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Yes, but with a big "but"

Posted by John Marks (M) on November 15, 2011 at 06:55:58

In Reply to: Perlman: Is he among the pantheon? posted by hesson11 on November 14, 2011 at 20:50:28:

In terms of technical facility, he is near the top ranking of the recorded era, and might in certain aspects even surpass Heifetz (heresy, heresy).

Another facet that is often not appreciated is his remarkable endurance--he can play a difficult encore after playing a massive concerto, and still sound fresh and play as cleanly as though you were listening to a recording.

The caveats involve his approach to music. I am not the only one to come away feeling that the larger and more consequential the piece, the less his interpretations have to offer. I thought that his Elgar Concerto, an early DG CD, was so superficial and actually clueless that it should not have been released. Zukerman's discing of the Elgar with Barenboim towered over Perlman's release.

I recall a review in The Strad many years ago in which Henry Roth faulted Perlman for clowning and mugging to the audience as he made his way through a live Beethoven Sontata that was musically to say the least unrewarding--at least according to Roth. I don't think Perlman's solo Bach is in the top 6.

Perlman was "Sesame Street"'s violinist just like Mr. Ma was its cellist. For years Perlman's PR apparatus labeled him "The Clown Prince of the Violin," and a mixed blessing indeed that has turned out to be.

That said, his Bazzini is scintillating--could be the best ever--and his Wieniawski is all you can ask for.

Perhaps the greatest "violinist" of the modern era--Heifetz included. But not the greatest musician. Or at least, not the greatest all-around musician.

OK, let me turn the question around on you and all others--who is/was the greatest all-around musician who played the violin of the age of recordings, and who is the greatest all-around musician-violinist of today?

My answers:

Oistrakh & Mütter.

JM

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