Menuhin’s violins
梅紐因的小提琴
The great violinist spent his career swapping between Stradivari and Guarneri 'del Gesù' examples, but also enjoyed the instruments created for him by contemporary makers
這位偉大小提琴家的職業生涯在斯特拉迪瓦裡和耶穌瓜納裡的精品之間切換，但也樂於使用當代制琴人為他創作的樂器。
原文：Tully Potter
譯文及配圖：吳駿（Richard Jun Wu）
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Menuhin in the 1920s. For his 1927 Paris debut he was given a 1695 G.B. Grancino violin, paid for by a sponsor
1920年代的梅紐因。因1927年在巴黎的首演，他得到了一把1695年格蘭奇諾小提琴，由贊助商支付
In his memoirs,Yehudi Menuhin wrote: 『I could recount my entire life in terms of a dialectical argument between the Stradivarius and the Guarnerius del Gesù.』 [1] He felt he was basically faithful to Strads but had dalliances with 『del Gesù』 violins, and compared the Strad sonority to gold while the Guarneri sound brought to mind 『the red of Sainte-Chapelle stained glass』.
耶胡迪·梅紐因在回憶錄中寫道：「我可以用斯特拉迪瓦裡和耶穌瓜納裡之間的對話式論證來講述我的一生。[1]他覺得他基本上忠實於斯氏琴，但又和瓜氏琴調情，他把前者的音色比作黃金，同時說後者的聲音讓人想起"巴黎聖禮拜堂彩色玻璃的紅色」。
Menuhin loved the workmanship and『great formal beauty』 of Strads and wrote that 『one must rise to a Strad beforeit will speak from its craftsman’s soul』. By contrast, from the rougher hand of『del Gesù』, his choice of less good wood and his f-holes 『obviously gouged bysome rough measure of the eye』, one could infer 『a man at once passionate andcompassionate, bull and saint, a temperamental nonconformist…』.
梅紐因喜歡斯氏琴的做工和「偉大的形式之美」，他寫道，「一個人必須起身向斯氏琴致意，然後斯氏琴才會從工匠的靈魂那裡開始說話」。相比之下，從瓜納裡的粗糙之手，從他選擇的不那麼好的木材和「顯然由肉眼粗糙測量的」f孔，可以推斷出他是「一個富有激情和同情心，盡情揮灑，桀驁不馴的人...」
Born in New York in 1916 but raised on the West Coast, Menuhin was eight when he obtained his first decent violin. As his New York debut approached in 1924, two benefactors raised $800 to buy him a seven-eighths Milanese instrument thought then to be a Giovanni Battista Grancino. For his 1927 Paris debut, when he played the Symphonie espagnole with Paul Paray conducting, followed a week later by the Tchaikovsky concerto, he and his family selected a genuine full-sized Grancino,dated 1695, from Henri Tournier’s shop in Paris. The $3,000 bill was paid by one of his regular sponsors, Sidney Ehrman.
梅紐因1916 年生於紐約，但在西海岸長大，八歲時獲得了第一支像樣的小提琴。1924年，隨著他在紐約首演的臨近，兩位資助者籌集了800美元，為他買了一把產於米蘭的7/8琴，當時被認為是格蘭奇諾。1927年在巴黎首演，由保羅·帕拉伊指揮，演奏了《西班牙交響曲》，一周後演了柴可夫斯基協奏曲，他和家人在亨利·圖尼爾的巴黎商店裡挑選了一把真正的全尺寸格蘭奇諾。經常贊助他的西德尼·埃爾曼支付了3000美元的帳單。
Menuhin’s first records were made on this instrument for the Victor Talking Machine Company, whose roster included the late Enrico Caruso, Galli-Curci, Toscanini, Rachmaninov and Kreisler. With his teacher Louis Persinger at the piano, Menuhin cut four 78rpm sides on March15, 1928 in a church in Oakland, California, starting with Sierra Moreno byJesus de Monasterio. 『Two engineers drove across the continent from headquarters in Camden, New Jersey,』 he recalled, 『acquiring on their way through Texas a bullet hole in the windshield of their car, evidence of pioneering which was displayed with pride.』
