Ajay Devgn - Biography - Trivia

Ajay Devgn - Biography - Trivia

Son of Veeru Devgan and Veena Devgan. Cousin of Anil Devgan. Son-in-law of Bollywood actress Tanuja Mukherjee.

Won National Award for Cinema twice.

In August, 2009, he changed the spelling of his last name from Devgan to Devgn at the request of his family.

Has two children with wife Kajol: Daughter Nysa, born in April, 2003, and son Yug, born in September, 2010.

Hindi megastar.

Incorrectly credited as Master Chotu in Pyari Behhna on several websites. Master Chotu was a child artiste who previously worked in the film Disco Dancer.

Starred in the shelved film, Abhishek Films " Girvee" (1992) Starring Ajay Devgan,Pooja Bhatt, Avtar Gill, Javed Khan, Sadashiv Amrapurkar,Music by Nadeem Shravan, Produced by Arun.S.Thakur Directed by Mahesh Bhatt .

His film " Singer" remains completed and unreleased due to problems with the producers Samir and Hanif. They were implicated in the Mumbai Bomb Blasts of 1993. All there films were either shelved or endlessly delayed ( Sanam) after their legal problems. Magnum Films "Singer"(1993) Starring Ajay Devgan, Shilpa Shirodkar,Nagma,Pankaj Berry, Anand Balraj, Music by Nadeem Shravan,Directed by Sunil Agnihothri.

In October 1999, Ajay Devgan signed F.K.International's "Qurbaan Tujh Pe Mere Jaan" co starring Aishwarya Rai and Fardeen Khan and to be produced and directed by Feroz Khan. It was a love story set against the back drop of the film industry. The film was announced but then dropped. There was earlier a C grade film being made with a similar title. The shelved movie Star International's "Qurban Meri Jaan"(1988) Starring Javed Khan,Sahila Chadha, Music by N.Pandey, Directed by S. Azhar.

Often mistaken as director Anil Devgan's real brother. Veeru Devgan and Anil Devgan's father were brother's.

Sister named Neelam. She has a son named Aman.

Sister named Kavita.

Brother in law name is Kiran Gandhi ( Married to sister Neelam).

Starred in Umesh Mehra shelved film " Zinda Dil" co starring Urmila Matondkar.

Was producing a film titled " Baraf" Starring Manoj Bajpayee and Sushmita Sen,directed by Vishal Bharadwaj. Decided to shelve the film due to undisclosed reasons. This was in 2000.

Starred in the shelved movie Siddhivinayak Movies, "Chhalia"(1997) Starring Ajay Devgan,Tabu,Sadashiv Amrapurkar,Johny Lever,Sujit Kumar , Music by Shyam-Surender,Directed by Abbas Mustan. Reels:9.

Starred in Aparna Sen's shelved film " Gulel" Starring Ajay Devgan,Konkana Sen Sharma (Replaced Kareena Kapoor), Saif Ali Khan,Sushmita Sen (Replaced Bipasha Basu), Urmila in a special appearance .This was in 2008. There was a story going around that Ranbir Kapoor and Farhan Akhtar had replaced Ajay and Saif in 2009.

Starred in Kuku Kohli's shelved film " Asar - The Impact. Co starring Dilip Kumar and Priyanka Chopra. This was in 2004.

Starred in Saurabh Sinha directed shelved movie "Sargna". Co starring Bhoomika Chawla and Dino Morea. This was in 2007.

Cousin of producer Ashu Devgan. Ashu was producing a film titled " Ek Hum Ek Tum" starring Carran Kapur. The film got shelved in 2006.

Starred in the shelved movie, Kumar Arts International's Untitled Movie Starring Ajajy Devgan, Manish Koirala,Amrish Puri, Music Anu Malik, Dircted by Kuku Kohli. Reels:2.

Starred in the shelved movie,M.B.M Films "Singer"(1993)Starring Ajay Devgan(Double Role),Shilpa Shirodkar,Nagma,Pankaj Berry,Anand Balraaj,Rami Reddy, Kader Khan, Music by Nadeem -Shravan,Directed by Sunil Agnihotri, Reels:15. It was going to be a remake of Disney TV show Double Switch.

Starred in Suraj Prakash's shelved movie starring Sanjay Dutt, Ajay Devgan, Karishma Kapoor. Directed by Raj Kanwar. This was in 2001.

