Uploaded July 2022 | Updated September 2026, 2 weeks ago
After a 1929 concert in Berlin, Albert Einstein went backstage, kissed the 13-year-old prodigy and said, "Today Yehudi, you have once again proved to me that there is a God in heaven". We hear a similar discourse from writer and music critic George Bernard Shaw: “Listening to an artist like Yehudi makes even an atheist believe in God.”
According to Arthur Abell's testimony, the great violinist Fritz Kreisler, listening to 12-year-old Jascha Heifetz, would say: 'We can break our violins on our knees.' Arthur Nikisch would call 13-year-old Heifetz. "The greatest violinist I've ever heard".
The great violinist Joseph Joachim wrote on Franz von Vecsey's album: 'God guard thee, thou wonderfully gifted child!' One of his great violinists, Eugène Ysaÿe, would also say of Vecsey, "So small and yet so great!" Also Sibelius was to dedicate his famous violin concerto to Vecsey.
"Only a genius plays so.", Anton Rubinstein's reaction upon hearing 10-year-old Bronislaw Huberman. Brahms was in the audience when Huberman played Brahms' Violin Concerto at age 13, and Brahms' friends said Brahms cried: "As soon as Brahms heard the sound of the violin, he pricked up his ears, during the Andante he wiped his eyes. " Theodor Leschetizky would say about Huberman: “A judgment of Huberman is quickly rendered. He is simply a phenomenon, an apparition before whom criticism ceases. Mind you, Huberman was never that which is known as a 'child prodigy'. At the age of six years, he was already a miraculous man who, far from being reduced to normal stature, kept himself at an illustrious height.”
My website on classical music: chopinzee.com
If you want to support me: patreon.com/chopinzee
Instagram: instagram.com/ozanfabien
Twitter: twitter.com/chopinzeeblog
00:00 Yehudi Menuhin (14 YO) - Arcangelo Corelli's 'La Folia' (Final)
* 1930 recording. I didn't use the full recording, I only took the final part.
02:22 Yehudi Menuhin (14 YO) - Ottokar Novacek's 'Perpetuum mobile'
* 1930 recording
04:59 Jascha Heifetz (10 YO) - František Drdla's 'Souvenir' in D Major
* 1911 recording
07:53 Jascha Heifetz (16 YO) - Antonio Bazzini's 'La ronde des Lutins'
* 1917 recording.
11:53 Ruggiero Ricci (12 YO) - Niccolò Paganini's 'La Campanella'
* 1930 recording.
16:25 Franz von Vecsey (11 YO) - Jenő Hubay's 'Carmen Fantasy'
* 1904 recording
21:08 Ginette Neveu (15 YO) - Manuel De Falla's 'La vida breve' (arr. Fritz Kreisler)
* 1935 recording
24:39 Itzhak Perlman (13 YO)- Johann Sebastian Bach's Partita for Solo Violin No. 3 E Major Gavotte
* 1957 recording
25:26 Anne-Sophie Mutter (14 YO) - Felix Mendelssohn's Violin Concerto, Movement 3
* 1978 recording
31:27 Christian Ferras (14 YO) - Fedelico Elizalde's Violin Concerto, Movement 1
* 1947 recording
40:01 Mischa Elman (15 YO) - Anton Rubinstein's 'Melody' in F
* 1906 recording
41:51 Bronislaw Huberman (17 YO) - Frederic Chopin's Nocturne Op. 9 No. 2 (arr. Pablo de Sarasate)
After a 1929 concert in Berlin, Albert Einstein went backstage, kissed the 13-year-old prodigy and said, "Today Yehudi, you have once again proved to me that there is a God in heaven". We hear a similar discourse from writer and music critic George Bernard Shaw: “Listening to an artist like Yehudi makes even an atheist believe in God.”
According to Arthur Abell's testimony, the great violinist Fritz Kreisler, listening to 12-year-old Jascha Heifetz, would say: 'We can break our violins on our knees.' Arthur Nikisch would call 13-year-old Heifetz. "The greatest violinist I've ever heard".
The great violinist Joseph Joachim wrote on Franz von Vecsey's album: 'God guard thee, thou wonderfully gifted child!' One of his great violinists, Eugène Ysaÿe, would also say of Vecsey, "So small and yet so great!" Also Sibelius was to dedicate his famous violin concerto to Vecsey.
"Only a genius plays so.", Anton Rubinstein's reaction upon hearing 10-year-old Bronislaw Huberman. Brahms was in the audience when Huberman played Brahms' Violin Concerto at age 13, and Brahms' friends said Brahms cried: "As soon as Brahms heard the sound of the violin, he pricked up his ears, during the Andante he wiped his eyes. " Theodor Leschetizky would say about Huberman: “A judgment of Huberman is quickly rendered. He is simply a phenomenon, an apparition before whom criticism ceases. Mind you, Huberman was never that which is known as a 'child prodigy'. At the age of six years, he was already a miraculous man who, far from being reduced to normal stature, kept himself at an illustrious height.”
My website on classical music: chopinzee.com
If you want to support me: patreon.com/chopinzee
Instagram: instagram.com/ozanfabien
Twitter: twitter.com/chopinzeeblog
00:00 Yehudi Menuhin (14 YO) - Arcangelo Corelli's 'La Folia' (Final)
* 1930 recording. I didn't use the full recording, I only took the final part.