梅紐因用這把琴錄製的第一張唱片是為勝利留聲機公司製作的，曾在該公司錄音的有已故的恩裡科·卡魯索、加利-庫奇、託斯卡尼尼、拉赫馬尼諾夫和克賴斯勒。1928年3月15日，在加州奧克蘭的一間教堂裡，梅紐因在他的老師路易斯·佩辛格的鋼琴伴奏下，從西班牙小提琴家和作曲家耶穌·莫納斯特裡奧的《莫雷諾山》開始，錄了四面78轉黑膠唱片。他回憶說：「兩名工程師從新澤西州卡姆登的總部驅車穿過大陸，在穿越德克薩斯州的途中，他們的汽車擋風玻璃上多了一個彈孔，這成了橫跨創舉的證據，他們自豪地展示它。」
The 『Prince Khevenhüller』 Stradivari of 1733 was presented to Menuhin onhis 12th birthday. Photos: Jan Röhrmann
1733年的「克芬許勒王子」斯特拉迪瓦裡，梅紐因的12歲生日禮物。
The friendshipbetween the great German conductor Fritz Busch and the now-blind New Yorkbanker and art collector Henry Goldman brought about Menuhin’s rise into the violin stratosphere. Hearing the boy’s Beethoven concerto at Carnegie Hall in November 1927 from Busch’s box, Goldman was profoundly moved. Meanwhile Menuhin struggled with unfamiliar violins, including a 1740 Guadagnini given to him byEhrman and a Guarneri 『del Gesù』 lent by Lyon & Healy of Chicago, possibly the 『Baron Vitta』, later played by Szymon Goldberg. 『Now that I was professionally launched,』 Menuhin recalled, 『it was generally held desirable that I should have an instrument of that calibre of my own.』 In the 1980s he reminisced to David Dubal: 『I had dreamed of playing on a Stradivari called the 「Prince Khevenhüller」 which I had seen a year before – of course, there was no chance of us affording such a treasure.』 [2]
偉大的德國指揮家弗裡茨·布施和現在失明的紐約銀行家和藝術收藏家亨利·戈德曼之間的友誼，把梅紐因升入了小提琴的平流層。1927年11月在卡內基音樂廳，從布施的包廂裡聽到小男孩梅紐因的貝多芬協奏曲，戈德曼深受感動。與此同時，梅紐因與不熟悉的小提琴搏鬥，包括埃爾曼送給他的1740年瓜達尼尼，以及芝加哥的Lyon & Healy樂器行借給他的瓜納裡，可能是「維塔男爵」，後來由西蒙·戈德伯格使用。梅紐因回憶說，現在我啟動了職業生涯，按照常理，我應該擁有一個和自己的能力相稱的樂器。」1980年代，他在大衛·杜巴爾面前回憶道：「我夢想演奏一年前看見的名為『克芬許勒王子』的斯氏琴——當然，我們買不得起這樣的寶貝。」[2]
Attending a Carnegie Hall performance of the Tchaikovsky and hearing of the violin problems, Goldman determined to buy Menuhin the best possible instrument. Givencarte blanche, Menuhin tried three Strads in Emil Herrmann’s New York shop, rejecting the 『Maximilian』 and the 『Betts』 and settling on his first love, the 1733 『Prince Khevenhüller』, which cost $60,000.
聽了卡內基音樂廳的柴可夫斯基協奏曲演奏並聽到小提琴的問題之後，戈德曼決定為梅紐因購買最好的樂器。得到全權委託，梅紐因在埃米爾·赫爾曼（Emil Herrmann）在紐約的商店中嘗試了三把斯氏琴，拒絕了「馬克西米利安」和「貝茨」，定下了自己的初戀，即價格6萬美元的1733年的「克芬許勒王子」。
On January 22, 1929, Menuhin showed off his new violin to the New York press; by the end of the month he was playing the Beethoven concerto in Cleveland. On February 12, with Persinger as pianist, eight sides, two of them devoted to Bloch’s Nigun, were cut in the disused Camden, New Jersey, church that Victor used as a studio – Fats Waller madeorgan records there. That April, four days before his 13th birthday, Menuhin made his Berlin debut playing the Bach E major, Beethoven and Brahms concertos with Bruno Walter and the Berlin Philharmonic. In November and December he made more records on the Strad for HMV in London with accompanist Hubert Giesen, although critical attention focused on the six unaccompanied sides making up Bach’s C major Sonata. Even if the interpretation was heavily indebted to his teacher in 1929–30, Adolf Busch, the violin sounded impressive.