Starred in Rajkumar Santoshi's shelved film "Prithviraj Samyukta". The film was based on warrior Prithviraj Chauhan. The film starred Ajay Devgan and Aishwarya Rai. The film got shelved due to Sunny Deol attempting to make a film on the same subject.

Starred in Kaarma Film International's untitled film. Co starring a new lead couple from Pakistan and Aditya Pancholi. Music by Himesh Reshamiya, Produced by Ashok Khemka, Directed by Satish Kaushik.This was in 2004.

In 2005, Anees Bazmee was scripting a love story to star Ajay Devgan and Celina Jaitley. He decided to shelve the film.

Starred in the shelved film "Yudh Shakti" (1993). Starring Ajay Devgan, Divya Bharti.

Starred in the shelved film Prince & Prince Combines "Kala Paani" (1993). Starring Ajay Devgan, Karishma Kapoor (Replaced Divya Bharti due to a problem with the producer) and, Sunil Shetty. Produced by Deepak Duggal, Directed by Mahesh Bhatt.(Later Anees Bazmee was signed).

Starred in NN Sippy shelved untitled film.(1995). Starring Rishi Kapoor, Madhuri Dixit, Ajay Devgan.

Starred in the shelved film "Humne Tumko Dekha". (1994). Starring Madhuri Dixit, Ajay Devgan, Atul Agnihotri, Anjali Jathar Produced by Saroj Khan, Directed by Raju Khan.

Starred in the shelved film Pyaar Bhari Waadiyan (1992). The film was to be directed by Nazir Herekar. Starring Shammi Kapoor,Asha Parekh, Ajay Devgan, Masooma. Nazir was going to launch his daughter Masooma Herekar in the film. Masooma was also signed to act in her father's film Dhuan Hi Dhuan opposite Siddharth (Later replaced by Shahbaz Khan). But Pyar Bhari Waadiyan was shelved when Masooma committed suicide with boyfriend Pravin D'Cunha. It was a double suicide due to slashing of the wrist, at a hotel. Masooma did not want to become a actress and wanted to settle down. Nazir Herekar opposed the idea and wanted her to become a actress.

Starred in the shelved movie Kumar Arts International's "Production No.1" (1995) Starring Ajay Devgan, Manisha Koirala,Amrish Puri, Directed by Kuku Kohli.

Directed Bobby Deol and Twinkle Khanna for their first ever video test in 1991.

In college Bobby Deol starred in a video film directed by both Ajay Devgan and Vikram Bhatt. The film had songs, action etc and was shot in Khandala. Fellow college school mate Lubna Siddique starred opposite him. The other video movie made starred Atul Agnihothri.

His father Veeru Devgn acted with Amitabh Bachchan in Mr. Natwarlal.

In October 1991, Mukesh Bhatt launched a film titled Chahat starring Rahul Roy, to be directed by Mahesh Bhatt. After Pyar Ka Saaya flopped, Mahesh replaced Rahul with Ajay Devgan. This film is not to be confused with the film Chaahat that Shah Rukh Khan starred in 1996. "Chahat"(1991/1992) Starred Sanjay Dutt, Pooja Bhatt, Ajay Devgan, Anupam Kher Avtar Gill, Paresh Rawal.

Starred in the shelved film "Kalyug" (1993) .Starring Sanjay Dutt, Ajay Devgan,Pooja Bhatt, Lisa Ray(Replaced Manisha Koirala) Mink Singh(Replaced Raveena Tandon). Ajay Devgan dropped out and Atul Agnihotri was signed. Then Lisa and Mink also were dropped from the film. Finally Sanjay Dutt exited the film and Mithun replaced him. The film was then titled and made as"Naaraz" in 1994.

Starred in the shelved film Pyaar Bhari Waadiyan (1992). The film was to be directed by Nazir Herekar. Starring Shammi Kapoor, Asha Parekh, Ajay Devgan, Masooma Herekar. Nazir was going to launch his step daughter Masooma Herekar in the film. Masooma was also signed to act in her father's film Dhuan Hi Dhuan opposite Siddharth (Later replaced by Shahbaz Khan). But Pyar Bhari Waadiyan was shelved when Masooma ended her life with boyfriend Pravin D'Cunha. It was a death due to slashing of the wrist, at a hotel. Masooma did not want to become a actress and wanted to settle down. Nazir Herekar opposed the idea and wanted her to become a actress. He later denied the story saying she passed away in a accident.

