![]() Laurie Niles has written about how much more virtuosic (and therefore difficult to learn) the Nachèz edition of the A minor concerto is than Vivaldi’s original and how she uses these differences in her teaching. Nachèz rewrote some passages in his edition to make them more virtuosic-taking some phrases up an octave, for example. As I listened to them, however, I discovered that Sarah Chang and the musicians of the Concert de la Loge weren’t just playing in a different style than the earlier recordings they were sometimes playing different notes. We could say that these latter two recordings have a more Baroque character-that they are more HIP. Finally, here is a period-instrument performance by violinist Julien Chauvin with the Concert de la Loge. But for the most part, newer recordings are fast and crisp, such as this one by Sarah Chang. I even found a fairly recent example of this style, by Boris Kuschnir. In addition to Elman’s performance, another Romantic-sounding interpretation of the Vivaldi G minor concerto is that of Itzhak Perlman. Furthermore, Suzuki’s biography claims that he was inspired to learn the violin as an adult after hearing a recording of Elman playing the Schubert Ave Maria. Suzuki and Elman were near contemporaries (Elman was born in 1891 Suzuki in 1898), so I suspect that it was the Elmanesque style of playing that got transmitted in Suzuki pedagogy. ![]() The Nachèz editions of these two Vivaldi concertos, A minor and G minor, are the ones included in the Suzuki repertoire (A minor in Book 4, G minor in Book 5).
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