1929年1月22日，梅紐因向紐約媒體展示了他的小提琴。當月底，他在克利夫蘭演奏貝多芬協奏曲。 2月12日，在新澤西州卡姆登教堂（當時是維克多公司的錄音室，現已廢棄，費茲·華勒在那裡錄過管風琴唱片），由老師路易斯•佩辛格伴奏，錄了8面唱片，其中兩面向埃內斯特·布洛赫的《尼崗》致敬。那年四月，距13歲生日4天的時候，梅紐因和布魯諾·沃爾特及柏林愛樂樂團一起演奏了巴赫E大調，貝多芬和勃拉姆斯協奏曲，這是他的柏林首秀。 11月和12月，他用這把斯氏琴與伴奏者休伯特·吉森（Hubert Giesen）在倫敦的HMV錄製了更多唱片，不過評論界的焦點是6面的巴赫C大調奏鳴曲。雖然他的詮釋要歸功於他1929–30年的老師阿道夫·布希，但小提琴的聲音令人印象深刻。
During the 1930s Menuhin used the『Prince Khevenhüller』 and the borrowed 『Ysaÿe』 Guarneri of 1740 for his recordings
1930年代梅紐因使用「克芬許勒王子」和借來的1740年的「伊薩伊」瓜納裡錄音
A further three sides were made with Giesen at Liederkranz Hall, New York, on February 19,1930, by which time Victor had been taken over by RCA. These recordings, not released as 78rpm discs, have just been published on CD by Sony – Dvořák’s Gminor Slavonic Dance op. 46/8 is a small addition to the Menuhin discography. Worth mentioning, too, are the records made in London that December with Giesen, as they included the finest of his early discs, the 『Song of the Bride』from Rimsky-Korsakov’s The Tsar’s Bride, arranged by Sam Franko. Here for the first time the Menuhin 『speaking』 tone was heard, a sign that he and the Strad were now fully on the same wavelength.
1930年2月19日，在紐約利德克蘭茨大廳，和吉森又錄了三面，當時維克多已被RCA接手。這些錄音沒有作為78rpm光碟發布，而是最近由索尼公司發布CD——德沃夏克的G小斯拉夫舞曲op.46/8是梅紐因的唱片庫的一個小小補充。值得一提的是當年12月在倫敦與吉森一起錄作的唱片，包括他早期最好的唱片：由薩姆·弗蘭科編曲的裡姆斯基-科爾薩科夫的歌劇《沙皇的新娘》中的《新娘之歌》。在這裡，我們第一次聽到了梅紐因「說話」的風格，這表明他和斯氏琴完全處於同一個頻率。
Early in 1932 the Strad needed some routine repairs and Menuhin borrowed the 1740 Guarneri 『del Gesù』 that had been the main instrument of Eugène Ysaÿe, who had died the previous year. We know this violin was used for the records made in Paris that May with Artur Balsam, including Ravel’s Tzigane and Tartini’s Devil’s Trill. It was probably also used for the famous Bach 『Double』 Concerto made in Paris that June with Menuhin’s teacher George Enescu as partner and Pierre Monteux as conductor; however, it is likely that the Strad was employed for the Elgar concerto recording at Abbey Road in August with the composer conducting. The Ysaÿe violin was provided by Emile Français, perhaps Menuhin’s best friend among the dealers. In 1935 Emile Français made a replica of the 『Prince Khevenhüller』, which was presented to Menuhin the following January. 『This proved such a good instrument,』 wrote the violinist’s biographer Robert Magidoff, 『that whenMenuhin uses it at times in the concert hall not even critics are aware of any difference in quality.』 [3] The Français copy also served asa useful substitute on trips where the Strad might have been in danger.
