Comparing famous violinists - Legato series PART 2

Legato PART 2 is here! We will be comparing some well known (and some up and coming) violinists to sharpen our ear for Legato, and learn a special lesson from a great pianist.

Check out the PART 1 video to get the most of this: https://youtu.be/0_gkhbIfmWU

VIDEO CHAPTERS
=====================
00:00 Intro
01:00 Have we lost Legato?

==BEETHOVEN VIOLIN CONCERTO==
02:02 Arabella Steinbacher
02:57 Stefan Jackiw
05:11 Anne-Sophie Mutter
07:58 Christina Bouey
08:42 Hilary Hahn
09:58 Itzhak Perlman

==TCHAIKOVSKY VIOLIN CONCERTO==
11:57 Christian Ferras
13:29 Ji Won Song
14:13 Ilya Kaler
14:55 Joshua Bell

==MENDELSSOHN CONCERTO==
16:46 Ray Chen
17:29 Noah Bendix-Balgley
18:20 Yehudi Menuhin
19:20 Joshua Bell
19:53 David Oistrakh
21:07 Michael Rabin

==SCHINDLER’S LIST THEME==
22:29 Simone Porter
23:10 Patrick Rafter

==PROKOFIEV VIOLIN CONCERTO NO.2==
25:09 Janine Jansen
25:47 Stefan Jackiw
26:10 Vadim Gluzman

27:25 Learning from piano — unique method!
33:44 Special Bonus ! https://youtu.be/kpXlCheiXY8
==================

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Accompanying article in The Strad:
https://www.thestrad.com/playing-and-teaching/what-is-true-violin-legato/14222.article

Links/recordings mentioned in the video:
Michael Rabin's Mendelssohn: https://youtu.be/UklAjeRXL_k
Leonid Kogan's Paganini Sonata: https://youtu.be/kpXlCheiXY8

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Arguably more important than the quality of the notes themselves is how we bind them together. The concept of legato therefore hinges on an acute sensitivity to what is between the notes. I find this to be a universal quality in musical traditions around the world. Take, for example, Indian Classical music: entire emotional and narrative concepts are embedded into the journey one takes between notes. It’s actually formalized into techniques called kampitam, and various gestures such as meend, gamak, and jaaru represent a shared need to weave something sublime into the fabric of notation. The genre-hopping western classical violinist Gilles Apap spent years studying this art form and explores this very concept here: https://youtu.be/3BDlvFTFrdY. Can we draw some parallels between these sonic values and the emblematic portamenti of Jascha Heifetz, Fritz Kreisler, George Enescu, Yehudi Menuhin, David Oistrakh and other greats? To this day, these techniques and aesthetic principles remain a sort of idiosyncrasy in the violin world. I imagine a day when they are much more than that – perhaps even formalized and widespread modes of expression, as their counterparts are in the Indian Classical tradition.