World's most-recorded violinist
3-3-79
It was Sunday, October 20, 1929. Four days later, on Black Thursday, Wall Street would be rocked by the biggest losses in its history and the nation would be plunged1 into its greatest crisis since the Civil War. But October 20 still belonged to the Roaring Twenties, and on that date the most highly publicized event to take place in Manhattan was a violin concert by a 9-year-old wunderkind named Ruggiero Ricci, who delivered a flawless performance of the Mendelssohn Violin Concerto2 and was lauded3 as a genius by the city's leading music critics. That concert made Ricci's career; in the 10 years that followed, the boy virtuoso4 earned an annual salary higher than that of the president of the United States.
The story might have ended there, but unlike most prodigies5, who burn themselves out early, Ruggiero Ricci has continued to grow in stature6 as an artist. Since the 1940s he has been considered one of the greatest living violinists, and, with more than 500 recordings8 to his credit, he is the most-recorded soloist9, instrumental or vocal10, in the world today. Especially in demand abroad, he has made five trips to Australia and three to the Soviet11 union, where he was obliged to play nine encores at his debut12 appearance. Twenty of his concerts in West Germany were sold out a year in advance, and more than a dozen of his South American tours have been sellouts as well.
"I travel most of the year, except maybe a month off in the summer," says Ricci, a short, good-humored man of 60 with large, sparkling eyes, jet black brows, and a soft, slightly accented voice that sounds as if he were born in Europe. He sits curled up in a corner of the couch in his magnificent Westside apartment. "I dislike to travel. In the old days, there were a lot of airplane breakdowns13, and we were always hung up in airports waiting for them to fix the plane. Today they have all these hijacking14 searches. You have to go through the machines; they have these enormous lines. And when you get to the hotel, there's a line a mile long."
He believes that Russian audiences are "the best public in the world. They don't applaud between the movements, like they do in New York. … It's always interesting to visit a place for the first time. I don't want to go to Russia so much anymore. We found out it's boring. There's nothing to do. And it's not much fun. There's no tipping, so the hotel service is very bad. It takes an hour to get breakfast; you can sit there and be completely ignored by the waiter. To make a telephone call: it's easier to go to the moon."
Ricci's repertoire15, which includes more than 60 concertos16 from the 17th to the 20th centuries, is the largest of any violinist's now before the public. This calls for a lot of practice. "When you're a kid," says Ricci, "you hate to practice. And when you're a grownup, practice is a pleasure. It lets you escape all the other junk. … I don't have any trouble practicing in this building, because the old buildings have heavy walls. But if you want to practice in a hotel, that's hard. Sometimes you can use a mute. Or you turn on the television. Then they don't complain. If they hear a fiddle17, they complain."
Ricci has two major concerts in New York this year. The first will take place at Carnegie Hall on Saturday, March 3, when Ricci will join such celebrities18 as Andres Segovia, Yehudi Menuhin, Jose Ferrer, Jean-Pierre Rampal, and Peter Ustinov for a historic musical program to commemorate19 the 15th anniversary of Symphonicum Europae, a foundation whose aim is to promote international understanding and cooperation by sponsoring performances in every country.
Ricci's other New York concert will mark another anniversary. It will be on October 20th — 50 years to the day since he took the city by storm. "The early concerts I remember very well," says the maestro, who was born in San Francisco to a family of Italian immigrants. "For most prodigies, the problem is the parents. My father just wasn't every smart about how to handle me. Nowadays they don't have prodigies anymore because there isn't any profit in it. In the old days, a kid could get $2,500 to $3000 dollars a night. Everybody had their kid study."
None of his five children has turned out to be a prodigy20, but three of them are already professionals in the performing arts. Ricci's slender, attractive wife, Julia, is an active participant in his career. Westsiders for many years, the Riccis enjoy such local restaurants as La Tablita, Alfredo's and the Cafe des Artistes.
Asked what he likes best about his career, Ricci says it is making recordings. "It's more leisurely21. You don't have all the headaches. … The newest development is direct-to-disc records. The music goes straight from the mike into the cutting head master, and there's no way to erase22. If it's a 20-minute recording7 and you make a mistake on the 19th minute, you have to start over. I just finished recording the Paganini Caprices on direct-to-disc. It's coming out this month. The caprices are very rarely performed in public, because they're so difficult."
点击收听单词发音
1 plunged | |
v.颠簸( plunge的过去式和过去分词 );暴跌;骤降;突降 | |
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2 concerto | |
n.协奏曲 | |
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3 lauded | |
v.称赞,赞美( laud的过去式和过去分词 ) | |
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4 virtuoso | |
n.精于某种艺术或乐器的专家,行家里手 | |
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5 prodigies | |
n.奇才,天才(尤指神童)( prodigy的名词复数 ) | |
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6 stature | |
n.(高度)水平,(高度)境界,身高,身材 | |
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7 recording | |
n.录音,记录 | |
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8 recordings | |
n.记录( recording的名词复数 );录音;录像;唱片 | |
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9 soloist | |
n.独奏者,独唱者 | |
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10 vocal | |
adj.直言不讳的;嗓音的;n.[pl.]声乐节目 | |
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11 Soviet | |
adj.苏联的,苏维埃的;n.苏维埃 | |
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12 debut | |
n.首次演出,初次露面 | |
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13 breakdowns | |
n.分解( breakdown的名词复数 );衰竭;(车辆或机器的)损坏;统计分析 | |
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14 hijacking | |
n. 劫持, 抢劫 动词hijack的现在分词形式 | |
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15 repertoire | |
n.(准备好演出的)节目,保留剧目;(计算机的)指令表,指令系统, <美>(某个人的)全部技能;清单,指令表 | |
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16 concertos | |
n. [音]协奏曲 | |
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17 fiddle | |
n.小提琴;vi.拉提琴;不停拨弄,乱动 | |
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18 celebrities | |
n.(尤指娱乐界的)名人( celebrity的名词复数 );名流;名声;名誉 | |
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19 commemorate | |
vt.纪念,庆祝 | |
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20 prodigy | |
n.惊人的事物,奇迹,神童,天才,预兆 | |
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21 leisurely | |
adj.悠闲的;从容的,慢慢的 | |
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22 erase | |
v.擦掉;消除某事物的痕迹 | |
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