Calling all music-lovers in London, but especially violin-lovers: at very short notice, Ida Haendel is to appear with the Razumovsky Academy at the Wigmore Hall on Sunday 9 December. The inimitable Oleg Kogan has pulled her into the Razumovsky fold; she's reportedly very enthusiastic about everything this remarkable organisation is trying to achieve with regard to providing top-level teaching for exceptionally gifted youngsters. She agreed to give masterclasses for them at another venue, but it turned out that a piano recital cancellation had left the Wigmore free that day, so the event has been moved straight into it. Masterclass is at 3pm and the student concert, in which Haendel will perform as well, is at 7pm. And thanks to the Razumovsky Trust, which is sponsoring the whole thing, admission is free. Tickets required, though - box office 020 7935 2141.
Ida Haendel is perhaps the last Golden Age violinist left on stage today.
Please spread the word! Notice has been so short that publicity in official media is going to be very difficult.
Here is Haendel playing Vivaldi's Concerto for 4 Violins with Isaac Stern, Ivry Gitlis and Shlomo Mintz, conducted by Zubin Mehta. I've heard of line-ups, but this takes some cakes.
Coincidentally, Haendel was my first-ever interviewee, back in 1986. (Talk about jumping in the deep end.) She was very keen to find out how old I was, but wouldn't reciprocate with equivalent info about herself! I last heard her in Verbier about three years ago, when she played the socks off everyone else in town with an unaccompanied violin solo drawn from Swan Lake. I utterly revere her. What more need one say? Here is my article from The Strad, December 1986.
6 comments:
I too revere Ida Haendel. And I am also inclined to think she was the last-born of the Golden Age violinists and is now the last on the concert stage. Her age has always been a bit uncertain, but I think she is now 84. I also revered Nathan Milstein, and he and Haendel are the only violinists I have encountered who have played on through their seventies and into their eighties without any significant technical, or interpretative, decline whatsoever. The recording companies could have done much better by her the past thirty years or so, and might have done so had the A and R people still focussed their ears on music rather than their eyes on publicity stills.
I was so delighted by my discovery of Giovanna De Vito via your blog, and especially your article about her, for which you gave a link. Is there any possibility of link to your piece on Ida Haendel?
Thank you.
Well, I'll do my best. It was my very first article and I must have it somewhere...If and when I can locate the magazine, I will put it into my archive and provide the link.
Thank you for looking. I was amazed to discover that many of the young violinists I know here in the Bay Area had never heard of Giovanna De Vito. Only one, a fine young German violinist, Axel Strauss, knew her name. He listened to as many violinists as he could growing up in Germany, and agreed she has a warmth and intensity that you do not often hear today. I now have a number of her CDs thanks to your piece.
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