Long Playing recording "Young Violinist's Editions, YV-3 , Series 1,
Volume 3 ": Jan Shermont (violin) accompanied by Otto Schulhof (piano).
They play three student concertinos for violin and piano (by Accolay,
Seitz, and Ortmans). Cover submitted by violin teacher Mrs. Patrica
Jaeger, Seattle, USA.
picture of young Michèle Auclair at the beginning of her career
when she received instruction from the famous couple.
Pashkus with Ossy Renardy.
interesting LP is Remington R-149-20 with violinist Ivry Gitlis
who plays with passion and lyricism Paganini's Violin Concerto in D
major, Op. 6, in the arrangement of Fritz Kreisler; with the Austrian
Symphony Orchestra conducted by Kurt Wöss.
best results choose "find exact phrase".
Donald Gabor followed his own bliss as an entrepreneur - and as a music
lover, what he most certainly was! Obviously he wanted to attain a high
turnover in order to be able to invest in more recordings, to expand
his business and to be able to pay his personnel.
Gabor undeniably knew how to practice usury by releasing the same recordings
on different labels and in various couplings, and by creating series
for specific target groups. Yet, in essence, his ideas did not exclude
having a mission. On the contrary.
of the 'Music Plus!' Series enforce this premise. The series
was produced for schools and for any person who wanted to know more
about famous composers and their famous compositions.
In the case of the Young Violinist's Edition he was aiming at
a different target group which consisted of the many students in schools
of music, colleges, and universities, and of the many youngsters studying
with their private teachers, and of course the many amateurs practising
without any assistance. For this series Gabor did not use existing material,
but new sound recordings were deliberately made. Don
Gabor asked world famous pedagogues Theodore and Alice Pashkus
(who were living in New York at the time) to set up and supervise a
special series of instructional and inspirational recordings for young
and aspiring violinists in accordance with the teachings they received.
and Theodore Pashkus in the nineteen forties.
and courtesy of Yorgos Manessis. Image submitted by Stéfanos
Theodoridis, Greece) )
Producing records with material for study and adding a printed score
and instructions, does not represent the complexity of teaching and
instructing upcoming and renown concert violinists. To experience the
full meaning, it would have been necessary to be present when Alice
and Theodore Pashkus were teaching the brain and training the physical
aspects of playing the violin. Nevertheless it is because of Donald
Gabor's adventurous attitude that the series existed and that there
is and remained at least some tangible evidence of the ideas of the
famous couple, even if the significance for many a professional violinist
went far beyond a course for aspiring youngsters, a series of Remington
LPs and the accompanying books. Yet the "Young Violinist's Edition"
was a success. Today it is a monument for the famous couple.
The cover of
the releases in this series says about Theodore and Alice Pashkus:
"Their original, modern and unique method of teaching the high
art of violin playing has won worldwide recognition.
Among their artist-pupils are violin virtuosi of international reputation
such as Ossy Renardy, Ivry Gitlis, Michèle Auclair, Blanche Tarjus
and many others.
Yehudi Menuhin has adopted the principles of the "Pashkus method"
and integrated them into his playing.
Theodore and Alice Pashkus divide their teaching activities between
New York and Paris. Through "Young Violinist's Recordings" and the
"Young Violinist's Editions" together with the "Young Violinist's
Practice Guide", Theodore and Alice Pashkus made available for the
first time their unique method to average violin students all over
'All over the world'
is obviously a key-phrase. Gabor had registered the series as the covers
indicate TRADEMARK. And of course the method was the unique property
of the pedagogues. One should not forget the intrinsic value, and the
educational and inspirational importance of this project.
The series was devised in 1953 and took some time for preparation and
production. The first releases were issued by the end of 1955. Laszlo
Halasz was the recording director.
Long Playing recording "Young Violinist's Editions, YV-1 , Series
1, Volume 1": Jan Shermont (violin) accompanied by Otto Schulhof
(piano). They play Viotti, Concerto No. 23 in G Major.
The series were
recommended by famous French violinist Jacques Thibaud and by the evenly
famous American violinist Yehudi Menuhin.
I urge young violinists to familiarize themselves with the contents
of this edition. Theodore and Alice Pashkus, the renowned violin
pedagogues have given young violinists a digest of their profound
knowledge, wide experience and artistic skill.
It seems to me impossible that a young violinist could fail
to benefit from the use of this edition, which will enable him
to express himself with greater ease and freedom.
