MTU Library Catalogue

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And do you also play the violin? / Carl F. Flesch ; with a foreword by Sir Yehudi Menuhin.

By: Flesch, Carl F, 1910-.
Material type: materialTypeLabelBookPublisher: [London] : Toccata Press, 1990Description: 382 p. : ill. ; 23 cm.ISBN: 0907689361; 090768937X (pbk.).Subject(s): Flesch, Carl, 1873-1944 | Violinists -- BiographyDDC classification: 780.92 FLE
Holdings
Item type Current library Call number Copy number Status Barcode
General lending MTU Cork School of Music Library Lending 780.92 FLE (Browse shelf(Opens below)) 1 Available 00101091
Total holds: 0

Enhanced descriptions from Syndetics:

Carl F. Flesch grew up in Berlin surrounded by some of the most famous musicians of the day. This is his account of the men and women behind the famous names.

Carl F. Flesch is the son of the famous German violinist Carl Flesch [1873-1944] and grew up in the Berlin of the 1920s and `30s. He thus came into almost daily contact with some of the foremost musicians of the century - Furtwängler, Kreisler, Schnabel, Heifetz, Thibaud - including, of course, his father's pupils - Rostal, Haendel, Neveu, and many others. `And do you also play the violin?' was a question he was frequently asked as he grew up, and it explains his intention in writing this book: he had, in his words, `a ringside seat' to observe these musicians from close quarters and writes about the men and women behind the famous names; examining, often with some humour, the relationship between teacher and pupil, the pressure on public performers, life as the child of a famous parent, and the effect on German musical life of the Nazis' accession to power.

Includes bibliographical references and index.

Reviews provided by Syndetics

CHOICE Review

This biography of the famous violinist, Carl Flesch, is written by his son, Carl F. Flesch, who is not a musician. He writes about his father through personal reminiscences, letters of other famous musicians of the day, and his father's diary. As a recounting of the life of a professional musician from the point of view of a nonmusician, the book thus gives a rare insight into the profession of music. It begins with a chapter on stage fright and goes on to chapters with titles like " " and other intriguing topics. In addition, readers are given a glimpse of Germany between the world wars. The book is full of drawings and photographs of musicians in the Germany of that time. General readership. W. Ross University of Virginia