Buzz
Requested by BKhon – I hope we aren't working on the same list! This topic has been on my mind for quite a while, and I’m even considering creating a similar list for classical pianists. This particular list celebrates the ten most exceptional violinists in Western classical music. Be sure to check out the honorable mentions at the end, and feel free to share your thoughts or add your own suggestions in the comments.
10. David Oistrakh
David Oistrakh, born in 1908 and passing away in 1974, was often called the reincarnation of #2, as they both lived in the same era. A legendary Russian violinist, Oistrakh achieved worldwide acclaim for his recordings and performances of Tchaikovsky’s Concerto, alongside major works by Beethoven, Brahms, and Mendelssohn. He formed close friendships with notable Russian composers like Prokofiev, Shostakovich, Khachaturian, and Glazunov, all of whom composed pieces for him that he famously premiered.
Tchaikovsky’s Concerto was Oistrakh’s favorite, and it is said that his recordings of it were the finest ever made—a remarkable feat for any violinist. He described the final movement of the concerto as the violin's equivalent of running a 3-minute mile, showcasing the intense virtuosity required to perform it.
9. Fritz Kreisler
Kreisler was one of the first true virtuosos of the pre-recording era to leave a significant imprint on the world of recorded music. Born in 1875 and passing in 1962, his tone was characterized by its politeness and charm, never overwhelming or aggressive, yet always technically flawless. His approach seemed to ask for the audience’s permission to demonstrate his brilliance every now and then. This style was in stark contrast to #5, whose technical prowess was equally exceptional, but whose tone was far more forceful, even in slower movements.
Kreisler was one of the rare classical musicians who died with considerable wealth. His life was marked by two traumatic car accidents—one in 1941 that fractured his skull and left him in a coma for a week, and another just before his death, which left him blind and deaf. Despite these struggles, he was universally recognized for his courtesy and gentlemanly demeanor, traits that were reflected in his music. He also composed the most widely performed cadenza for Beethoven’s Violin Concerto in D, a work still cherished today.
8. Mischa Elman
Elman is celebrated by both fans and contemporary virtuosos as one of the finest violinists of the recording era, alongside #5. His technical precision was impeccable, and his tone was described by #5 as 'a photograph of my painting.' The emotions he conveyed through his violin were rich and passionate, yet highly refined, although some critics felt that he may have lacked the raw intensity and vibrant energy that #5 was known for bringing to his performances.
He lived from 1891 to 1967, and was recommended by #2 for the Imperial Academy of Music in Odessa, Ukraine. By the age of 11, he could already perform some of the most challenging compositions ever created, including Wieniawski’s 2nd Concerto. Standing at only about 5 feet 3 inches, his short stature, combined with his wide fingers, made it difficult for him to reach the highest notes. However, after years of practice, he refined his technique and would bend slightly while performing to play with precision. This method worked for him, and he once said he didn’t care how he looked while playing.
He is also credited with the famous joke that originated when he was walking home from a poorly received recital in New York City. A passerby, who had intended to attend his concert but had arrived late, asked him, 'How do you get to Carnegie Hall?' Elman, wincing, replied, 'Practice, practice, practice!' and continued on his way.
7. Giuseppe Tartini
Tartini, who lived from 1692 to 1770, has a colorful background in his journey with the violin. His parents initially wanted him to become a friar, as it was considered a stable career that would prevent him from starving. Monasteries typically offered basic music education. Tartini also dabbled in fencing at the University of Padua, where he studied law. After his father’s death, he married Elisabetta Premazone, a woman of lower social standing, which displeased his father. Premazone was also the lover of Cardinal Giorgio Cornaro, who accused Tartini of having an affair with her. Fearing for his life, Tartini fled to avoid excommunication or worse.
Tartini sought refuge at the monastery of St. Francis of Assisi, where he focused on developing his violin skills. His talent grew rapidly, and the story goes that after seeing Francesco Veracini perform, Tartini was so moved by his playing that he retreated to Ancona to practice intensively. By 1821, Tartini had become one of the leading rivals of #3, renowned throughout Europe for his flawless trills and tremolos.
One of his most renowned compositions, the Devil’s Trill Sonata for solo violin (performed here by the esteemed Itzhak Perlman), is known for its demanding use of rapid double-stop trills. This challenging feat is nearly impossible for many professional violinists today. Legend has it that Tartini composed this piece after hearing the devil play it in a dream, and the next morning, his composition felt woefully inferior to the memory of the dream.
6. Ole Bull
Despite what his name might suggest in English, he was not of American Indian descent. Born in Norway, he lived from 1810 to 1880, and during his lifetime, he toured Europe, performing alongside legendary musicians such as Franz Liszt, Clara and Robert Schumann, and Felix Mendelssohn.
In those days, without the distractions of television, the public arrived at noon, prepared with their meals, and expected performances that could last up to six hours. It was a daunting task for any single performer to entertain such an audience, so great musicians would often collaborate when traveling through one another's hometowns.
Robert Schumann praised Ole Bull for his extraordinary precision and clarity in his playing. No matter how fast the music became, Bull never missed a note, and his flawless execution could be heard clearly by the audience. Clara Schumann admired him above all other violinists she had heard live. While it is difficult to compare such virtuosos, particularly in an age before recordings, Bull certainly stood out in the eyes of critics, even if the rankings can sometimes be subjective. This is true, with only a few exceptions, on this list as well.
5. Jascha Heifetz
Undoubtedly the greatest violinist of the modern recording era. Born in 1901 and passing away in 1987, Heifetz was one of the rare performers—if not the only one—capable of hitting the high note at the end of Tchaikovsky’s Violin Concerto and adding a vibrato to it within a fraction of a second.
