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 Kolkane Rechaim
from Dailymotion - most recent videos
July 17, 2008
Encore un autre morceau, plutôt vieux , peu connu, encore court, mais toujours aussi bon à chanter et à écouter.Author: youpiyes Tags: kolkane rechaim jew juif music musique piano hebrew hebraic hebraique hava naguila ora orot bar mitsva chant hassid Posted: 17 July 2008 Rating: 5.0 Votes: 1
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 Michael Rabin - Mendelsshon Concerto - (Finale)
from YouTube :: Tag // second life
June 13, 2008
Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Author: MichaelRabinMemoriam Keywords: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical Added: June 12, 2008
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 Michael Rabin - Mendelsshon Concerto - Andante
from YouTube :: Tag // second life
June 13, 2008
Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Author: MichaelRabinMemoriam Keywords: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical Added: June 12, 2008
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 Michael Rabin - Mendelsshon Concerto - Allegro Part 2
from YouTube :: Tag // second life
June 13, 2008
Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Author: MichaelRabinMemoriam Keywords: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical Added: June 12, 2008
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 Hassidic Terraris. Mr.Thyself Show (Episode 23)
from Mr.Thyself Show
April 05, 2008
It's hard to pass on an opportunity for free kosher food even if requires spontaneous kidnapping to ride to a Jewish area of Brooklyn. While in transit, Joel revealed some of the most intimate secrets of Hassidic Judaism, why sex is important, as well as why Jewish and Black creaturez are so "liked" around the world. And, have you ever seen a Hassidic Jew play hard core baseball?
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 Compile hassidique
from Music
March 12, 2008
Que ce soit une bar mistva, un mariage, une soire, ou mme seul dans le mtro avec son mp3, j'coute de la musique hassidique tel que Yaakov Shwekey, Mord'ha Ben David ou encore Avraham Fried!
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 Geza Hosszu Legocky & Giorgia Tomassi (Caprice Viennoise)
from YouTube :: Tag // cannes
January 15, 2008
Fritz Kreisler: Caprice Viennoise Live from the Progetto Argerich. Lugano 2004. Biography Praised by musicians, audiences, and music critics as a rising "tour de force" in the classical music scene, Géza Hosszu-Legocky's critical acclaim culminated with the nomination of two Grammy® Awards, including the "Best Classical Music Album 2005" and "Best Chamber Music Recording 2005" for his recording of the Schumann Violin Sonata in A minor and other chamber music works with an all-star cast including Martha Argerich, Maxim Vengerov, Lilya Zilberstein, and Gabriela Montero on EMI Classics recorded in 2004. In 2003, he released his first EMI Classics recording performing traditional Hungarian Gypsy music with his ensemble "The 5 DeVils". Known for his passionate and fiery interpretations of classical, jazz, and Hungarian gypsy music, he first made his public debut at the age of 9 on Austrian Television "ORF". Since then, he has performed with the National Hungarian Orchestra of Budapest and performed in Argentina, France, Germany, Spain, Japan, Italy, and the USA. As a guest soloist, he has been invited to perform with the major orchestras and ensembles throughout the world including the Orchestre Philharmonique de Radio France with Myung-Whun Chung, NHK Orchestra in Tokyo with Charles Dutoit, and the Kremerata Baltica with Gidon Kremer. His regular chamber music partners include Martha Argerich, Gautier Capucon, Renaud Capucon, Nelson Freire, Ivry Gitlis, Ida Haendel, Gabriela Montero, Vadim Repin, and Giorgia Tomassi. He continues to perform regularly at the top music festivals around the world including Aspen Festival (USA), Beppu Festival (Japan), Buenos Aires Festival (Argentina), Ludwigsburg Festival (Germany), Lugano Festival (Italy), Ruhr Piano Festival (Germany), Saratoga Festival (USA), Taipei Festival (Taiwan), Verbier Music Festival (Switzerland), and many others. In 1999 and 2000, he performed in sold-out concerts at the prestigious Verbier Festival with Roby Lakatos and Friends which also included artists such as Ida Haendel, Vadim Repin, and Sayaka Shoji. In 2003, he was invited by the Violin Festival in Cassis (France) to perform with Martha Argerich, Ruggiero Ricci, and Ivry Gitlis. At the 2005 Saratoga Festival, Géza made his recital debut with Martha Argerich to thunderous standing ovations. He continues to perform in recitals and concerts in the world's most renowned concert halls including Salle de Pleyel (Paris), Teatro Color (Buenos Aires), Théâtre des Champes Elysees (Paris), and Auditorium du Louvre (Paris). 2001 was a year of significant attention for Géza. He was among only the selected few young artists from around the world invited to participate in the prestigious Dorothy Delay Symposium and Master Classes at the Juilliard School of Music in the class of violinist Robert McDuffie. Upon hearing him, McDuffie immediately engaged him to perform at the Aspen Music Festival in an international concert broadcast on NPR, reaching over three million listeners worldwide. Offstage, Géza has made a cameo appearance as a gypsy violinist in Francois Girard's 1998 Academy-award winning film The Red Violin. In 2001, he and Martha Argerich were profiled in Georges Gachot's feature film Conversations Nocturnes. This documentary was exhibited at the world's major international film festivals, including the Cannes Film Festival and won numerous awards including the PRIX ITALIA 2002 Documentary on "Music and Arts". In addition to classical music, Géza has a passion for performing traditional Hungarian gypsy music and created his award-winning ensemble "The 5 DeVils" and have performed at the major festivals in South America and Europe. Géza was born in 1985 and is a top honours student at the Vienna Academy of Music. His teachers and coaches have included Ruggiero Ricci, Ivry Gitlis, Ida Haendel, Tibor Varga, Dora Schwarzberg, and Marina Sokorova. He holds a dual Swiss and American citizenship and currently resides in Lausanne, Switzerland. For more information, you are welcome to visit Geza's Official Home Page here: http://gezahosszulegocky.com/home.html Author: GezaHosszuLegocky Keywords: hosszu legocky tomassi kreisler caprice viennoise violinist encore heifetz hassid menuhin rabin elman classical world music folk Added: January 15, 2008
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