1932年初，這把斯氏琴需要例行維修，梅紐因就借用了一把1740年耶穌瓜納裡，這是前一年去世的伊薩伊的主要樂器。當年五月，這把瓜氏琴和波蘭鋼琴家巴爾薩姆一起在巴黎錄音，包括拉威爾的《茨岡》和塔爾蒂尼的《魔鬼的顫音》。 6月，在巴黎錄製的著名的巴赫雙協奏曲中也使用了它，梅紐因的老師喬治·埃內斯庫合奏，皮埃爾·蒙特克斯指揮；8月，這把琴還有可能在作曲家埃爾加本人指揮之下在艾比路公司錄製了埃爾加小提琴協奏曲。這把伊薩伊小提琴由埃梅爾·弗朗西斯提供，他也許是梅紐因最好的經紀人朋友。1935年，埃米爾·法蘭西斯製作了「克芬許勒王子」的一個複製品，並於次年1月贈送給梅因因。為小提琴家作傳的作家羅伯·馬吉多夫寫道：「這被證明是一把很好的琴，梅紐因有時在音樂廳使用它時，甚至沒有評論家注意到音質有什麼差別。」[3]在斯氏琴可能有危險的旅行中，這個替代品也派上了用場。（二戰期間，梅紐因多次坐軍用飛機到盟軍前線勞軍。下文將提到。——譯者）
Menuhin bought the 『Soil』 Stradivari 1714 in the 1950s and relished its penetrating sound, although he eventually sold it to Itzhak Perlman
梅紐因在1950年代買下了1714年的"土壤"斯特拉迪瓦裡，並津津樂道其頗具穿透力的聲音，儘管他最終把它賣給了伊扎克·佩爾曼
In September 1939, to mark the birth of their daughter Zamira, Menuhin’s first wife Nola gave him a Guarneriviolin. At first Menuhin was enthusiastic, describing it as a perfect alternative to his Strad, as it was the same size. We can safely assume he usedit for the 『reunion』 sessions with sister Hephzibah a year later in Sydney, which gave rise to discs of the Brahms G major and Beethoven E flat sonatas, but he later cooled toward it. 『I rarely played it,』 he confessed in his memoirs, 『and, some years later, gave it on loan to my first protégé, Alberto Lysy, who has used it these many years.』
1939年9月，為了紀念他們的女兒扎米拉（Zamira）出生，梅紐因的第一任妻子諾拉送給他一把瓜氏琴。起初，梅紐因對它有很大的興趣，說是自己的斯氏琴的完美替代，因為它們尺寸相同。我們可以肯定的是，一年後，他在雪梨與妹妹赫夫齊芭（Hephzibah）的「重逢」音樂會中使用了它，帶來了勃拉姆斯G大調和貝多芬降E大調奏鳴曲的唱片，但後來他冷卻了它。他在回憶錄中坦言：「我很少演奏它，幾年後，借給了阿爾貝託·萊西，我的第一個門生，他用了好多年。」
World War II caused a rupture inMenuhin’s relationship with his Strad: he gave innumerable concerts for troops and the wounded, living in American army camps and travelling in considerable discomfort in USAF and RAF planes. It seems most unlikely that he took his valuable violin on any of these trips. Certainly the Français Strad copy occupied half of his double case throughout the hostilities, and on his second wartime visit to Britain, in 1944, he admitted to the Evening Standard newspaper that, rather than bring the Strad with him, he had been lent a Guarneri by Hill’s of Bond Street.
第二次世界大戰使梅紐因與他的斯氏琴的關係破裂：他為部隊和傷員舉辦了無數的音樂會，住在美軍營地，坐美國空軍和英國皇家空軍的飛機做很不舒服的旅行。他不可能在任何一次這樣的旅行中攜帶自己珍貴的小提琴。在所有的對敵行動中，經紀人法蘭西斯的斯氏琴副本當然佔據了他雙琴盒的一半，而在1944年第二次到英國的戰時訪問中，他向《標準晚報》承認，他沒有帶斯氏琴，而是借了坐落於邦德街的希爾公司的一把瓜氏琴。
When he flew to newly liberated Paris soon after, he borrowed Jacques Thibaud’s 1720 Strad for his concert at the Opéra – this instrument was destroyed in the 1953 plane crash which killed Thibaud – and returned it so promptly after the last of his three concertos that, with the audience still applauding after several minutes, he had to hijack the concertmaster’s violin for his encore.
