Maestro Vengerov Inspires Artistic Growth at the 2018 Menuhin Competition

Masterclass: a session of tuition by an expert, esp a musician, for exceptional students, usually given in public or on television.

This year’s distinguished Menuhin Competition, (12 – 22 April) now in its 35th year (but held every two years), was founded by its iconic, eponymous violin virtuoso, Yehudi Menuhin, with the goal of nurturing promising young violinists.

Violinist Maxim Vengerov has certainly continued that tradition over three inspiring master classes in Geneva, the host venue for the 2018 competition.

Diana Adamyan from Armenia was the overall winner of the senior category. The 2018 prize winners. Her performance of the Bruch violin concerto was so nuanced, sublime and effused with emotion that it’s hard to get your head round the fact that she is only eighteen years old! A star in the making.

Anyhow, back to the tuition. A Menuhin Competition masterclass is a valuable opportunity for a young musician to learn from one of the most revered living violinists in the world. And if you want to do something you’ve never done before, it makes sense to be guided by someone who has already done it, and even better if they’ve excelled at it.

Maxim Vengerov duly stepped up to the teacher’s plate and knocked it out of the park.

I attended a masterclass he gave in the Sheldonian Theatre in Oxford a few years ago, recorded for posterity in my first blog!

These 2018 recorded masterclass sessions are manna from heaven for music students and violin lovers. Maestro Vengerov gives priceless advice to participants to help them develop their technical, artistic and performance skills.

As well as being a world renowned violin virtuoso and conductor, Maxim Vengerov is currently the Ambassador and visiting Professor of the Menuhin Music Academy in Switzerland (IMMA) and as of September 2016, the Polonsky Visiting Professor of Violin at the Royal College of Music in London.

Maxim Vengerov is not only an outstanding performer, but also a natural and gifted teacher. His love of the instrument, the music and his students is like a rich, warm sonata that envelops you in a hermetic bubble of energetic nurturing, lighthearted humour and scholarly encouragement.

Is it obvious I worship him?!

These recent masterclass videos are entertaining and inspiring for music lovers and non musicians alike, because they instill an appreciation of the talent, work and dedication that goes into perfecting just one piece; highlighting the depth of knowledge and mastery required to truly convey a composer’s mind through the sound of his notes, to draw the listener in.

It takes a virtuoso to express advanced technique infused with emotion and not get lost in either. It’s called interpretation and it’s a fine line to walk.

What I love is that Maxim immediately knows where the improvement points are, and uses a range of methods to help the students expand their abilities. He is assertive and appreciative in equal measure, a winning combination. I love how he invigorates and encourages them without being overpowering or striking fear into their hearts, and motivates without crushing their confidence.

Not everyone it seems, can give an accomplished masterclass. A Masterclass in how not to give a masterclass.

Vengerov shows the pupils where they can improve, be it in phrasing, the intricacies of bowing, depending on the type of colour and sound required, their technique, voice and musicality, all demonstrated with such wisdom and wit.

He humbly shares his own experience of learning with the legendary cellist Mstislav Rostropovich and jokes about how hard it is to just play two notes evenly!

Even more funny, he quips about the quality of a student’s bow, casually telling the audience that he has multiple bows, and how he uses different ones for Mozart, Shostakovich and Brahms, adding as an afterthought, “It’s an expensive profession!” Then he winks, and clarifies further, “We are starting to work from the age of five.”

You can really hear what a difference his 1747 ‘Kreutzer’ Stradivarius violin paired with Jascha Heifetz’s bow makes.

I have included these wonderful masterclasses as a tribute to musical artistic endeavour!

Nineteen year old violinist I-hao Cheng from Taiwan works through the ‘Andante’ and ‘Allegro’ from Bach’s Solo Violin Sonata No. 2 in A minor, BWV 1003:

Eighteen year old violinist Zachary Brandon from the United States (with pianist Nicola Eimer) tackles Franz Waxman’s Carmen Fantasy:

OMG! Thirteen year old violinist Nurie Chung from South Korea (with pianist Nicola Eimer) plays Eugene Ysaye’s Caprice d’apres l’Etude en forme de Valse de Camille Saint-Saëns:

It’s also worth seeing the excellent masterclass observations and teachings from some of the other 2018 Menuhin Competition jury members.