02:22 Yehudi Menuhin (14 YO) - Ottokar Novacek's 'Perpetuum mobile'
* 1930 recording
04:59 Jascha Heifetz (10 YO) - František Drdla's 'Souvenir' in D Major
* 1911 recording
07:53 Jascha Heifetz (16 YO) - Antonio Bazzini's 'La ronde des Lutins'
* 1917 recording.
11:53 Ruggiero Ricci (12 YO) - Niccolò Paganini's 'La Campanella'
* 1930 recording.
16:25 Franz von Vecsey (11 YO) - Jenő Hubay's 'Carmen Fantasy'
* 1904 recording
21:08 Ginette Neveu (15 YO) - Manuel De Falla's 'La vida breve' (arr. Fritz Kreisler)
* 1935 recording
24:39 Itzhak Perlman (13 YO)- Johann Sebastian Bach's Partita for Solo Violin No. 3 E Major Gavotte
* 1957 recording
25:26 Anne-Sophie Mutter (14 YO) - Felix Mendelssohn's Violin Concerto, Movement 3
* 1978 recording
31:27 Christian Ferras (14 YO) - Fedelico Elizalde's Violin Concerto, Movement 1
* 1947 recording
40:01 Mischa Elman (15 YO) - Anton Rubinstein's 'Melody' in F
* 1906 recording
41:51 Bronislaw Huberman (17 YO) - Frederic Chopin's Nocturne Op. 9 No. 2 (arr. Pablo de Sarasate)





![Claude Debussy and his Friends/Pupils plays Debussy
Claude Debussy is one of the most important pianists and composers of the 20th century. This selection shows how Debussy played the piano, how he wanted his piano works to be interpreted and I tried to explain Debussys piano concept in the information I gave in the video. All the recordings I chose from pianists associated with Debussy.
Debussy was generally dissatisfied with the pianists playing his own works: I assure you one cannot imagine how my music is disfigured; often I can scarcely recognize it. . . . Pianists dissect my music into bits and pieces, like a roast chicken.
Marguerite Long, one of Frances most important pianists and piano pedagogues, would describe Debussys influence on the French Piano School: We never listened to or played the piano after Debussy in the same way as we did before him . . . He was an incomparable pianist. Jacques Durand: A full sonority, a remarkable delicacy, a perfect mastery of nuance, an impeccable finish, an imperceptible rubato always framed within the beat, an astounding use of pedal: all this was what defined Debussys playing.
Debussy said that he had heard only two fine pianists in his lifetime: ... my old piano teacher, a small, fat lady who threw me into Bach and who played him as no one does nowadays, making him live [...]. The second pianist was Liszt, whom I heard in Rome. Debussy was definitely influenced by Chopin and Liszt. His teacher was a student of Chopin. He gave references to Chopin throughout his life and dedicated his Etudes to Chopin. And he had heard of Liszt himself, and Liszts use of pedals especially impressed him.
Even if the understanding of the piano came from Chopin and Liszt, there were serious innovations. First of all, Debussy did not like Bel Canto opera and Chopins pianism had a Bel Canto influence. Debussy removed this Bel Canto and vocal influence on the piano. Secondary, Debussy had a piano approach similar to Liszt, he thought orchestral. But it was not a large orchestra like Liszts. Debussy does not have the percussion piano understanding of Liszt. For Debussy, the piano was a stringed instrument, and the piano was not a miniature orchestra, piano had its own timbre. It was not like a reproduction instrument. He had a knowing of limits perspective like Chopin. Debussy removed other interactions and sought the pianos own character. The piano was not an instrument imitating songs or a miniature instrument imitating all instruments. The piano was a harp and bell-like instrument with a distinctive timbre.
There are no recordings in this selection of pianists like Moriz Rosenthal and Victor Staub, whom Debussy might have liked, because I have no conclusive evidence of any connection to Debussy.
All works belong to Debussy.
00:00 Claude Debussy - Mes longs cheveux descendent
From Pelleas et Melisandre, Rec. 1904
00:26 Elie Robert Schmitz - De pas sur la neige
From Preludes, Livre I, Rec. 1943
03:52 Marcelle Meyer - La terrasse des audiences du claire de lune
From Preludes, Livre II, Rec. 1956
08:01 Daniel Ericourt - Canope
From Preludes, Livre II, Rec. 1960
11:13 George Copeland - Voiles
From Preludes Livre I, Rec. 1933
15:06 Alfred Cortot - The Snow Is Dancing
From Childrens Corner, Rec. 1947
17:39 Marguerite Long - Jardins Sous La Pluie
From Estampes, Rec. 1929
20:40 Marcel Ciampi - Les collines dAnacapri
From Preludes, Livre I, Rec. 1928
23:40 Harold Bauer - Clair de Lune
From Suite Bergamasque, Rec. 1929
28:08 Ignacy Jan Paderewski - Reflets dans leau
From Images, Livre I, Rec. 1926
32:34 Guiomar Novaes - Poissons dor
From Images, Livre II, Rec. 1962
36:15 Ricardo Vines - La soirée dans Grenade
From Estampes, Rec. 1929
I should mention that I obtained some music recordings from channels on YouTube. Schimitzs recording is from Richard Masters, Longs recording is from davidhertzberg, Ciampis recording is from Pianopera, Novaes recording from Instituto Piano Brasileiro - IPB. Claude Debussy and his Friends/Pupils plays Debussy](https://i.ytimg.com/vi/Ui-S76MRxyY/mqdefault.jpg)




