Product Details

• Amazon Sales Rank: #3040857 in Books
• Published on: 1999-04-01
• Original language: English
• Binding: Hardcover
• 372 pages

Customer Reviews

A must for violin lovers
Roth's book is an incredible survey of many of the greatest violinists, including some who are becoming forgotten by my generation.

It is true that his opinions are sprinkled throughout, including his irritating comments about on-off vibrato.

In case readers haven't noticed, it's a crime that he has lumped all women violinists together into a short section and essentially belittled their contributions. Kyung-Wha Chung and Anne-Sophie Mutter both offer more than, say, Pinchas Zukerman will ever amount to.

To his great credit, he helps to introduce some wonderful insights into the playing of Henryk Szereng, Leonid Kogan, and Arthur Grumiaux (along with several others). This book is a must for every violin lover in an effort to remember and preserve the memories of these great musicians. Roth also is relaying a message to the next generation of violinists: help preserve the art of violin performance, but remember that musicianship and honest communication are of the utmost importance.

Careful: Roth's opinions dominate the book
It is, of course, admirable that Roth takes great effort to write articles of so many violinists. It can be used as a reference to dates and such information. But still, the book could have been more rightly named "WHAT ROTH THINKS ABOUT VIOLINIST from Paganini to the 21st century". As Mr Perng writes in the above customer review, Roth seriously does have biases. If you agree with Roth, good. If you disagree, that's when the trouble starts.

For instance, also as Mr Perng has pointed out, Roth worships Heifetz. Being strong admirer of Milstein (I cannot say I hate Heifetz though), I must say this. Roth writes to say why Heifetz was more famous (or played better,as Roth strongly suggested) that Milstein. But those points were exactly those which made Milstein renowned for! They are Milstein's straightforward musical approach, aristocratic tone, "more people seem to want to play like Heifetz than Milstein", and most of all, Milstein's refusal to play music that was popular (or that "sell") which happened to be what he didn't like. How many artistes will stand up for such a belief these days? These reasons were those that made people like me, and especially the Viennese (who by the way, hate Heifetz)admire him! With such comments, Roth can frustrate the reader.

But with superb pictures and select discography (careful of his comments - use them only as a guide), I found it still all right to buy the book.