Japanese violinist, conductor and jury member Joji Hattori works with seventeen year old violinist Julian Walder from Austria (with pianist Nicola Eimer) on Ravel’s Tzigane for Violin and Piano:

Arctic Philharmonic Chamber Orchestra Artistic Director and jury member Henning Kraggerud coaches sixteen year old violinist Elli Choi from the United States on Mozart’s Violin Concerto No. 4 in D Major:

Judging and competition insights from the 2018 Menuhin Competition jury members:

I think the students themselves deserve a round of applause, it must be nerve-racking enough to be taught by a legend, let alone in front of an audience, and I applaud them for their dedication and ambition.

While I’m on the subject of masterclasses…

A violin masterclass happens to be the setting of the opening chapter of my fiction novel, The Virtuoso.

I am in the process of creating a new book cover with a new strapline. I think the current strapline: her life is her cadenza, (although it embodies the story) may be too narrow for non musical readers.

So far I am undecided between:

  1. Performance is everything to a virtuoso. Could you give up the one thing you felt you were born to do? 
  2. Performance is everything to a virtuoso. Is redemption possible without the music?

Let me know what you think if you have read it, or have a constructive opinion. Feedback is always helpful when implementing changes. Thanks!

Beautiful Violin Gems 🎼🎻 of the 3 B’s: Bériot, Bull and Bazzini

“The true mission of the violin is to imitate the accents of the human voice, a noble mission that has earned for the violin the glory of being called the king of instruments.” ~ Charles-Auguste de Bériot

I thought it was time to share some lesser known, but brilliant violin works from the nineteenth century. It’s been a little while since my last ‘musical’ post and I’m getting withdrawal symptoms. Plus, I’ve been having technical problems, my old PC has gone to the scrap heap in the sky. The inevitable data retrieval is proving arduous, so in the spirit of a true musician, I’m having to improvise!

The Rehearsal by Edgar Degas

The Rehearsal by Edgar Degas

Romantic violin pieces flourished in the nineteenth century,  the heyday of romanticism. I’ll present these three violin aces and their music in the order of their birth.

Charles-Auguste de Bériot (20 February 1802 – 8 April 1870)

Although he was born in Leuven, Belgium, de Bériot spent the majority of his musical career in Paris. At the Conservatoire de Bériot was tutored by Jean-François Tiby, an acolyte of Viotti. He was also influenced by Baillot and Viotti directly, as well as Paganini (elements of the latter can be heard in the style and virtuosity of his music).

Charles-Auguste_de_Bériot_byCharles Baugniet circa 1838.

Charles-Auguste_de_Bériot_byCharles Baugniet circa 1838.

He played for royalty in France and the Netherlands as well as touring London and Europe. De Bériot was also proficient on the piano and toured much of China against the emperor’s wishes.

His first wife was the celebrated mezzo soprano opera singer, Maria Malibran, who bore him a son in 1833. Charles-Wilfrid de Bériot became a piano professor who counted Maurice Ravel, Ricardo Vines and Enrique Granados among his pupils. Sadly, Maria died at the tender age of 28 (after a riding accident), and de Bériot moved back to Brussels.

In Leuven he met Marie Huber in a cafe of all places. She was an orphan but had been adopted by by Prince von Dietrichstein, making her step sister to his piano legend son, Sigismund Thalberg. It seems to have been a small world in the musical circles of Europe…

Portrait of Charles-Auguste de Beriot by Emile Jean-Horace Vernet.

Portrait of Charles-Auguste de Beriot by Emile Jean-Horace Vernet.

De Bériot later became the chief violin instructor at the Brussels Conservatory where he established the Belgian-Franco School.

Among his followers were the virtuoso violinists Hubert Leonard, Henri Vieuxtemps and Heinrich Wilhelm Ernst.

He was forced to retire from teaching and performing in 1852 due to failing eyesight and became completely blind by 1858. Unfortunately his ill health continued and he had to have his left arm amputated in 1866.


De Bériot wrote pedagogical studies for students, such as the Violin Method Opus 102 and His First 30 Concert Studies Opus 123 for soloists wanting to perfect their technique and skills prior to performing major violin concertos. His output includes various romantic violin pieces that were sometimes used for encore performances in addition to ten violin concertos. His music has fallen into relative obscurity, so I think it’s time to dust it off and give it an outing!

