With Strings Attached - Reminiscences and Reflections
(Many of the earliest books, particularly those dating bac...)
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Joseph Szigeti was a Hungarian violinist. Szigeti was among the first great violinists to play the works of 20th-century composers before their reputation had been established.
Background
Szigeti was born Joseph "Jóska" Singer to a Jewish family in Budapest, Austria-Hungary. His mother died when he was three years old, and soon thereafter the boy was sent to live with his grandparents in the little Carpathian town of Máramaros-Sziget (hence the name Szigeti). He grew up surrounded by music, as the town band was composed almost entirely of his uncles. After a few informal lessons on the cimbalom from his aunt, he received his first lessons on the violin from his Uncle Bernat at the age of six.
Education
Szigeti quickly showed a talent for the violin. Several years later, his father took him to Budapest to receive proper training at the conservatory. After a brief stint with an inadequate teacher, Szigeti auditioned at the Franz Liszt Academy of Music and was admitted directly into the class of Jenő Hubay, without the usual delays and formalities.
Hubay, who had been a student of Joseph Joachim in Berlin, had by that time established himself as one of the preeminent teachers in Europe and a fountainhead of the Hungarian violin tradition. Szigeti joined such violinists as Franz von Vecsey, Emil Telmányi, Jelly d'Arányi and Stefi Geyer in Hubay’s studio.
In those days, Europe produced a great many child prodigies, inspired by the phenomenal success of the young Czech virtuoso Jan Kubelík and formed by rigorous teaching and enthusiastic parents. The Hubay studio was no exception; Szigeti and his fellow wunderkinder performed extensively in special recitals and salon concerts during their study at the Liszt Academy.
In 1905, at the age of thirteen, Szigeti made his Berlin debut playing Bach's Chaconne in D minor, Ernst's Concerto in F-sharp minor, and Paganini's Witches Dance. Despite the formidable program, the event received mention only by a photograph in the Sunday supplement of the Berliner Tageblatt captioned: "A Musical Prodigy: Josef Szigeti".
Szigeti spent the next few months with a summer theater company in a small Hungarian resort town, playing mini-recitals in between acts of folk operetta. In that same vein, the next year he played at a circus in Frankfurt, where he appeared under the pseudonym "Jóska Szulagi". Also in 1906, Hubay took Szigeti to play for Joseph Joachim in Berlin. Joachim was impressed, and suggested that Szigeti should finish his studies with him. Szigeti declined the offer, both out of loyalty to Hubay and a perceived aloofness and lack of rapport between Joachim and his students.
Career
In 1925, Szigeti met Leopold Stokowski and played the Bach Chaconne in D minor for him. Less than two weeks later, Szigeti received a telegram from Stokowski’s manager in Philadelphia inviting him to perform with the Philadelphia Orchestra later that year: it was his American debut. Szigeti had never played with an American orchestra before, nor heard one, and later he wrote of suffering stage fright. He was taken aback by the American concert scene, and the way that its publicity and popularity driven agents and managers determined much of what was heard in American concert halls. He believed they were not interested in works by the great masters, but preferred the popular light salon pieces he had left behind in his prodigy days. (To the end of his life, Szigeti loved to quote one memorable, cigar-chewing impresario who told him, with regard to Beethoven's Kreutzer Sonata, "Well, let me tell you, Mister Dzigedy—and I know what I’m talking about—your Krewtzer Sonata bores the pants off my audiences!")
By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era’s leading instrumentalists, conductors and composers.
In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)
During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy. Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.
In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.
During the 1950s, Szigeti began to develop arthritis in his hands and his playing deteriorated. Despite his weakened technical mastery, his intellect and musical expression were still strong, and he continued to draw large audiences to his concerts. In Naples, Italy, in November 1956, just after the Soviets crushed the Hungarian uprising, as soon as he walked onto the stage the audience burst into wild applause and shouts of Viva l’Ungheria! (Italian for "Long live Hungary!"), delaying the concert for nearly fifteen minutes.
In 1960 Szigeti officially retired from performing, and returned to Switzerland with his wife. There he devoted himself primarily to teaching, although he still traveled regularly to judge international violin competitions. Top-class students from all over Europe and the United States came to study under him. One of these students was Arnold Steinhardt, who spent the summer of 1962 with Szigeti. He came to the conclusion that "Joseph Szigeti was a template for the musician I would like to become: inquisitive, innovative, sensitive, feeling, informed".
Toward the end of his life, Szigeti suffered from frail health. He was put on strict diets and had several stays in hospital, but his friends asserted that this did nothing to dampen his characteristic cheerfulness. He died in Lucerne, Switzerland on February 19, 1973, at the age of 80. The New York Times ran a front-page obituary that ended with this 1966 quote from violinist Yehudi Menuhin:
We must be humbly grateful that the breed of cultured and chivalrous violin virtuosos, aristocrats as human beings and as musicians, has survived into our hostile age in the person of Joseph Szigeti.
(Many of the earliest books, particularly those dating bac...)
1947
Membership
Member Royal Academy Music London (honorary).
Personality
Physical Characteristics:
In 1913, Szigeti was diagnosed with tuberculosis and was sent to a sanatorium in Davos, Switzerland to recover, interrupting his concert career. During his stay at the sanatorium, he became re-acquainted with the composer Béla Bartók, who was recovering from pneumonia. The two had known each other only in passing during their conservatory days, but now they began a friendship that would last until Bartók’s death in 1945.
In 1917, having by then made a full recovery, at age 25 Szigeti was appointed Professor of Violin at the Geneva Conservatory of Music. Szigeti said that this job, although generally satisfying, was often frustrating due to the mediocre quality of many of his students. The years teaching in Geneva provided an opportunity for Szigeti to deepen his understanding of music as an art, along with other aspects such as chamber music, orchestral performance, music theory and composition. Also during that time, Szigeti met and fell in love with Wanda Ostrowska, a young woman of Russian parentage who had been stranded in Geneva by the Russian Revolution of 1917. They married in 1919.
Connections
In 1918, while teaching in Geneva, Szigeti met and fell in love with Wanda Ostrowska. She was born in Russia and had been stranded by the Russian Revolution of 1917 with her sister at a finishing school in Geneva. In 1919, Szigeti and Ostrowska decided to get married, but due to the turbulent political situation in Europe, many unexpected bureaucratic obstacles were thrown up in their path. The first problem was the impossibility of contacting Ostrowska's family, and the couple were forced to go ahead without parental consent, with the permission only of Ostrowska's sister and the headmistress of the finishing school. Further bureaucratic entanglements threatened the young couple's hopes, but eventually the officials responsible granted them a dispensation to marry. Szigeti recalls in his memoirs the words of Consul General Baron de Montlong at the critical moment:
Let us not, if we can avoid it, fall victim to the dead letter of the law. I don't want to postpone the happiness of these two youngsters if we can help it. All laws have been twisted and tortured out of semblance of law, what with war and revolutions. For once let's twist and turn one for a good cause, yes?
Just before the birth of their only child, daughter Irene, Szigeti found himself stuck in Berlin during the Kapp Putsch of 1920, unable to return to Geneva. The entire city had been paralyzed by a general strike, and the trains were not running. His scheduled concert could not go on as planned, but he was forced to stay in Berlin for "interminable days" while the Putsch ran its course. Szigeti writes: "... the impossibility of communicating by phone or wire with my wife--whose condition I pictured with the somewhat lurid pessimism usual to young prospective fathers--was certainly a greater torment to me than all the other discomforts put together".