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It's all about the music, dude! Sit down, relax and listen to some tunes.

The thing that got me about the Amadeus

was in what i read on LaRouche's Schiller Institute website about Brainin which i found and read before realizing where i was reading it.

“We simply listened into the music. Again and again,” was his typical answer to the question, how the Amadeus Quartet was able to reach this great mastery of interpretation. Similarly, his stating the fact, that he was one of the last living violinists who was educated in that very technique of violin playing, which had been “authorized” by Beethoven himself, and without which “you simply can't play Beethoven's late quartets adequately.” Brainin stood in this tradition with two of his teachers: Rosa Hochmann-Rosenfeld in Vienna, as well as Carl Flesch in London, were pupils of Jakob Grün, who in turn had been the pupil of Joseph Böhm in Vienna. Böhm, the “father of the Viennese violinists,” and founder of the so-called “German,” or “Viennese School,” had worked with Beethoven directly, especially concerning the interpretation of his late quartets. “Technically speaking, it is exactly the kind of violin playing which you need in order to play Beethoven's music,” said Brainin. It means, producing a certain singing tone. It's like the bel canto technique in singing. And, like a singer, you have to rehearse this every day. Every day.” Yet, aside from all the talent and industriousness, as well as the enthusiasm and joy in doing creative work, the cultural and personal background of the members of the Amadeus Quartet was also a decisive reason for its success, and for that the career of Norbert Brainin is exemplary.



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