Was engaged to director Mohan Kumar's daughter Simrin Nainaney in 1990. Her brothers are actor producer Rohit Kumar and Gautam Kumar.

Learnt Urdu from Baby Guddu's father M.M .Baig. this was prior to Ajay entering films.

Father Veeru Devgan received several offers for Ajay to act as child artiste but he refused.

In 1993, Ajay Devgan signed Rajeev Kumar's "Guru Chela" to be directed by David Dhawan. Starring Mithun Chakraborthy and Ajay Devgan.The film was can celled when Rajeev and David had some personal problems with each other. David received a offer to direct a bigger film and lost interest. He told the producer a false story. That Ajay Devgan did not want to do the film. Ajay heard this ans got angry and chased David out of the studio with a stick.

Was the first choice to play Sanjay Leela Bhansali's Bajirao in Bajirao Mastani. But he could not complete the film due to his high demand fees.

Ajay Devgn worships his parents, touches their feet every morning before leaving home. No matter how big he becomes but for him, his parents are the most important.

He and Rohit Shetty shares a lot with each other. Both are the sons of well-known action directors.

Starred in the shelved film "Yudhvansh" (1993) Starring Dharmendra,Shatrughan Sinha,Ajay Devgan, Directed by H.Anraj.

Anees Bazmee was supposed to make comedy for UTV with Ajay Devgan, Nana Patekar and Riteish Deshmukh. This was in 2008. It got shelved.

Weston Music Cassettte signed Rahul Rawail to direct a film starring Madhuri Dixit and Ajay Devgan in 1994. The film got shelved.

Starred in Kumar Arts International's Untitled film in 1996. Starring Ajay Devgan,Manisha Koirala,Amrish Puri,Music by Anu Malik, Directed by Kuku Kohli.

Ajay Devgan and Karishma Kapoor were signed for K.C. Bokadia's "Zulm O Sitam" in 1993. They were replaced by Arjun and Madhoo in 1996.

In the year 2000, Mahesh Bhatt was writing a script of Kashmiri Pandits being uprooted in Kashmir. The film was to star Ajay Devgan and be directed by Tanuja Chandra .

Starred in the shelved movie Vishesh Films " Chahat"(1992). Starring Sanjay Dutt, Ajay Devgan (Replaced Rahul Roy),Pooja Bhatt, Avtar Gill, Paresh Rawal, Anupam Kher, Written by Robin Bhatt,Sujit Sen, Music by Nadeem Shravan, Produced by Mukesh Bhatt, Directed by Mahesh Bhatt. This movie is not to be confused by the 1996 movie Chahat.

Starred in the shelved movie Parveen Enterprises " Pyar Bhari Wadiaan"(1992) Starring Shammi Kapoor, Asha Parekh, Ajay Devgan, Masooma, Mehmood,Amrish Puri, Goga Kapoor, Arjun, Shiva,Mac Mohan, Yunes Parvez, Adi Irani, Johnny Whisky,Coca Cola, Music by Syed Ali, Produced and Directed by Nazir Herekar.

Starred in Rajkumar Santoshi's shelved film "Saamna". Starring Nana Patekar,Akshay Kumar,Ajay Devgan, Ritesh Deshmukh, Urmila Matondkar, Mahima Chaudhry. Produced by Keshu Ramsay . It was based on the fake god men of India with Nana Patekar playing a evil spiritual leader. This was in 2007.

Ajay Devgan's sister Neelam's son Daanish Gandhi, is. a assistant director and actor.

Nephew named Aman Gandhi (Sister Neelam's son).

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Ajay Devgn - Biography - Mini Bio

Ajay Devgn - Biography - Mini Bio 

Ajay Devgn is an Indian film actor, director, and producer. He made his film debut with Phool Aur Kaante in 1991 and received a Filmfare Award for Best Male Debut for his performance in the film. He then starred in films such as Jigar (1992), Dilwale (1994), Suhaag (1994), Naajayaz (1995), Diljale (1996) and Ishq (1997). In 1999, Devgn received his first National Film Award for Best Actor for his performance in Mahesh Bhatt's drama Zakhm. Some of his later films of the decade are Pyaar To Hona Hi Tha, Hum Dil De Chuke Sanam and Kachche Dhaage. In the early 2000s, he starred in Lajja (2001) and Company (2002). In 2003, he won his second National Film Award for Best Actor for his portrayal of Bhagat Singh in Rajkumar Santoshi's biopic The Legend of Bhagat Singh. Throughout his career he has given many critically and commercially successful films including Raincoat (2004), Yuva (2004), Omkara (2006), Golmaal: Fun Unlimited (2006), Golmaal Returns (2008), All the Best: Fun Begins (2009), Once Upon a Time in Mumbaai (2010), Golmaal 3 (2010), Raajneeti (2010), and Singham (2011). Having done so, he has established himself as one of the leading actors of Bollywood. In 2008, he debuted as a film director with his starrer U Me Aur Hum which proved to be an moderate success at the box office. He then established the production house, Ajay Devgn Films.