不久後，梅紐因飛往剛被解放的巴黎，借用了雅克·蒂博的1720年斯氏琴，在巴黎歌劇院演奏——這把琴在1953年隨蒂博在飛機失事中被毀——三首協奏曲剛演奏完，他就歸還了琴，幾分鐘後聽眾仍然鼓掌，他不得不劫持小提琴首席的琴來加演。
Menuhin beganthe 1950s by buying a second Strad, the 1714『Soil』, from Herrmann; for several decades he relished its penetrating sound. 『My Khevenhüller Strad delivers a sweeter tone than my Soil Strad,』 he wrote, 『yet does not quite match the Soil’s power to ring out above a symphony orchestra.』 He employed the 『Prince Khevenhüller』 for many records of the 1950s and 1960s, including the Walton concerto in 1969, and the 『Soil』 for most orchestral concerts.
1950年代初，梅紐因從赫爾曼購買了第二把斯氏琴，即1714年的「索爾(Soil)」。幾十年來，他都享受其穿透力。他寫道：「我的『克芬許勒王子』的音調比『索爾』甜，但完全比不上『索爾』在交響樂團之上發出的聲音。」他在1950和1960年代的許多唱片中都使用了克芬許勒王子，包括1969年的沃爾頓協奏曲，而在大多數管弦樂音樂會上，他用的都是「索爾」。（Soil，是曾經的主人比利時企業家Amédée Soil的姓——譯註）
In 1986, toraise money for his new house, Menuhin sold the 『Soil』 for about £600,000 to Itzhak Perlman. His roving eye led to another dalliance with a Guarneri 『delGesù』. 『Round about my 50th birthday,』 he recalled, 『I found myself studying Hill’s catalogue of exceptionally fine Guarneri, with an eye to those available. Kochanski’s, which I had always admired, was not, alas; but another, the Count d』Egville, belonging to a collector from Braunschweig, captured my fancy; I boarded a plane for Germany at the earliest opportunity… I borrowed the d』Egville and played it with rapture for 18 months, then returned it to its owner.』 Perhaps it is the 1735 『Comte d』Egville』 that we hear on his September 1966 record of Bartók’s Second Concerto with Antal Doráti.
1986年，為了籌集買新房子的資金，梅紐因以60萬英鎊的價格把「索爾」賣給了伊扎克·帕爾曼。他的四處張望引來了和耶穌瓜納裡的又一段情緣。他回憶說：「大約在我50歲生日的時候，我研究了希爾公司的瓜納裡目錄，尋找那些在售的。可惜我一直仰慕的『科尚斯基（Kochanski）』是非賣品；不倫瑞克的一位收藏家所有的『埃格維爾伯爵（Count d'Egville）』吸引了我；我儘可能快地登上了飛往德國的飛機…我借了『埃格維爾』並狂喜地拉了18個月，然後又把它還給了它的主人。」也許，我們在1966年9月他和安塔爾·多拉蒂合作的巴託克第二協奏曲的唱片中聽到的，就是這把1735年埃格維爾。
After years of seeking theideal Guarneri, Menuhin finally found the 1742 『Lord Wilton』 inthe 1970s. Photos: Peter Biddulph Ltd
尋找理想的瓜氏琴多年之後，梅紐因最終在1970年代發現了1742「威爾頓勳爵」
『In 1971, atlast,』 Menuhin wrote, 『I found a supremely beautiful Guarnerius that had belonged to a cousin of Charles Munch, Mlle Ebersholt, whose father had given itto her when she was 15 years old, in 1880; and I bought it the next year.』 Six years later he traded in this 1739 『del Gesù』 for the 1742 『Lord Wilton』, acquired from Jacques Français and retained until his death. He found this violin ideal for music such as the Brahms concerto – no doubt he played it on the 1982 film of this work with Kurt Masur.