The fabulous Scene de Ballet, Op. 100 with Itzhak Perlman and the Juillard Orchestra conducted by Lawrence Foster:

Violin Concerto No. 9, Op. 104 with Takako Nishizawi:

Third movement of Violin Concerto No. 9, Op. 104 (performer unknown):

Duo Concertante No. 1, Op. 57 for two violins with Maxine Kwok-Adams and Philip Nolte of the LSO:

A soulful interpretation of Violin Concerto No. 7 in G Major, Op. 76 with Laurent Albrecht :

“If Ole Bull had been born without arms, what a rank he would have taken among the poets – because it is in him, and if he couldn’t violin it out, he would talk it out, since of course it would have to come out.” ~ Mark Twain in a letter to William D. Howells, April 19, 1880

Ole Bornemann Bull (5 February 1810 – 17 August 1880)

This energetic and eccentric Norwegian prodigy didn’t follow the usual path to virtuosity, due to his extremely creative bent and a desire to do things his own way.


Ole Bull playing his Gasparo da Salo violin

Norwegian violinist Ole Bull has received less attention than the other composer/virtuosi of the nineteenth century. Perhaps because a good portion of his performance activity took place in the United States, where less of a historical perspective on 19th century music-making has developed among performers. Bull was Norway’s first real celebrity, and as a virtuoso he was something of a rock star, playing on the emotions of audiences in a way Sarasate, for example, did not.

How many other violin virtuosi have played at the top of a pyramid in Egypt? Probably none! Bull certainly led an interesting life…

From the

During the season 1836—37 he played 274 concerts in England and Ireland; in 1839 he visited the great German violinist and composer Spohr in Kassel, in the hope of receiving useful advice from him. In 1840 he played Beethoven’s Krentzer So­nata in London, with Liszt at the piano. On July 23, 1849, he announced the formation of a Norwegian Theater in Bergen, which was opened on Jan. 2,1850. While he failed to impress serious musicians and critics in Europe, he achieved his dream of artistic success in America; he made 5 concert tours across the U.S., playing popular selections and his own compositions on American themes with such fetching titles as Niagara, Soli­tude of the Prairies, and To the Memory of Washington, inter­spersing them with his arrangements of Norwegian folk songs.

I found this short documentary about the man, his music and his idiosyncrasies (such as shaving off the top of the bridge to enable him to play chords on all four strings simultaneously) quite informative:

Luthier Gasparo da Salò

In 1842 Ole Bull bought a very richly decorated da Salò violin, originally made in 1570 for the treasure chamber of Archduke Ferdinand I of Tyrol. He used it on tour along with a magnificent Guarneri del Gesu and a large Nicolo Amati model, for nearly forty years of frenzied, fiery improvisation and recital.

Ole Bull's Gasparo da Salo violin.

Ole Bull’s Gasparo da Salo violin.

I adore the deeper, darker, unique sound of Ole Bull’s Violin, made by Jean-Baptiste Villaume:


It’s thought Ole Bull wrote as many as seventy pieces in his lifetime, but only around ten of those endured and continue to be performed in modern repertoire.

This is totally seductive and beguiling! ‘Cantabile doloros e Rondo giocoso’ with Charlie Siem and the London Symphony Orchestra at Abbey Road Studios:

Violin Concerto in A major, “Grand Concerto’, Op. 4 (1834; revised 1864) with Annar Follesø with the Norwegian Radio Orchestra, conducted by Ole Kristian Ruud:

This sweet tune is an example of his love for Norwegian folk songs, arranged for violin and orchestra by Johann Svendsen – Sæterjentens Søndag (The Herd-Girls’ Sunday):

Polacca Guerriera played with virtuosic flair by Marek Pavelec:

La Verbena de San Juan: Spanish Fantasy for Violin and Orchestra with Annar Follesø:

Fantasy And Variations On A Theme By Bellini and other gems by Arve Tellefsen:

It seems that he was friends with Pianist and composer Franz Liszt, and Robert Schumann wrote that Bull was among “the greatest of all,” extolling that he was on par with Niccolò Paganini for the speed and clarity of his playing.

“His violin, which transforms all your soul, combines enthusiasm with perfect intonation … his mastery of the bow … produces a song that resembles the human voice, and he has the technique for the most difficult whims found in Paganini, executed without hampering true expression.” ~ Review by a Milanese Critic after hearing Bazzini perform on the violin in 1839

Antonio Bazzini (11 March 1818 – 10 February 1897)

Bazzini was born in Brescia, Italy into a long established Brescian family dating back as far as the 1400s.