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Akshay Kumar - Biography - Filmography

Akshay Kumar - Biography - Filmography

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Christian Tetzlaff: “I think Sibelius did for his century what Beethoven did for his”

By James Jolly

Gramophone — November 4, 2019

As Christian Tetzlaff returns to the Beethoven and Sibelius violin concertos, James Jolly finds out why he's considered one of the greatest violinists of our time

For the conductor Paavo Järvi, there are two kinds of soloist: "Those who leave after they've played their concerto and meet you later for dinner. And then there are the people who always take the opportunity to listen to the symphonic work in the second half. And Christian is one of those. He has a profound interest in music – not just violin music – but music in general. It sounds like that should be very normal but it's not". And, as if to prove Järvi's point, who should be sitting in front of me in Berlin's Philharmonie a few weeks later for Rachmaninov's Second Symphony, having just given an extraordinary performance of Beethoven's Violin Concerto, but Christian Tetzlaff.

That performance of the Beethoven, recorded live over two nights, is released this month by Ondine, partnered by Sibelius' concerto; both are with Robin Ticciati conducting the Deutsches Symphonie-Orchester Berlin. Conductors clearly love working with Tetzlaff. "He's constantly showing me, teaching me", Ticciati says. "Hearing him in the Schumann or Brahms sonatas with Lars Vogt, I feel I'm getting a whole new vocabulary of music. It has changed me a lot. And I'm completely obsessed by his trio with his sister Tanja and Lars". And Järvi says, unequivocally, "He's one of the greats. He's totally on top form – totally. You learn from him – you hear him talk through the music rather than just play the notes. He doesn't do formula".

"Christian always comes from the core of the music and that's ultimately so satisfying and so much fun" — Lars Vogt

For the pianist and conductor Vogt, one of the violinist's closest friends and a musical partner for some 30 years, Tetzlaff "just knows everything, and understands everything. He has a background knowledge like no one else. Having been so close over so many years, I think we've influenced each other a lot. Where I originally came from was a kind of gut music-making – what felt good to me – and he came completely from the opposite direction: he's very reflective. So often, we musicians go for what comes across better, and makes us look better. Christian always comes from the core of the music and that's ultimately so satisfying and so much fun. I've learnt a lot from his approach: what does anything a composer write mean? What does it mean stylistically? What did it mean at the time? I've had fantastic teachers and conductors who I've learnt so much from, but there's no one I've learnt more from than Christian".

Tetzlaff, now 53, has been performing at the highest level for three decades (a Christoph von Dohnányi-conducted Cleveland Orchestra performance, when Tetzlaff was 22, of the Schoenberg Violin Concerto was a major career milestone), yet he wears his position as one of the world's leading violinists very lightly. He's not interested in the trappings of fame or success. What you see, as Järvi points out, is what you get. "He's someone who has a very happy family life", he says. "He's absolutely true to himself and there's a complete honesty to his music-making." Tetzlaff's shoulder-length hair, worn tied back when he plays, and his relaxed concert attire, hint at a man who is completely comfortable in his own skin. Based in Berlin, he has a young family – aged six, four and two – with a new partner, the Italian photographer Giorgia Bertazzi, and one senses that family plays an enormously important part in his life, on a par with music. "He has changed, in my opinion, in a fantastic direction", says Järvi. "He plays the way he looks now – he has stopped worrying about how others think and has his own way. He's so super-intelligent. He was always a wonderful example of how one could combine a family life and a professional life. He's a very dedicated and loving person – and he's really funny. He has a fantastic sense of humour!"

