Szigeti: The Most Distinguished Violinist of the 20th Century
 Tall,
dapper, courteous, Joseph Szigeti was recognised as the greatest
violinist of the 20th century. His power play rested in the works or the
Masters. He had everyone of them in his repertoire.
With his determined persuasive musicianship, Szigeti was able to
introduce such works as Bloch and Stravinsky Concertos through the magic
medium of the gramophone. These were very challenging scores that became
modern classics.
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Joseph Szigeti, highly acclaimed virtuoso
pianist of the 20th century |
Were not for Szigeti, we would have heard fewer recordings of Bartok
and Stravinsky as pianists. Both composers were persuaded into the
studio by the prospect of working with Szigeti. He became their hero,
thereafter.
Born Josef Szigeti in Budapest in 1892, he made his London debut at
the Wigmore Hall as a thirteen year old and made his last appearance in
London as well in 1954, breaking a G string in his final concert.
Although a gentle person off stage, he had a reputation for breaking
strings when he got carried away with passion and fire.
And that is why I say that his playing was power play.
Szigeti cultivated the friendship of contemporary composers and
championed their music. He was among the first to perform Debussy and
Ravel Sonatas; the works of Honegger, Roussel, Milhaud and Stravinsky.
Their scores were in his repertoire and in addition the Prokofiev
Concerto No. 1.
He came from a family cozing with musicality. All father and four
uncles played the violin at different lesser known venues and naturally
the three year old Szigeti was twisting the violin strings around his
chubby fingers often snapping them.
Szigeti was based in London from 1907 and his Concerto debut was made
with the Bach Concerto in E major and Tchaikovsky’s Violin Concerto with
the New Symphony Orchestra under the baton of Beecham.
Disciplinarian
A strict disciplinarian in musicology, he used very little vibrato
and he worked on this technique during the decade from 1913 when he was
off the international stage. Equipped with a wide vibrato which his
tutor, Hubay instilled in him, Szigeti who was influenced by this
tradition, developed his own sounds.
He always vibrated rather slowly and this trait often made his legato
sound slightly concave. However, Szigeti knew how to intensify the
vibrato to a point up to climax. He was the master and the violin his
slave. I listen to Szigeti’s music for hours but fail to get a hang of
his handling the vibrato. No wonder he broke strings when he got carried
away.
Gentle genius
He taught in Geneva from 1917 to 1924 and in 1922, played with the
Berlin Philharmonic under Fritz Reiner and was a regular visitor to the
Soviet Union and England. However, it was his Philadelphia debut in 1925
with the Beethovan Concerto conducted by Leopold Stokowski that sealed
his fame. There was no looking back for the gentle genius who sparkled
and dazzled the audiences around the world.
Now based in Paris with his Russian wife, Wanda and their daughter,
he was one of the busiest violinists in the years that followed, playing
concertos, especially those of Beethovan and Brahms. He also appeared in
recitals with his favourite piano partner, Nikita Magaloff who married
his daughter, Irene.
He also struck up a permanent friendship with Bela Bartok and
appeared with him in concerts while introducing the Second Sonata in New
York in 1927. Szigeti along with Claudio Arrau presented the cycle of
Beethoven Violin Sonatas in 1944. He settled in Switzerland in 1960 and
died on 20th February, 1973.
Soulful Passages
Szigeti was adept at flattening his innovation for a pathetic effect
in relaxed soulful passages while tightening it for up-tempo. He never
turned sharp to cut the orchestra and made a lovely sound but musical
line and rhythmic pulse came first.
His style of playing was old fashioned and often sat oddly on
contemporary music. The years that followed saw him rising sky high in
fame and glory as he took on the Masters on his international tours. He
spared no one. From the very famous to the lesser known, interpreting
their work to keep the spirit of classical music alive and people
absorbed in it. That was the mission of Joseph Szigeti. |