Antonio_BazziniHis early introduction to literature, culture and music was provided by his grandfather, Antonio Buccelleni, who had written poems, sonnets and odes, some of which formed the basis of Bazzini’s early compositions.

His first violin instruction was under Kapellmeister Faustino Camisiani, and by the time of his death in 1830 young Antonio was a competent eleven year old violinist.

Bazzini’s fame as a violin virtuoso overshadowed his composing and teaching, he was regarded as one of the finest concert violinists of the 19th century.

From Naxos:

At seventeen Bazzini was himself a maestro di cappella for the church of San Filippo in Brescia. His early works were often religious in nature, and while at San Filippo he wrote Masses, Vespers, and six oratorios. His life materially changed on 20 March 1836, when he played first violin in a quintet by Luigi Savi. The work was dedicated to Paganini and the dedicatee was in the audience. Paganini advised the young man to tour as a virtuoso, and Bazzini took this advice to heart. Beginning in 1837 he toured Milan, Venice, Trieste, Vienna, and Budapest; from 1841–1845 he toured Germany, Denmark, and Poland.

For several years he lived in Leipzig, where he studied the German masters. While in Germany, Bazzini performed with Mendelssohn’s Gewandhaus Orchestra, reputedly giving one of the first private performances of Mendelssohn’s E minor Violin Concerto. In 1848 he undertook a tour of Spain and in 1852 he settled in Paris. In 1864, after a final concert tour in the Netherlands, he returned to Brescia and concentrated on composition; he also championed instrumental music in Italy through string quartet performances at the home of Gaetano Franchi and the creation of the Società dei Concerti. Among the soloists Bazzini brought to Italy were Hans von Bülow and Anton Rubinstein, in 1870 and 1874 respectively.

Along with Verdi, Bazzini had an important rôle in establishing standard concert pitch (440 Hz), which was first recognised in Italy by the Congresso dei Musicisti Italiani in 1881. In 1873 he was appointed professor of musical theory and composition at the Milan Conservatory and became director of the same institution in 1882. Among his pupils at the Milan Conservatory were Mascagni and Puccini.


He returned to Brescia after touring, where he focused on composing. During this time he wrote an opera, Turanda, cantatas, sacred works, concert overtures and symphonic poems (Francesca da Rimini). His chamber music proved to be his most successful pieces as far as composing was concerned.

The insanely virtuosic show piece, Scherzo Fantastique, Op. 25 La ronde des Lutins performed superbly by Maxim Vengerov and Ingo Dannhorn:

James Ehnes is cool, calm and collected, yet manages to set his 1715 ‘Marsick’ Stradivarius on fire…

As popular show pieces tend to be arranged for other instruments, I thought I’d treat you to one for the cello and piano by Duo Toivio; cellist Seeli Toivio and pianist Kalle Toivio :

An incredible transcription for classical guitar of ‘La Ronde des Lutins’ by. Alexey Zimakov:

Violin Concerto No. 4 in A minor, Op. 38 with Aldo Ferraresi, Orchestra ‘A. Scarlatti’ di Napoli della Rai conducted by Franco Gallini:

‘Calabrese’, Waltz in E minor, Op. 34, a splendid vintage recording with Yehudi Menuhin and Adolph Baller:

Fantasia on themes from Verdi’s ‘La Traviata’ Op. 50 with Claudio Voghera and Francesco Manara:

I’ll bid you farewell now, (the hungry hordes are waiting for their tea), echoing Shakespeare’s immortal verse: If music be the food of love…play on!

The Great Virtuoso Violinists/Composers of the 18th Century: Paganini

(c) Royal Academy of Music; Supplied by The Public Catalogue FoundationWhen asked to name a famous violinist, the first person on most people’s lips is Niccolò Paganini. To this day, he is probably regarded as the greatest violinist of all time.

His legendary status, through both performance and composition, has continued to influence composers and violinists 175 years after his death, making him the foremost innovator of technique in violin repertoire.

This will be the first in a series of posts over the next few months, spanning the 18th and 19th centuries, featuring the great violin virtuosi of the classical and romantic eras in music.

