# What do you think of Maxim Vengerov?



## Octo_Russ

Is he any good?, or too much of a showman?

I find he can be a bit too much, he seems to dot his i's and cross his t's in his own individual way, adding his own little whoops and sighs to the music

I like his Saint-Saens/Lalo disc, but the Ravel Tzigane on the same disc is awful, really ugly, the worst i've ever heard, his Beethoven Violin Concerto is very slow, but i like his Beethoven Violin Sonatas 5 & 9, very good indeed.

What's your verdict, Maestro or Court Jester?.


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## World Violist

He's sloppy. "Good" and "showman" don't enter into it. He's just sloppy.


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## Sid James

I borrowed his recording from the library of Prokofiev's 1st concerto coupled with Shostakovich's 1st. He really got me into the Prokofiev (it was the first time I had heard these works), but I didn't really warm to the Shostakovich (but I think that had more to do with the work itself rather than the interpretation). I've subsequently acquired both Prokofiev concertos played by Boris Belkin, who seems to go for a less flashy and more lyrical interpretation. I've also heard it on radio played by various other violinists. Judging from this, Vengerov is pretty good. I think (like Georges Cziffra was to the piano world), he is rather flamboyant and has a big persona. Obviously this doesn't appeal to all people, but you can't please everybody...


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## jurianbai

I've watch several his master class DVD. look like he is comfortable in interpretating music by using story. I also only got his Lalo/Saint Saen/Tzigane cd, and quite like it. his Tzigane for me is also very good, I've watch in youtube mostly young violinist and Maxim's Tzigane is the most expressive and his character suit in.


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## fedrick32

We just don't want to keep or pass comments on anyone.


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## Lyricsop

World Violist said:


> He's sloppy. "Good" and "showman" don't enter into it. He's just sloppy.


While you have a right to your opinion it is interesting to fathom that how is it that a 21 year old could possibly have a true depth and understanding of composition, time movement and techniques needed to give the composition a voice as well as understand the complexities of mastering the violin. Hmmm!!!!!!!! how is it that you are unfamiliar with Vengerov's background as a violinist. Let's see Maxim Vengerov has only studied mastering the violin for thirty years and can perform the vast extensive repertoire which he has publicly performed in his sleep with ease. In his early years, in Russia Vengerov studied under world renown Russian violinists' until at an early age he entered the Royal Conservatory of Music in London England where he finished mastering the violin while at the same time touring all over the world giving concert after concert with non-stop standing ovations and he still gets non-stop standing ovations both while continuing to play the violin and conduct and Maxim Vengerov also possses perfect pitch.

Sorry, I disagree with you there is no splashy technique and there are no rough notes in any of Vengerov's concerto's only the techniques of a virtuoso who has mastered the violin. As a formally trained opera singer, I have worked with numerous professional chamber orchestras, full orchestras and violinists. I also possess a rare condition which is only found in one out of a hundred thousand people, I possess hyper hearing which means I hear overtones which most people don't, I have hinted to more than one instrumentalist that their instrument of choice was going out of tune to their astonishment before they could hear it going out of tune. If a note is played rough by a violinist or an instrumentalist it affects the pitch quality and this distorts the tonal quality which starts a domino effect that pulls the tonal quality and timing out into left field and down giving the notes a flat rough quality.

I have listened to numerous concerto's by Vengerov. His Contact point uses finely tuned fluidity to deliver a tonal color and quality that is rich, full with a delicate robust emphasis that compliments the phrases. Vengerov's complexed understanding of skillful, correct, properly timed Détaché,Down bow,Harmonics;Jeté,pizzicato;Legato;Marcato; and Martelé only enhances the structure of his composition to a world class level. There are no sensationalist tactics on Vengerov's part only thirty plus years of virtuoso skilled mastering of the violin skillfully and expertly reproduced from techniques taught to him by the greatest world renown master violinists of our time. The Royal Conservatory of Music in London England is world renown and any musician or vocalist graduating from this conservatory is an extremely skilled musician with unparalleled potential and talent.

If you want sensationalism go stand on the street corner and watch the sensationalists perform and then you will know what true sensationalism is. I have seen Izak Perlman in concert and I disagree with you on the disrupting the performance part-not in this lifetime. While attending one of Mr. Perlman's concerts, I never heard anything that would give anyone cause for concern with his concerto. I have also seen Josha Bell in concert, he posses much musicality and is a phenomenal violinist with a bright future who understands Mendelssohn concerto and the movement cadenza as well as the caricature which only ehances his skill and competency as a world class professional violinist.

I have also had the pleasure of attending one of Midori's concerts, she was astounding what a wonderful sense of emotion that she brought forth within her composition, she was met with several astounding standing ovations in which bravissimo resounded around the concert hall and roses showered her non-stop with great echos of on-core, on-core. Yes, I can imagine that it would be the low point of anyone's concert going experience if they possessed tinnitus of the ears-tone deafness like you do and never went to a doctor to have their ears checked-hint, hint.

It is one thing to sit in an audience and listen to a formally trained instrumentalist or vocalist but it is another to step in their shoes and try to attempt to comprehend what they have spent years and years mastering by sitting and listening to their performance without having ever mastered years and years of classical vocal performance or performing as a classically trained instrumentalist-leave the complexities of classical music to the professionals like myself, Midori, Bell, Perlman and Vengerov we have gotten as far as we have for a reason. Just enjoy sitting in the audience and don't try to over analyze a composition because it will only cause you to have an aneurysm :tiphat:


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## Sid James

There's another classical internet forum where members quite openly rubbish the work of the greatest performers. I really dislike this. Just because a certain performer doesn't interpret a work in the way you like it doesn't make them any less of a performer. We only hear and/or see the end result of years of study of their craft. I don't see any sense in totally rubbishing a performance, I prefer to note the positives rather than the negatives. Either the cup is half empty, or it is half full...