It is an event of particular importance when violin pedagogues
of international repute as Theodore and Alice Pashkus devote
their knowledge and experience to the task of assisting the
young violinist along the waytowards mastery of his instrument.
The use of this edition with the Young Violinist's Practice
Guide will actually reduce the total practising time required
and will result in a safer command of the instrument. The young
violinist will be able to devote his mind and heart to the main
object: the musical contents of the piece and its interpretation.
himself had profited from the instructions of the violin pedagogues
when he was at an inspirational low in the nineteen forties. It is very
common when a child prodigy has grown to maturity that the initial qualities
need a new way of expression. One could say that Menuhin had lost the
intuitive approach somewhat, and it seemed that the mind, the intellect
and the physicality of playing were in the way. Alice and Theodore believe
that the instrument should be regarded as an extension of the body to
express the mind and soul, a notion which is widely accepted today but
was then rather new. The learning experience Menuhin had when taking
lessons from the couple, obviously translated itself in his lifelong
practice of yoga. The teachings of Alice and Theodore, and regaining
confidence in his own art, eventually led to various important performances
by Menuhin. After having played for concentration camp prisoners, he
came to the rescue of Wilhelm Furtwaengler and German musical culture
in 1947 by performing with the great conductor and the Berlin Philharmonic
after Furtwangler had been cleared of misconduct (denazified). Yehudi
Menuhin performed the Concertos of Felix Mendelssohn-Bartholdy and Peter
I. Tchaikovsky with Ferenc Fricsay, in 1949, in Berlin, with the
which were preserved by the RIAS (= Radio In American Sector) Broadcasting
Authority). These live recordings were later issued on LP. And in the
early 1950s he made the famous and acclaimed recordings in London and
Berlin with Wilhelm Furtwaengler of the Concertos of Ludwig van Beethoven
and Felix Mendelssohn-Bartholdy.
physical aspects of playing the violin are as important as the mindset
in order to be able to interpret a gem, a rhapsody, or an entire
concerto. By adopting the right position, muscle fatigue and strain
can be minimized and mastery will be improved, so strength and subtlety,
phrasing and vibrato can give a performance souvereignty. Here Alice
Pashkus is instructing famous violinist Yehudi Menuhin while she
uses a special support to let him feel the right position of the
elbow in relation to the shoulder.
(Image Copyright and courtesy of Yorgos Manessis, submitted by Stéfanos
Menuhin recorded the Violin Concerto of Jean Sibelius with Anatole
Fistoulari conducting (His Master's Voice ALP 1350) at the time
when he endorsed the Theodore and Alice Pashkus Remington Series.
Menuhin's signed photograph thanking the couple for their instructions:
"To Theodore + Alice Pashkus, distinguished violin pedagogues,
with warmest greetings, Yehudi Menuhin - January, 27, 1946.
(Image courtesy and copyright Yorgos Manessis. Image submitted by
Stéfanos Theodoridis, Greece)
The back of each
record cover, and the cover of each book with the scores of the compositions
to be played, mention:
Music for Millions
present "Young Violinist's
Edition" and "Young Violinist's Recording".
Each Volume consisted
1. The complete
violin and piano parts.
2. "Young Violinist's Practice Guide".
3. Complete recording for Violin and Piano
4. Complete recording of Piano accompaniment alone with faintly indicated
The Young Violinist's Series:YV-1:
1. Concerto No. 23 in G Major (Giovanni Battista Viotti)
2. Scène de Ballet Op. 100 (Charles Auguste de Bériot)
3. Hejre Kati (Scène de la Csardas) (Jeno Hubay)
4. Cavatina (Joachim Raff)
book containing the scores of the 3rd Volume
was printed in Germany, obviously during Don Gabor's stay in that
country to supervise recordings with the RIAS Symphony and preparing
the releases of those recordings on the German Diamanat label.
5. Concertino No.1 in a minor (Jean-Baptiste Accolay)
6. Concertino Op. 22 in D Major (Friedrich Seitz)
7. Concertino No.1 in a minor (René Ortmans)
were released on subsequent records:
8. Concertino No.9 in a minor (Charles Auguste de Bériot)
9. Concerto No.13 in D Major (Rodolphe Kreutzer)
10. Concerto No.8 in e minor (Rode)
11. Concertino No.2 in G Major (Adolf Huber)
12. The Bee (Franz Schubert)
13. Kuyswiak (Mazurka) (Henryk Wieniawski)
14. Ballade et Polonaise (Henri Vieuxtemps)
On Volume YV-9
figures "Zigeunerweisen" - Gypsy Airs (Pablo de Sarasate)
played by Jan Shermont, violin and Otto Schulhof, piano.
