Music Movie Reviews

The film, however, is less successful as history in that one does not get a real sense of how violin playing changed since the time of Vivaldi. Apart from a superficial mention of Paganini's revolutionary transformation of the violin's instrumental (i.e. technical) capabilities, little appreciation is paid to how dramatic Paganini's contribution to violin virtuosity actually was. Nor does the film really acknowledge the second revolution ushered in by Heifetz who single-handedly set the yet-unsurpassed standard for complete instrumental mastery against which all violinists are judged to this day and who introduced the modern school of violin playing which prizes complete technical command, cleanness of execution, and fidelity to the score. Heifetz and Kreisler represented antipodal destinies for the art of violin, and while there is great nostalgia and respect for the sweetly personalized approach of Kreisler, it is clear that Heifetz's legacy is the one which has carried forward into the 21st century. Nary a mention is made of this historic fact. In short, the film lacks a contextual backbone from which to assess each violinist and his or her contribution to the development of the art.

That said, the film is a treasure trove of archival footage which shows each of these great violin personalities at their best. Worthy of special mention is the Mendelsohnn montage at the beginning of the film wherein the entire first movement is heard through interspliced rare film footage and audio of Oistrakh, Stern, Milstein, Menuhin, Grumiaux, and Elman with each actually performing portions of the movement in a sort of tag-team fashion. Heifetz is also included in the montage, but since there is no film footage of him performing the Mendelsohnn, the director has ingeniously superimposed rare unrelated footage of the maestro in his studio and, in an astonishing sequence, in rehearsal at what appears to be the Hollywood Bowl during the 1930s over his famous 1959 commercial recording of the Mendelsohnn with Munch and the Boston Symphony Orchestra. The entire montage is a masterstroke of concept and editing that was simply stunning to watch.

As for the commentary, particularly helpful is Perlman's contributions in that he explains just how daunting the mechanics of violin-playing can be and why it is rightly deemed to be the most difficult instrument to master. His impressions of several of the profiled fiddlers is quite colorful and illuminating, as well.

While some may consider it distasteful, watching a film like this begs the question of who was or is the best of them all. The director Bruno Monsaingeon's seemingly egalitarian sensibilities prevents him from either positing this question outright or directly answering it. It is quite clear, however, who his favorite violinist is: Menuhin. He is treated lovingly and with special respect throughout the film. Indeed, Menuhin bookends the documentary. So this is very much a personal film for Monsaingeon.

But all violin partisans have to acknowledge the singular figure of Heifetz who perfected every apsect of violin craft and infused his playing with a rugged and disciplined musicianship and sophisticated artistry. No other field of music has been so decisively dominated by one musician. No other performer has mastered his or her instrument so completely. No other artist has sustained his or her performance standards and musical integrity over so long a period of time and over so vast a repertoire. His unprecedented virtuosity only scratches at his importance to violin art - indeed, to all instrumental art. Yet, in the film, the Heifetz phenomenon is barely alluded to.

To suggest that Heifetz is merely one of many noted violinists is akin to saying that Michael Jordan is just another basketball player or that Einstein is merely a great physicist.

This may be the film's most glaring omission.

Itzhak Perlman, Ivry Gitlis, Ida Haendel and Hilary Hahn are among the commentators.

Very exciting and entertaining for any classical music fans

Most part of the film are black and white. Sound is pretty good. English, French, Spanish and Japanese subtitles are available. For some reason, may be his national pride, Monsaingeon's film always make a few people in the film speak French even they are fully capable of English so you have to turn on English subtitle.

There are altogether three clips for Elman which captured the beauty of his tone quite well. There are also three clips (as usual not whole pieces) of Heifetz, all extremely expressive. One clip witnessed his enormous sense of drama and the other his virtuosity: saying Heifetz didn't play with feelings simply doesn't hold water. As Gitlis put it, "Just close your eyes and listen..." Unfortunately, the full lustre and as such the full weight and full effect of Heifetz's playing are as usual not well captured. He is lean as a result, even leaner than most players from the Vienna School.

There is also a beautiful clip each of Kreisler, Szegeti and of Thibaud, two of Milstein (one of which is most perfect in terms of articulation and music ) and one of Szeryng, one of Francescatti, one of Kogan and one of Hassid (his is most heart breaking) and one of Ginette Neveu ( only one minute or so ) and two more of Menuhin... they are all invaluable but I don't remember hearing Zimbalist or Busch...

It's a gem and needless to say one would like it to take an even better coverage. One wonders how come such padagogue as Carl Flesch got left out. Nor was there any mention of Morini-- even Heifetz went up to her to seek her instruction and, when Furtwangler met her after World War II bursted to tears, nor of Schniederhan, or Taschner, only some brief mention of his teacher Huberman ...

What struck me though was the way the major commentator Mr Perlman talked-- even worse than Barenboim on "The Art of Piano". Not much culture let alone artistic, especially the way he slighted against ALL other instruments including the cello and in particularly the piano. A whole world different from the other commentator Menuhin. Regrettably the latter talked so little nonetheless he was most enlightening when he talked about music. Ida Haendel definitely has more insight than Perlman and the other commentator Gitlis, like his playing, are so precise and to the point, making up so much for Perlman.

It's great legacy. Another not to miss.

Although the DVD label claims that there is a documentary and biography, both claims are misleading. There is a short promo for *a* documentary, and a very brief biography of the band in general. Barrage: The World on Stage is perfect for aspiring stepdancers, fiddlers, violinists, and anyone who loves Celtic music and a rowdy good time (think Canadian family group Leahy).

As a documentary, it's very, very good. Eddie Izzard, Parkinson, Dustin Hoffman, Whoopi Goldberg, Robin Williams, Dame Judi Dench and Billy, himself, turn up in interviews here.
But don't buy it if you are wanting to just see his standup.