Niccolò Paganini (27 October 1782 – 27 May 1840):

Anecdotally, it was the mandolin that little Niccolò learnt first, moving on to the violin when he was aged seven. He was also proficient on the viola and guitar. Born the third of six children in Genoa, he had a rare congenital disorder that meant he had freakishly flexible fingers.

He was so incredibly talented that many thought he had sold his soul to Satan. When you are able to compose and play music that is so fiendishly difficult it’s no wonder his superstitious audiences came to that conclusion! Cue the trailer for the recent film starring German violinist, David Garrett as “The Devil’s Violinist”:

In fact, Paganini was literally ‘born’ to play the violin, as his genetic makeup meant he had long fingers and could stretch his hands abnormally wide, a definite boon for a concert violinist.  Because of his rubbery connective tissues he could apparently move his little finger (fourth finger on the violin), out sideways at right angles to the rest of his hand. However, this rather unfair advantage to his musicianship would come at a price, plaguing him with a plethora of other ailments.

It is now thought that Paganini’s genetic condition was Marfan Syndrome, which would explain his bouts of ill health, especially in his later life. Paganini suffered with joint pain, poor vision, breathlessness, chest pains and fatigue. These less desirable symptoms meant that he frequently had to cancel public performances and he died at the relatively young age of 58.

In addition to his congenital health problems Paganini contracted Syphilis in 1822 and took Mercury and Opium as a remedy, albeit one with serious side-effects.

Paganini quote

Despite his physical challenges Paganini liked the high life, with a taste for gambling and womanising. He had a son (Achilles), with singer Antonia Bianchi, but they were never married. After his death, the Catholic Church in his hometown refused to bury him for decades (such was his reputation).

His first concerts were held mainly in Italy, but as his fame spread he travelled across Europe; spellbinding audiences in Vienna, Germany, Poland, Paris, Bohemia and Britain. He was the complete package as violinist. He possessed passion, flexibility, dexterity, technique, flair, imagination and innovation. He was able to write music that specifically showcased his particular style and skills that would be unmatched by any other violinist in his lifetime.


From Wikipedia:

Much of Paganini’s playing (and his violin composition) was influenced by two violinists, Pietro Locatelli (1693–1746) and August Duranowski (1770–1834). During Paganini’s study in Parma, he came across the 24 Caprices of Locatelli (entitled L’arte di nuova modulazione – Capricci enigmatici or The art of the new style – the enigmatic caprices). Published in the 1730s, they were shunned by the musical authorities for their technical innovations, and were forgotten by the musical community at large. Around the same time, Durand, a former student of Giovanni Battista Viotti (1755–1824), became a celebrated violinist. He was renowned for his use of harmonics and the left hand pizzicato in his performance. Paganini was impressed by Durand’s innovations and showmanship, which later also became the hallmarks of the young violin virtuoso. Paganini was instrumental in the revival and popularization of these violinistic techniques, which are now incorporated into regular compositions.

His celebrated Violin Caprice No. 24 in A minor has provided inspiration for transcriptions and variations and themes on other instruments such as the cello, piano, flute, oboe, trumpet, saxophone and guitar.

Some of my favourite Paganini performances:

Caprice No. 24 in a vintage, virtuosic recording by Jascha Heifetz:

‘La Campanella’ for Violin and Orchestra by Ivry Gitlis:

Sonata in E minor, Opus 36 for violin & guitar, performed by Ruggiero Ricci and pianist Louis Persinger:

The heavenly tones of Leonid Kogan – Sonatine for Violin & Guitar in A Major:

Whilst his Moto Perpetuo isn’t melodic, it’s quite a feat to play accurately, and even more so on the cello. Top marks to Miklós Perényi:

Duet for one violin, performed by both Salvatore Accardo and, yes, you guessed it, Senor Accardo!

I Palpiti beautifully executed by Maxim Vengerov:

And finally…Yehudi Menhuin is wonderful in this vintage performance of the Violin Concerto No. 1  2nd & 3rd movements:

Paganini works that inspired other composers:

Paganini’s virtuosity and music was much admired by the likes of Franz Liszt, Frédéric Chopin, Sergei Rachmaninoff, Robert Schumann, Johannes Brahms, Johann Nepomuk Hummel, Johann Sedlatzek and Eugène Ysaÿe to name but a few.

Here is a small selection of classical pieces written in homage to Paganini.