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## Webernite

I can't see any reason not to compare famous violinists with one another. The same goes for pianists, and for composers. There's nothing wrong with music criticism. 

Lyricsop, if Vengerov's greatness can only be heard by people with "hyper hearing," that is hardly an argument in his favor.


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## Ukko

Vengerov has mastered his instrument, and understands the music. Comparison with great violinists of the past must then be based on interpretation, which is a subjective thing for both performer and listener. There is more than one way to interpret the Prokofieff 1st, for instance; ref. Szigeti's recording. There are in fact multiple ways of conceiving the music - compare Oistrakh with Heifetz playing the same work.

'Rating the masters' can be entertaining, but it's mostly expressing subjective preferences; the opinions are written in smoke.


:devil:


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## Lyricsop

Webernite said:


> I can't see any reason not to compare famous violinists with one another. The same goes for pianists, and for composers. There's nothing wrong with music criticism.
> 
> Lyricsop, if Vengerov's greatness can only be heard by people with "hyper hearing," that is hardly an argument in his favor.


Webernite: Vengerov's greatness is heard by hundreds of thousands of formally trained classical musicians like myself and non classically trained individuals who are all in agreement with me. The advantage with hyper hearing and a trained ear for music which I possess is that when listening to a composition and the instrumentalist performing that composition it give me an advantage because every note, pitch, and tone is magnified ten fold which allows me to hear even whether the slightest variation in the pitch and tonal quality whether it is sharp or flat which can adversely affect the tone before anyone else knows that this is happening-so yes it is a tremendous reason and advantage toward my point of view. I get the impression that both you and World Violinist have an untrained ear or neither of you would be on a contemporary violinist bashing session.

Obviously, The most prestigious conservatory of music in England known as the Royal Conservatory of Music along with the music world knew and still knows of the greatness of Vengerov-a triple threat to the music world and his ability toward perfect technique and perfect pitch, because not only was he accepted to The Royal Conservatory of Music in London but he was also encouraged to perform world wide concerts at age 16 while finishing mastering the violin and graduating with honors, that speaks volumes in many peoples' books for Vengerov on his skill as a Violin Virtuoso. I believe that both you and World Violinist are patrons of the arts who enjoy to go and sitting while listening to performances but just because you are a patrons with an untrained ear for music and a limited skill as well as limited understanding which doesn't mean that you and World Violinist have the inside track on the composition that an instrumentalist or vocalist chooses to sing-that is why both of you paying to sit in the audience to watch and 
listen.

If you and world violinist don't like the violinists' you have been bashing on this site then maybe you would be more comfortable at a thrash concert, there is an old saying if you can't say anything nice about anyone then don't say it. You have a right to your opinion but you should understand why several members on this board including myself don't agree with you.:tiphat::tiphat:


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## World Violist

First, I'm surprised someone waited almost half a year before doing anything about my post.

I don't care anymore. I just won't listen to Vengerov because I don't like his playing, and I don't care what people say about his perfect pitch or his conservatory training. They're all names and figures to me, and I'm not about to care about what other professional musicians have to say about him. I don't like his playing, and that's all I'm going to say anymore because that's all I care to say anymore. My previous post was stupid for trying to make something subjective look objective, but apart from that I don't regret a thing.

Go ahead, like Vengerov all you want. I don't care and it won't affect what I think of people anymore. The music is what matters to me; all else is secondary.


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## Lyricsop

Hilltroll72 said:


> Vengerov has mastered his instrument, and understands the music. Comparison with great violinists of the past must then be based on interpretation, which is a subjective thing for both performer and listener. There is more than one way to interpret the Prokofieff 1st, for instance; ref. Szigeti's recording. There are in fact multiple ways of conceiving the music - compare Oistrakh with Heifetz playing the same work.
> 
> 'Rating the masters' can be entertaining, but it's mostly expressing subjective preferences; the opinions are written in smoke.
> 
> :devil:


Hilltroll72: I agree with your point whole heartedly-good point


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## Lyricsop

World Violist said:


> First, I'm surprised someone waited almost half a year before doing anything about my post.
> 
> I don't care anymore. I just won't listen to Vengerov because I don't like his playing, and I don't care what people say about his perfect pitch or his conservatory training. They're all names and figures to me, and I'm not about to care about what other professional musicians have to say about him. I don't like his playing, and that's all I'm going to say anymore because that's all I care to say anymore. My previous post was stupid for trying to make something subjective look objective, but apart from that I don't regret a thing.
> 
> Go ahead, like Vengerov all you want. I don't care and it won't affect what I think of people anymore. The music is what matters to me; all else is secondary.


That sounds great have fun and enjoy your thrash concert, I'm sure you will fit right in:tiphat::tiphat:


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## Op.123

I actually really like Vengerov. He really connects with the music he is playing and he has amazing technical skill.


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## ComposerOfAvantGarde

I know next to nothing about violin playing, I like his playing and I definitely think he's an excellent performer.


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## KenOC

I have the Vengerov coupling of the Shostakovich and Prokofiev concertos. He is indeed a brilliant and accomplished performer. But I found his approach to the Shostkovich #1 a little lacking in feeling and continue to prefer some other versions, notably Mordkovich. OTOH I very much liked his Prokofiev.


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