Helen Teschner-Tas, Catherine Wade-Smith, Jelly d’Aranyi Podcast 6 Segment 1 Other Mentions Fritz Kreisler, John Philip Sousa, Elissa Koljonen, Aaron Rosand, Efrem Zimbalist, Karen Shaffer, Devon Filo, Tracey Sherry, Cheryl Frank, Lauren Speeth, Sheridan Speeth, Joseph Knitzer, Christopher Speeth, Joseph Gingold, Chris Kranyak, Betty Haag, Joseph Gold, Jeremy Cohen, Mitchell Sardou Klein, Kay Raney, Rachel Barton Pine, Eileen Flissler, Leonard Bernstein, Mayra Hess, Guiamar Novaias, Mischa Mischakoff, Stephanie Jeong, Otakar Sevcik, Leopold Auer, Carl Flesch, Galamian, Henry Holmes, Isobel Murray, Henry Schradieck, Galamian, Eugene Ysaye, Persinger, Jeno Hubay, George Enesco, Jascha Heifetz Podcast 6 Segment 2 Other Mentions Otakar Sevcik, Carl Flesch, Arrigo Serato, Leopold Auer, Joseph Joachim Podcast 6 Segment 1 Music & Credits Maud Powell – Souvenir (Drdla), String Quintet in E Major Op 11 No 5 (Boccherini), Capriccio-Valse Op 7 (Wieniawski), Tamborin (Le Clair), Act Three (Thais) Vera Barstow – Ballet Music from ‘Rosamunde’ (Schubert-Kreisler) Bill Brown and His Brownies – Hot Lips (Busse, Lange, Davis) Deborah Tien-Price/Karen Shinozaki Sor – Violin Concerto No 1 in D major Op 6 (Paganini), Hungarian Dance No 1 (Brahms), Aucassin (Kreisler), Nocturne in C#m (Chopin) Deborah Tien-Price – Partita No 1 in Bm (Bach) Josh Workman – War Theme Ginette Neveu – Violin Concerto in D maj Op 61 (Beethoven) John Henry’s Farm – Trouble Ain’t Goin Lauren Speeth and Joe Gold – Double Concerto III (Bach) Elfenworks Festival Ensemble – Orchestra Tuning Aaron Rosand/Eileen Flissler – Hungarian Dance No 2 (Brahms) Kathleen Parlow – Minuet in Gb major (Beethoven) Guila Bustabo -Concerto for Violin and Orchestra Op 61 (Beethoven) Podcast 6 Segment 2 Music & Credits Maud Powell – Souvenir (Drdla), Minuet Waltz Op 64 No 1 (Chopin), Minuetto (Gluck) Deborah Tien-Price/Karen Shinozaki Sor – Aucassin (Kreisler), Violin Concerto No 1 in D major Op 6 (Paganini), Concerto Op 64 (Mendelssohn), Sonata for Violin KV454, 2nd Movement (Mozart) Kathleen Parlow – Romance in F Op 50 (Beethoven) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Ribbons & Bows Podcast 5  In this episode,   women violinists who hailed from other countries in the late 19th and early 20th centuries. Because no history of women violinists in this period would be complete without at least nod to the international women on the scene, in this program, we will meet five superlative Russians: Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Lea Luboshutz, and Frances Berkova. Three greats from Great Britain, Isolde Menges , Orrea Pernel, Ida Haendel;.  Two French fiddlers: Genette Neveu &  Renee Chemet. Two Hungarian Rhapsodizers, Jelly D’Aranyi, Stefi Geyer. And Italian immortal Valentina Crespi.  We’ll cover a lot of ground, in this international survey so we hope you’ll join us! Let’s pack up our bags and get going! Podcast 5 Featured Violinists Isolde Menges, Orrea Pernel, Ida Haendel, May Harrison, Valentina Crespi, Sefi Geyer, Lea Luboshutz, Frances Berkova, Nathalie Boshko, Cecelia Hansen, Margaret Pardee, Jelly d’Aranyi, and Renee Chemet Podcast 5 Other Mentions Leopold Auer, Carl Flesch, John Eliot Gardiner, Sir Colin Davis, Joyce Rathbone, Andre Tchaikowsky, Sir William Glock, Miecyzslaw Michalowicz, George Enesco, Hubay, Bela Bartok, Hans-Heinz Schneeberger, Othmar Schoeck, Efrem Zimbalist, Mischa Elmann, David Oistrach, Eugene Ysaye, Ivan Galamian, Louis Persinger, Sascha Jacobsen, Albert Spalding, Myra Hess, Joseph Joachim, Robert Schumann, Yehudi Menuhin, George Kulenkampff, Jules Boucherit, Nadia Boulanger, Line Talluel Podcast 5 Music & Credits Maud Powell- Souvenir (Drdla) Deborah Tien-Price/Karen Shinozaki Sor – Sonata for Violin KV454 2nd Movement (Mozart), Romanze (Kreisler), Concerto Op 64 (Mendelssohn), Symphonie Espagnole (Lalo), Nocturne in C#m (Chopin), Violin Concerto No 1 in D major Op 6 (Paganini) Deborah Tien-Price – Partita No 1 in Bm (Bach) Josh Workman – War Theme Ginette Neveu – Violin Concerto in D major Op 61 (Beethoven) ### About Ribbons & Bows  An exciting new podcast series from Elfenworks Productions, LLC “Ribbons & Bows ~ American Women in Violin History”  delves into the stories of dozens of pioneering American women who helped shape today’s robust violin scene.  These are fabulous tales of perseverance,  vision, and hope.   