At about the same time that Tetzlaff started his new life in Berlin (he'd previously lived in Frankfurt with his first wife with whom he has three children), he also embarked on a new recording relationship with Ondine. And Ondine's Reijo Kiilunen couldn't be happier with the partnership, which has brought numerous rapturous reviews and plentiful awards (including Gramophone's Concerto Award last year). "It started back in 2010", says Kiilunen, "when I learnt that Christian had recorded the Mendelssohn and Schumann concertos and that there was no label yet for the recording. So I jumped in and luckily managed to get it for Ondine. As a record collector I'd been a great fan for a long time. And then we got talking and Christian said he was working a lot with Lars Vogt, and as I was keen to continue the partnership, it just started from there. He offers so many possibilities – duo work with Lars, concerto recordings, solo recordings and he has his own trio and quartet. So I was thrilled to have him on board. I really do think he's one of the greatest violinists of our time".

Tetzlaff has a total horror of routine or any kind of fixed approach to the works he plays. When The Telegraph's Ivan Hewett asked him in 2011 if he was concerned about the dangers of staleness creeping in when he revealed he'd played the Brahms concerto 33 times in recent years, his sense of shock was obvious: "Why? The piece isn't getting any worse. And every time it's a new audience, who have to be taken on this fantastic journey". As Järvi points out, "What I like is that Christian has an incredibly strong opinion and point of view – not an opinion that comes from habit ("Here I do a rallentando" – we never talk about that sort of thing because that's part of natural music-making, we're in touch musically and it just happens), but there is a conceptual point of view about which he's very passionate. And that's what you look for from him. I have done the same piece with him enough times to see those conventions also change. Certain things become less important to him, certain things more. It's great. So often, conducting soloists becomes a kind of servicing, which is the worst possible situation to be in, a sort of cat-and-mouse game where you're trying to ensure everything is comfortable. And you don't have any real interaction. With Christian it's totally about interaction and making music in the moment. One thing with him is that he's prepared to take huge risks in concert, and risks are fantastic, but they are exactly that: risks. And what I like is that he does things for the emotion of it rather than to be safe".

Beethoven wrote his only Violin Concerto in 1806 and though it was not particularly successful at its Vienna premiere, it was revived in the 1840s by a 12-year-old Joseph Joachim with Mendelssohn conducting. It quickly secured its position at the heart of the violin-concerto repertoire, and the genre – as so often is the case with any that Beethoven touched – was raised to a new level: a classical medium so gracefully done by Haydn and Mozart had been taken and given an almost symphonic ambition (its 25-minute first movement could comfortably accommodate the whole of Mozart's Third Violin Concerto, for example). Sibelius, an accomplished violinist (which Beethoven was not), wrote his sole concerto in 1904, almost exactly 100 years after the Beethoven, and revised it the following year to give us the version we invariably hear today. "I'm sure Christian is fascinated by the fact that these are two pieces that are totally alone, isolated peaks", Ticciati suggests.

The Beethoven and Sibelius violin concertos have seldom been coupled on a recording before. "You can either go for the old Monty Python ‘And now for something completely different’ approach", says Tetzlaff, "or you can start searching. I find enough to make the pairing plausible. They both come from the beginning of new centuries, they're both Janus-like. Beethoven is firmly in the Haydn-Mozart tradition, but also looking ahead in a completely different way. And for me the Sibelius is the same. He's a very modern composer in his intentions. A few days ago, here in Berlin, we played his Voces intimae String Quartet, and that's a wild piece. In the Fourth Symphony's first movement he goes atonal, but that's not his trademark, and it is not the only thing that defines him as a modern composer. But structurally, yes, he's still rooted in the Romantic tradition and yet looking forward into the new century. So I think both composers have a similar function – very different from Brahms, who really expanded the Beethoven concerto model. I think Sibelius did for his century what Beethoven did for his".

"Going for an obsessive approach is the only way to convey the danger and emotions Sibelius describes in his concerto" — Christian Tetzlaff

Tetzlaff has recorded both the Beethoven and Sibelius concertos before – in fact, this is his third version of the Beethoven having been partnered by Michael Gielen and the SWR SO Baden-Baden in 1988 and by David Zinman and Zurich's Tonhalle Orchestra in 2005. His first Sibelius dates from 2002, one of his last recordings for Virgin Classics – the company that initially spotted his huge potential; "Here is a reading which, in its no-holds-barred fervour, reminds me more than most of the wild theatricality and solo fireworks one encounters in the Concerto's original version", wrote Andrew Achenbach back in April 2003. What links the three performances of the Beethoven, though (and indeed every live performance he's ever given), is the use of Beethoven's own cadenza for his piano transcription of the concerto, "retro-fitted" for the violin and employing the timpani. "Often a cadenza can be totally unrelated to the piece and quite often uses harmonies that are wrong because they are from a completely different time", Tetzlaff explains. "What Kreisler does is beautiful but a bit silly in playing all the melodies – and he even quotes the second subject. So it makes sense to me that if you have Beethoven's cadenzas, you should use them. I think the bitterness of some aspects of the first movement are brought out by the use of this cadenza. The military feel is pushed even more with the use of the timpani. So the cadenza is a further explanation of the nature of the piece and not a display of virtuosity."