The higher the
volume number the greater the difficulty. Gabor's Series of the method
of Theodore and Alice Pashkus differed from the Music Minus One-series
which came into existence many years later. The Pashkus method was far
more elaborate as the pedagogues gave special preparatory exercises
to be able to study the respective works. They must have guided many
students to greater skill and insight.
The Remington Series were very important at the time when they were
produced, despite the low quality of the manufacture of the discs.
Alice Pashkus knew exactly how to assess the issues of playing the
violin and knew how to communicate solutions in practice to the
artists who sought help, it seems that Theodore was more the organizational
talent in the prolifiration of their work and training method. He
edited numerous Violin Pieces for all levels of skill.
Felix Guenther he prepared "Everybody's Favorite
First Position Violin Pieces", published by Amsco Music Publishing
Co. Inc, 1600 Broadway, New York, 1939.
(From the SoundFountain
Jaeger, violin teacher from Seattle, Washington, USA, who initially
sent me scans of the cover of the disc of the 3rd series, stresses the
importance of a good teaching method and the accompanying teaching material.
She says, that when she was a student-violinist in her twenties, she was
able to play at an advanced level, and she gave solo recitals in the US
and in Europe. She is over 70 now and has been teaching violin and viola
for more than 54 years. She adds:
"Recorded teaching material is very important for students.
There is a wonderful LP recording "Every Violinist's
Guide" by Stephen (Steven) Staryk, the Canadian violinist,
for example, with Etudes by Frederico Fiorillo (Etude pour le
violon formant 36 caprices), Rodolphe Kreutzer (40 Etudes ou
caprices pour le violon), Jacques Féréol Mazas
(courses for violin and alto), and others; he plays these at
an incredibly fast tempo that is an inspiration to us all!
example of Stephen Staryk's Violin Course on LP.
also cassettes produced by Solo Plus, with Etudes for violin
and viola by Franz Wohlfahrt, Jacques Pierre Joseph Rode, and
Bartolomeo Campagnoli; the violinist is Harry Bluestone. Mel
Bay company in Pacific, Missouri, USA, produced those.
The advanced concert repertoire of the violin is extensively
recorded by artists worldwide; but it is the etudes and small
classics that a student needs to master, before he/she can attempt
the great works. If there is going to be another generation
of fine string players, there needs to be a tool easily used
by families in the home, such as a cassette or CD, to inspire
the student to play these core studies and concertinos to a
fine standard of excellence.
I am sure I speak for many teachers of the violin who wish the
student had this! kind of tool. Perhaps some entrepreneur will
take the challenge and begin to issue once more, excellent student-oriented
recordings." - Patricia Jaeger,
taught alternating in New York and Paris. Numerous are their travels
between America and Europe. The couple finally ended up in Vienna where
Theodore Pashkus taught at the Vienna Conservatory (Konservatorium Wien).
In August 22, 1968, the Conservatory announced that Theodore Pashkus
was to be a professor at the institute.
Gitlis - who appeared on Remington together with conductor Kurt
Wöss playing Paganini - receives instruction from Alice Pashkus.
(Image Copyright and courtesy of Yorgos Manessis. Image submitted
by Stéfanos Theodoridis, Greece.)
that Theodore was born on January 11, 1905. He taught until the beginning
of 1970. He died in Vienna, in May, 1970. Alice Pashkus was originally
from Hungary as Donald Gabor himself was. Alice was born on February
21, 1911. Initially she studied medicine but after meeting Theodore
ahe dedicated herself to pedagogy. Although she became a US citizen,
she also went to Vienna where she taught until 1972. She passed away
in February of that year.
Photographs of Alice
and Theodore Pashkus, and of the violinists who sought help and studied
with the pedagogues, where sent to me by Stéfanos Theodoridis
and are courtesy of his teacher Yorgos Manessis who knew Alice Pashkus
well. Manessis studied with her, not as a violinist, but as a pianist.
Text and research Rudolf A. Bruil - Page first published on June 10th,
2003. Last updated July 5th, 2011. All images edited by R.A.B.