Joseph Szigeti

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Szigeti, Joseph


Born Sept. 5, 1892, in Budapest; died Feb. 19, 1973, in New York. Hungarian violinist.

Szigeti studied in Budapest under J. Hubay and made his debut in Berlin at the age of 13. He toured many countries and made several visits to the USSR, the first in 1924. From 1917 to 1924 he headed the classe de virtuosité at the Conservatory of Geneva. In 1940 he took up residence in the USA.

Szigeti achieved worldwide fame. His performances of the works of Bach, Mozart, Beethoven, and Brahms were distinguished by their depth of interpretation, as were his performances of works by such contemporary composers as Prokofiev, Bartók, and Casella. Szigeti also wrote transcriptions for violin and piano, including a transcription of Scriabin’s Study in Thirds, op. 8.


The Ten Beethoven Sonatas for Piano and Violin. Urbana, III., 1965.
Szigeti on the Violin. London, 1969.
In Russian translation:
Vospominaniia: Zapiski skripacha. Moscow, 1969.


Soroker, la. IosefSigeti. Moscow, 1968.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
It deserves to join the great works by Leopold Mozart, Editha Knocker, Leopold Auer, Pierre Baillot, Joseph Szigeti, and their peers, which are on every serious player's shelf.
Expert sight-reading skills and an ability to transpose on the spot catapulted him into the foremost music circles of the capitol, where he accompanied some of the best-known artists of the period, including Harry Plunket Greene, John McCormack, Fritz Kreisler, Joseph Szigeti, and Agnes Nicholls (whom Harty married in 1904).
Over more than half a century, Barrett managed the careers of such talent as Joseph Szigeti, Carlos Chavez, Ralph Kirkpatrick, Zara Nelsova, the American Opera Society, Wilhelm Backhaus, Eileen Farrell, the Negro Ensemble Company, Martha Argerich, the Little Orches tra Society, Michael Tippett, Grace Bumbry, John Houseman's Acting Company, Tatiana Troyanos, Kenneth Schermerhorn, Ravi Shankar and hundreds more.
Equally atmospheric are the Contrasts, written for clarinettist Benny Goodman, violinist Joseph Szigeti and Bartok himself at the piano.
27 in 1923/24 after hearing fellow virtuoso Joseph Szigeti performing Bach solos.
Arnold Steinhardt studied with Ivan Galamian at the Curtis Institute of Music and, with Joseph Szigeti in Switzerland.
In "For the Twentieth Century;" Bidart notes gratefully that modern recording technology has preserved the performances of artists such as Joseph Szigeti (1892-1973), but he ends the poem by acknowledging that the more typical fate of such artistry is pure obliteration: Therefore you and I and Mozart must thank the Twentieth Century, for it made you pattern, form whose infinite repeatability within matter defies matter-- Malibran.
The range of correspondents is vast, including conductors such as Albert Coates, Sir Henry Wood, Sergei Koussevitzky, Hermann Scherchen, and Ernest Ansermet; soloists Joseph Szigeti, Pablo Casals, Robert Soetens, and Fedor Chaliapin; composers Igor Stravinsky, Nikolai Miaskovsky, and Maurice Ravel; directors Vsevolod Meyerhold and Alexander Tairov; Ballets Russes impresario Serge Diaghilev; and chess grandmaster Jose Capablanca.
Thereafter she dedicates one chapter to Otto Klemperer's achievements as a conductor of the Los Angeles Philharmonic from 1933 to 1939, and another slightly longer chapter to thirteen musicians--conductors, pianists, a harpsichordist, string performers, and a singer--among them Bruno Walter, Artur Rubinstein, Jakob and Bronislav Gimpel, Joseph Szigeti, Emanuel Feuermann, and Lotte Lehmann.
Hungarian violinist Joseph Szigeti was a major figure in much of the 20th century, championing the works of contemporary composers and giving many of them their first recordings, as in this wonderful performance of Prokofiev's First Violin Concerto, set down in 1935.
188-89), but given that the primary focus of Schneider's work is analysis of pieces, further criticism of Bartok's prose writings would add far less than his penetrating discussion of how Bartok, in collaboration with soloist Joseph Szigeti, consciously labored "to bring out the 'folk-fiddler' quality of the tune" (p.