Very striking in the two Berlin concerts – and very faithfully carried over onto the new recording – is not only how well this cadenza fits the first movement's dramaturgy but also how it helps generate the momentum to propel the movement to its conclusion, a conclusion that surely demands some kind of applause. Laughing, Ticciati recalls a performance with the Chamber Orchestra of Europe in Rotterdam: "I do remember the performance, but what I remember more is Roger Federer bringing his mum round afterwards!". Tetzlaff picks up the story: "I remember Federer coming up to me and saying ‘Very well done, but why did nobody clap after the first song?’ And that is so right, on so many levels, because if there's no clapping after the first movement, maybe you've done something wrong. The audience can be too well educated, because what Beethoven goes for is an explosion at the end of the first movement".

"I think a lot of so-called tradition comes from laziness" — Christian Tetzlaff

One word that often crops up in reviews of Tetzlaff's performances, whether live or recorded, is "spontaneous". No two performances are exactly the same, as Järvi has said, but there's more to it than an on-the-wing creativity – there's also a fearlessness. As Järvi puts it, "A lot of players have this fear that if they don't project, somehow people will think they have a small sound, or don't have a good violin; and they have a whole complex of beliefs about how a violinist should appear... He doesn't care about that stuff". And when I ask Tetzlaff about the striking range of dynamics that he employs in the Beethoven, suggesting that perhaps his passion for chamber music plays some role, his answer is direct: "No, it emerges from looking at the music. I think a lot of so-called tradition comes from laziness. The first movement is written piano explicitly for the solo violin. And that is totally right so that the outbursts work properly in the right places. And I also know that anyone who has the conviction can play pianissimo and can feel at home. It's simply about wanting the audience to open their ears and participate. When it gets really soft, the audience has to participate, to actively listen. When it's loud, it's done to you. Those are the best moments: when everything comes together in beauty and its ability to touch people. In the big concertos, if you look at the score and listen to what is done, they match in only every 30th bar. That comes from the idea that in the solo repertoire the artistic freedom of the soloist is paramount, that he has to dominate the orchestra and be the most important thing. And that's silly because a great composer like Beethoven or Brahms uses all his craft and inner life in the same way in a solo concerto as in a string quartet. There are so many passages in both the Beethoven and the Brahms concertos where you have to accompany, for example, the oboe. And that's where it becomes real fun. A soloist standing in front of the orchestra expecting 100 people to follow them I find ridiculous most of the time. It's just about the soloist talking about themselves and frankly we have much nicer things to talk about!"

Tetzlaff's ability – and willingness – to play very quietly was just one of the things that attracted Kiilunen: "What I really admire about his playing is how he makes time stand still in piano and pianissimo. Yet even behind these most fragile moments and sensitive pianissimos there's this incredible intensity to his playing". Take the opening of the Sibelius, which stunned Ticciati when he first heard Tetzlaff play it: "So many people approach that first line like the waters have frozen over – it's glacial. But what does the score say? Mezzo forte, dolce ed espressivo. It's like a folk song, and that's the feeling he goes for. There's no end to how faithful he can be to the score. It forces everyone into a place where you just have to take a risk. What was it that Colin Davis use to say? ‘When you're recording live, there's no second chance’. And with Christian that happens every time. It's just so live". Vogt concurs: "About his pianissimos, you often find yourself saying that he can't dare go even softer, and yet he does, and the sound hangs on by a hair. I'm always amazed by his courage for fragility, this courage to seek ‘non-beauty’. Music isn't all about beauty – it has the entire range of expression. So, this whole idea that this is how violinists are supposed to sound – he doesn't give a damn!"