Why has so little been said about them, in history books, until today?  More importantly, won’t you please join us for an enchanting trip down memory lane as we call them back to us to tell their stories, ensuring they’ll never be lost in the mists of time?  You’ll love these brave and beautiful souls, as you share their experiences back in the days when little girls were not encouraged to play violin.  After all, who among us hasn’t felt like the odd one out, the person interested in trying something different, in going where they didn’t exactly fit in?  Ribbons & Bows… a Podcast Series with accompanying downloadable CD release from Elfenworks Productions, LLC,  expected in 2018.

Some people were just born to do what they do, and Hugh Fink was born to be funny. Or was he born to play the violin? Because even though comedy has set the course of Hugh's life, he has performed violin solos to a packed Carnegie Hall, something I can't boast about! Hugh is one of a very few comics who has been able to fuse his musical life with his stage persona, much like the late great Jack Benny, whose violin I'm fortunate to play. Ever since he was a child, Hugh loved getting up in front of people and performing, no matter what form it took. Eventually, he discovered that not only could he create material for himself, but he had a talent for writing material that would suit any number of other talented performers! And that was the key that unlocked doors throughout show business, most notably at Saturday Night Live, where Hugh enjoyed a seven-year tenure and wrote more opening monologues than any other SNL writer. Hugh and I talk about growing up alongside Joshua Bell (and later using him in a wicked stage act with Tracy Morgan), how stand-up relates to musical performance, and how TV shows get made. Of course I also sit back and listen to behind-the-scenes tales from SNL! Transcript Nathan Cole: Hi and welcome back to Stand Partners for Life. This is Nathan Cole and today with me, really excited to have as my guest, Hugh Fink, comic, writer, violinist. He's been gracious enough to join me here at Disney Hall for a change.  Welcome to Stand Partners For Life, Hugh. Hugh Fink: Thank you. It's great to be here, Nathan, instead of taping a podcast at a smoke filled comedy club, to be in a classy concert hall. I like it. Nathan Cole: We try to keep it classy here at Disney most of the time. Well, we can just jump right into that. I mean, you've spent so much of your life in those clubs performing, writing, but what's not usual for a comic is that you have a serious history as a violinist. We were talking about that just a bit ago, you and I, but give us the quick version of your violin life, because that was either came before or maybe concurrently with your life in comedy. Hugh Fink: Sure. My parents were classical music lovers. My dad was the Attorney for the Indianapolis Symphony, the Musicians Union. As a very young kid I would be taken to these concerts at the orchestra and I loved it. I guess I told my parents at age four or five that I wanted to study violin. They were not so sure about that because they knew it was a tough instrument. They already owned a piano, but they were friends with the concertmaster of the Indianapolis Symphony at the time, Eric Rosenblith. He had known a little about this new Suzuki method, although he was not a proponent of it at all because he was like a pupil of Carl Flesch or some of these old- Nathan Cole: Old school. Hugh Fink: He was super old school, but he wasn't sure how to tell my parents to start off a five year old with lessons. He wasn't going to do it. There was a Suzuki teacher, one in Indianapolis, and that's who I studied with. Nathan Cole: This would have been not so long I bet, after the method really took hold in the U.S. because I started Suzuki and that was early 80's. Hugh Fink: You are right. I started in the late '60s. I ended up studying Suzuki for eight years, and going to the Suzuki Summer Institute at the University of Wisconsin Stevens Point. Nathan Cole: Stevens Point. Okay. Hugh Fink: Right. Shinichi came. Nathan Cole: Wow. Hugh Fink: Yes. I actually was part of the generation where I got to see him live. Nathan Cole: Well, that's extraordinary. Hugh Fink: It was extraordinary. I didn't have much interaction with him, but I remember, I think he was chain smoking and he looked like a ripe old age and very Buddha-esque just this is why He didn't speak much English either, but that was a great experience. I think what it taught me, Nathan, was beyond the violin part, to meet other young violinists who are just normal kids. It was a camp,