Recollections of Paganini, a Fantasia for the pianoforte, by Hummel performed by Marco Pasini:

Liszt’s inimitable Paganini Etude No. 6 played with passion by Marc-Andre Hamelin:

I adore Rachmaninoff’s Rhapsody on a Theme of Paganini, played to perfection by Arthur Rubinstein:

Tárrega’s Variations ‘Carnaval de Venecia de Paganini’ sound wonderful on the classical guitar with David Russell at the helm:

I’d like to finish my finale with this quote from

 “When it comes to violinists, virtuosity is not entirely the result of mechanical finger velocity and sheer technique, as it is with pianists. The violin is an instrument which has almost human whims—it is attuned to the mood of the player in a sympathetic rapport: a minute discomfort, the tiniest inner imbalance, a whiff of sentiment elicits an immediate resonance . . . probably because the violin, pressed against the chest, can perceive our heart’s beat. But this happens only with artists who truly have a heart that beats, who have a soul. The more sober, the more heartless a violinist is, the more uniform will be his performance, and he can count on the obedience of his fiddle, any time, any place. But this much-vaunted assurance is only the result of a spiritual limitation, and some of the greatest masters were often dependent on influences from within and without. I have never heard anyone play better—or, for that matter, play worse than Paganini . . .”

~ Heinrich Heine (1843) Thoughts on the Violin and on Violinists

Maxim’s Masterclass

On 11th April 2013 I was fortunate enough to attend my first masterclass run by world renowned violinist Maxim Vengerov, in conjunction with Oxford Philomusica. We gathered at the iconic (Grade 1 listed) Sheldonian Theatre, designed in 1664 by Sir Christpoher Wren.

I huddled excitedly into my wooden pew along with my fellow spectators, vying for a glimpse of one of my living musical heroes.  Vengerov did not disappoint.

Looking back now at my sketchy notes, the first thing that jumps out at me is his declaration that the violin should replicate the human voice; and he elicited much laughter from the audience by bursting into an impromptu song. He was warm, confident, knowledgeable (as you would expect), and he genuinely seemed to care about the students from Oxford University who were performing for his expert feedback. His insights into the music were unparalleled. He told the first student, who played Mozart’s Adagio in E Major, ‘Know where you are going in relation to the phrasing – have a goal.’

What impressed me was that he was able to impart a lot of relevant advice to the violinists in the short time he had to evaluate them. He was able to spot almost immediately where they needed improvement. To me they all seemed brilliant, and they were, but with Vengerov’s help they could become world class.

The second player tackled the Brahms Violin Sonata No. 1 in G Major.  He seemed to feel that she was too controlling, and he told her simply to, ‘Let go.’ He then proceeded to show her how to balance her bow, using the forefinger for control and the little finger to balance it. All the time his manner was relaxed yet utterly erudite and eloquent.

He compared violin technique to breathing:  ‘The left hand is the heartbeat and the right hand is the lung.’

There were other technical gems about increasing finger pressure, bow speed and vibrato to achieve a crescendo, and he coached on the art of smooth changes in bowing style and speed.

The third violinist was shown where she was missing out notes in the furious tempo of the Grieg sonata, and he told her to lift her fingers off the string completely to improve accuracy, and to accent the first note of a group. He compared her rendition to a train passing through a station without stopping.

He had us all captivated with his unique blend of joviality and humour, mixed with just the right amount of constructive and affable critique. His joy in coaching was evident. His own playing of each of their pieces to demonstrate his points transcended the music.  To add to the experience the acoustics were fantastic, and even though it was a grey day light was streaming in through the high windows. I only wish I had been able to sit closer to the action. In short: he is an amazing ambassador for the violin and classical music.

Meeting Virtuoso violinist Maxim Vengerov after his Oxford MasterclassHe was totally charming and stayed behind afterwards to sign autographs and meet his numerous fans (of which I was one). Hence the slightly deranged coat-hanger smile! I comfort myself thinking he must meet gushing and overawed amateur violinists quite often and forgive them their nervous blabbering.

The day was capped off with a visit to the Ashmolean Museum and sighting of my very first Stradivarius violin, the best preserved of them all – The Messiah.

List of Stradivarius Violins & their provenance

One of my favourite Vengerov performances, Waxman’s passionate Carmen Fantasy:

To round off my point here he is in the documentary ‘Playing By Heart’