Even though chamber music accounts for about 30 per cent of Tetzlaff's concert life, it brings to his playing another dimension that violinists who only stick to the concerto repertoire are denied. Vogt believes it brings an entirely different mindset, one that turns its back on the "I'm the star and I have to be at the centre of things' way of thinking". Tetzlaff himself explains further: "This idea that chamber music is just generally more cultivated, less soloistic and easier is ridiculous – the idea that those who don't make it to solo work have to fall back on chamber music as if it is some kind of easy option. If I think about what I played last week when we did Beethoven's Op.130 with the Grosse Fuge... The violin part is vastly more difficult than the Beethoven concerto and it's way more taxing to play a programme with a Beethoven quartet, a Bartók quartet and a Mozart quartet – the technical challenges are huge".

When Tetzlaff came to record the Sibelius concerto, it was his first studio concerto recording in nearly 20 years, and perhaps that extra experience of playing chamber music helped because, as he says, "Making the connection within the orchestra is so important – ‘Who hands the melody over, and to whom do I hand it back?’ If it only goes through the conductor then it will not be free. A conductor who doesn't listen to the players, doesn't guide them to connect with the soloist, is diminishing this sense of freedom". He speaks of a kind of "love triangle" that functions in an ideal concerto performance between soloist, conductor and orchestra. "Hopefully you will hear that we go on a journey, especially in the orchestral parts, that respects all of Sibelius' markings; and for me, in the violin part, it is a very modern piece in the sense that the composer gives lots of extravagant shadings and markings. There are diminuendos on long, strong notes so that I always fade with the orchestra. It reminds me of the acting in early black-and-white silent movies, with the totally expressive faces changing dramatically because there are no words. And this is what Sibelius gives us in the first movement. We go for this obsessive approach because I think that's the only way to convey the danger and out-of-the-ordinary emotions that he describes in this piece".

Watching the Deutsches Symphonie-Orchester Berlin play a concerto is to see numerous examples of quasi-chamber interaction: the first desk of cellos leaning forwards to engage with the soloist, or the solo oboe looking directly at him during those moments of dialogue, a perfect example of that "love triangle" Tetzlaff refers to. During the sessions for the Sibelius, where the only audience were the orchestra's Intendant and Tetzlaff's wife, Tetzlaff recalled that discussions with players went far beyond the notes on the page. "With Robin", Tetzlaff comments, "even though we are from different generations and different backgrounds and have different personalities, we have exactly the same language and luckily this works so well with his orchestra. So there were wonderful things like instead of saying, ‘Could we just play the F major a tiny bit louder, and the D minor a bit softer’, it was ‘This is a moment of hope’, or, ‘A shadow falls over this feeling of hope’ – and it worked! And everyone knew how ‘hope’ should sound! Or how the disappointment of the next section should feel. This is how we talked in the rehearsal, and it’s so comforting to know that what we are playing is not about the realisation of dynamics but about expressing a very specific quality of emotion. I feel that because of this, Robin and I are like Siamese twins – we have this innate understanding. It made doing the Sibelius and the Beethoven such a joy".

[This article originally appeared in the October 2019 issue of Gramophone.]

Source: gramophone.co.uk

Photos by Giorgia Bertazzi

See also

Karol Szymanowski: Violin Concerto No.1 – Christian Tetzlaff, Helsinki Philharmonic Orchestra, Susanna Mälkki

Ludwig van Beethoven: Violin Concerto in D major – Christian Tetzlaff, NHK Symphony Orchestra, Paavo Järvi (HD 1080p)

György Ligeti: Violin Concerto – Christian Tetzlaff, Gürzenich-Orchester Köln, François-Xavier Roth (HD 1080p)

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Engagement of the Earl of Southesk, Future Duke of Fife

Yesterday The Times carried the announcement of the engagement of Charles "Charlie" Carnegie, Earl of Southesk, to Camille Ascoli. A further announcement appeared today in The Telegraph.

Camille Ascoli was born at Paris on 6 March 1990 as the daughter of Roberto Ascoli and Valérie Ledoux.

Charles Duff Carnegie, Earl of Southesk, was born on 8 October 1989 at Edinburgh. Charles is the eldest of the three sons of David, 4th Duke of Fife, and his wife Caroline (née Bunting). The Earl of Southesk is the great-grandson of Princess Maud of Fife (1893-1945), who herself was the daughter of Princess Louise (1867-1931), who was herself one of the daughters of King Edward VII and Queen Alexandra (née Denmark).

Many congratulations to the Earl of Southesk and Miss Ascoli!

For further news and articles about Europe's Gotha families, join Eurohistory!

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