Some people were just born to do what they do, and Hugh Fink was born to be funny. Or was he born to play the violin? Because even though comedy has set the course of Hugh’s life, he has performed violin solos to a packed Carnegie Hall, something I can’t boast about! Hugh is one of a very few comics who has been able to fuse his musical life with his stage persona, much like the late great Jack Benny, whose violin I’m fortunate to play. Ever since he was a child, Hugh loved getting up in front of people and performing, no matter what form it took. Eventually, he discovered that not only could he create material for himself, but he had a talent for writing material that would suit any number of other talented performers! And that was the key that unlocked doors throughout show business, most notably at Saturday Night Live, where Hugh enjoyed a seven-year tenure and wrote more opening monologues than any other SNL writer. Hugh and I talk about growing up alongside Joshua Bell (and later using him in a wicked stage act with Tracy Morgan), how stand-up relates to musical performance, and how TV shows get made. Of course I also sit back and listen to behind-the-scenes tales from SNL! Transcript Nathan Cole: Hi and welcome back to Stand Partners for Life. This is Nathan Cole and today with me, really excited to have as my guest, Hugh Fink, comic, writer, violinist. He’s been gracious enough to join me here at Disney Hall for a change.  Welcome to Stand Partners For Life, Hugh. Hugh Fink: Thank you. It’s great to be here, Nathan, instead of taping a podcast at a smoke filled comedy club, to be in a classy concert hall. I like it. Nathan Cole: We try to keep it classy here at Disney most of the time. Well, we can just jump right into that. I mean, you’ve spent so much of your life in those clubs performing, writing, but what’s not usual for a comic is that you have a serious history as a violinist. We were talking about that just a bit ago, you and I, but give us the quick version of your violin life, because that was either came before or maybe concurrently with your life in comedy. Hugh Fink: Sure. My parents were classical music lovers. My dad was the Attorney for the Indianapolis Symphony, the Musicians Union. As a very young kid I would be taken to these concerts at the orchestra and I loved it. I guess I told my parents at age four or five that I wanted to study violin. They were not so sure about that because they knew it was a tough instrument. They already owned a piano, but they were friends with the concertmaster of the Indianapolis Symphony at the time, Eric Rosenblith. He had known a little about this new Suzuki method, although he was not a proponent of it at all because he was like a pupil of Carl Flesch or some of these old- Nathan Cole: Old school. Hugh Fink: He was super old school, but he wasn’t sure how to tell my parents to start off a five year old with lessons. He wasn’t going to do it. There was a Suzuki teacher, one in Indianapolis, and that’s who I studied with. Nathan Cole: This would have been not so long I bet, after the method really took hold in the U.S. because I started Suzuki and that was early 80’s. Hugh Fink: You are right. I started in the late ’60s. I ended up studying Suzuki for eight years, and going to the Suzuki Summer Institute at the University of Wisconsin Stevens Point. Nathan Cole: Stevens Point. Okay. Hugh Fink: Right. Shinichi came. Nathan Cole: Wow. Hugh Fink: Yes. I actually was part of the generation where I got to see him live. Nathan Cole: Well, that’s extraordinary. Hugh Fink: It was extraordinary. I didn’t have much interaction with him, but I remember, I think he was chain smoking and he looked like a ripe old age and very Buddha-esque just this is why He didn’t speak much English either, but that was a great experience. I think what it taught me, Nathan, was beyond the violin part, to meet other young violinists who are just normal kids. It was a camp,

Schüler des Gymnasiums Hohenbaden und ihr Musiklehrer Achim Fessler stellen den Violinpädagogen in einem Hörstück vor.

Der große Geiger und Violinpädagoge zog viele Musiker nach Baden-Baden.