Heifetz became legendary after recording Zigeunerweisen, a piece written by another violin virtuoso on this list. The piece is a demonstration of nearly every technique a top-tier violinist could display and became Heifetz’s trademark performance. Following a slower section, the fast part presents a challenging combination of pizzicato and bowing techniques. Heifetz handled these demands effortlessly. Admirers have marveled at his incredible tone quality, no matter how difficult the music.
4. Arcangelo Corelli
Born in 1653, Arcangelo Corelli’s place on this list might raise the question, 'How do we know how well he played?' The answer lies in the fact that almost every modern violinist traces their technique back to Corelli. The posture, bowing style, and fingering methods that performers use today all stem from his innovations. In his time, he was regarded as one of the top performers in all of Western Europe.
Corelli had a strong aversion to playing very high notes. Though he was certainly capable of hitting them, he believed they always sounded shrill, no matter how well they were executed. His own compositions rarely venture above the D on the highest string. According to one tale, when Handel wrote an A above that in one of his oratorios, Corelli refused to play it, criticizing the sound. Handel, who was an accomplished organist, played the note on his own violin, which offended Corelli. He remarked, 'I didn’t say, Herr Handel, that I couldn’t play it. I said it shouldn’t be played.' Handel, in turn, noted Corelli's extraordinary speed in running through scales and his ability to hit perfect intervals, from octaves to 12ths, 15ths, and beyond.
3. Niccolo Paganini
Legend has it that Paganini made a pact with the Devil to attain his remarkable violin skills. Some even joke that the Devil attended every one of his performances. On a list of violin virtuosos, no one is allowed to surpass Paganini. Robert Schumann once remarked, “Who is most responsible for the foundation of Christianity? Paganini must stand on the same rung of the violin’s ladder.”
Born between 1782 and 1840, Paganini traveled throughout Europe, leaving audiences in complete awe after each recital. He confessed to practicing 10 hours a day, and combined with his natural gift, he became as fluent in violin as he was in his native Italian. His success brought him wealth, though he did not have a custom-made violin. The richest violinists could afford instruments crafted by the two most famous luthiers in history: Antonio Stradivari and Giuseppe Guarneri.
Paganini owned many fine violins, but his favorite—and the one he played most frequently—was crafted by Guarneri in 1743. He lovingly referred to it as his “cannon violin,” a nickname that stuck. Il Cannone Guarnerius now resides in the town hall of Genoa, Italy, his hometown, where it occasionally makes its way into the hands of world-renowned violinists.
Il Cannone features an unusually shallow bridge beneath its strings, allowing the performer to play four notes simultaneously with ease. However, this design demands extraordinary technical precision. Paganini never missed a note and composed some of the most challenging violin music in the world’s repertoire. His first opus comprises 24 Caprices for solo violin, with the 24th in A minor being the most famous, having been transcribed for various instruments and reinterpreted by numerous composers.
Mendelssohn, who attended several of Paganini’s recitals, claimed that Paganini could play his 24th Caprice on just one string. Violins typically have four strings, and musicians are expected to use them all for scales and octave leaps. Without this, extraordinary dexterity and finger span are required. Paganini would step onstage, bow to the crowd, and ask a woman in the front row to choose a string. He would then perform the 24th Caprice on that string alone, and he could also play his Moto Perpetuo, or Perpetual Motion, on a single string.
His impact on modern violin technique is unparalleled, with perhaps only Liszt’s influence on the piano coming close.
He astonished audiences with his incredible skill, to the point that after his death, doctors examined his hands and wrists, hypothesizing that he was born with an abnormal amount of cartilage. Instead, they discovered that he had less cartilage due to the extensive use of his fingers, much like the worn-down knees of a marathon runner. His fingers were long, but there were no tricks or shortcuts—just years of dedicated practice.
Honorable mentions: Eugene Ysaye, Isaac Stern, Itzhak Perlman, Francesco Maria Veracini, Joseph Joachim, Nathan Milstein, Yehudi Menuhin, Anna-Sophie Mutter, Wolfgang A. Mozart (yes, he was that good).
2. Pablo de Sarasate
George Bernard Shaw once remarked that Sarasate “left criticism gasping for miles behind him.” Living from 1844 to 1908, we are fortunate to have some of his early wax cylinder recordings from around 1904, including his own composition, Zigeunerweisen (recording above). The sound quality of those recordings was poor, suited only for percussive instruments like pianos or drums, unless the sound was directly channeled into the megaphone. Though the violin struggles to be fully captured, every passage of the piece is clear, and he never misses a note.
His playing technique is remarkably clear, surpassing even Heifetz's in precision, with not a single fuzzy or uneven note to be heard, yet still brimming with emotion and speed. Violin virtuosos are often compared to one another, frequently to their disadvantage, but Sarasate is one of the rare exceptions who is truly appreciated for his unique performance.
1. Antonio Vivaldi
Even without his virtuosity, Vivaldi would have earned a place on this list for his groundbreaking use of 'tone painting,' a technique where he brought images to life through music. His 'Four Seasons' concertos are a perfect example, each representing one of the seasons through a series of vivid musical movements. Using his solo violin, Vivaldi portrayed everything from birds singing to thunderstorms and frozen lakes. These pieces demand a high level of technical skill.
Vivaldi’s 'Four Seasons' stand as a prime example of his 'tone painting' technique, in which he painted pictures through music. These four violin concertos, each representing a different season, bring to life scenes of birds chirping, lightning storms, and ice-covered lakes. The technical challenges in these works are immense, displaying Vivaldi’s exceptional virtuosity.