「到了1971年，終於，」梅紐因寫道：「我發現了一把極為美麗的瓜氏琴，它曾屬於查爾斯·蒙克的表親莫爾·埃伯斯霍爾特，她父親在她15歲那年，1880年，贈給她這把琴；一年後，我買下了它。」 六年後，他賣了這把1739年的瓜氏，從雅克·弗朗西斯手中購得1742年的「威爾頓勳爵」，一直保留到他去世之前。他發現這把琴是勃拉姆斯協奏曲等音樂的理想之選——毫無疑問，在1982年與庫特·馬祖爾合作勃拉姆斯協奏曲的影片中就是用它演奏的。
In 1954 thedying Enescu entrusted Menuhin with his Guarneri and his 1739 Santo Serafin of Venice, which had been his first good violin. Menuhin ensured that the Guarneri went back to Romania but kept the Santo Serafin for sentimental reasons. Along the way he also acquired a 1680 Giovanni Maria del Bussetto of Cremona and a 1730 Dom Nicolo Marchioni (『Dom Nicolo Amati』). A 1961 Marino Capicchioni of Rimini was among the various new violins that he commissioned.
1954年，臨終的埃內斯庫把他的一把瓜氏琴和一把1739年制於威尼斯的聖塞拉芬（他的第一把好琴）委託給了梅紐因。梅紐因把瓜氏琴送回羅馬尼亞，但出於感情的原因保留了聖塞拉芬。此行他還獲得了一把1680年制於克雷莫納的喬瓦尼·瑪麗亞·德爾布塞託和一把1730年的尼科洛·阿馬蒂。一把1961年產於裡米尼的馬裡諾·卡皮奇約尼是他定製的各種新小提琴之一。
In 1944 Menuhin was bequeathed Nathan Firestone’s Testore viola, which he later loaned to students at his school. His viola recordings included a best-selling Harold in Italy with Colin Davis, and the Bartók concerto. As the years passed, he took the viola more seriously and liked practising on it, but owned no other notable instruments. In 1968 he borrowed Peter Schidlof’s 1719 『Macdonald』 Stradivari viola to record Walton’s concerto. His 1980 record of the Brahms sonatas with brother-in-law Louis Kentner was made ona brand-new viola by the American luthier David Wiebe.
1944年，梅紐因獲贈內森·費爾斯通的Testore中提琴，後來借給了梅紐因學校的學生。他的中提琴唱片包括與科林·戴維斯一起錄製的《哈羅爾德在義大利》和巴託克協奏曲。隨著時間的流逝，他更加重視中提琴，更喜歡練習它，但沒有其他引人注目的樂器。 1968年，他借用彼得·希德洛夫的1719年「麥克唐納」斯氏中提琴錄製沃爾頓協奏曲。他1980年與妹夫路易斯·肯特納合作的勃拉姆斯奏鳴曲唱片是由美國制琴師大衛·維貝製作的嶄新的中提琴。
Concerning Menuhin’s bows I consulted the film-maker Bruno Monsaingeon, who knew him well in the latter part of his career. 『Yehudi gave me the Sartory that was made for him in 1927 when he madehis Paris debut,』 Monsaingeon said. 『It’s gold mounted and inscribed 「YM,1927」. Three Sartorys were made for him. He used a Voirin the most. He had bows by Tourte, Peccatte – one Tourte didn’t fit his hand. He had many, many bows and an English viola bow. When he received the 「Prince Khevenhüller」 there were two bows in the case, including a Tourte.』
關於梅紐因的弓，我諮詢了電影製片人布魯諾·蒙薩寧根，他很了解梅紐因職業生涯的後期。蒙薩寧根說：「耶胡迪給了我1927年他在巴黎首次亮相時為他製作的薩託利。」『它鑲金，並刻有『 YM，1927』」。為他製作了三把薩託利。他最常使用一把沃林。他有圖特弓和佩卡弓——一隻圖特不適合他的手。他有很多把弓和一把英國中提琴弓。當年他收到克芬許勒王子時，琴盒中有兩把弓，包括一把圖特。』
An 1810 gold-and-tortoiseshell bow by François Xavier Tourte is the only one mentioned byMenuhin in his memoirs: 『Herrmann … included in the purchase price the Tourtebow which I still use.』 His 1870 François Nicolas Voirin, acquired in 1930, shared his affection with the Tourte. Three Tourtes sold by Sotheby’s after his death in 1999 fetched £26,400, £32,200 and £36,700 – well above their estimates thanks to musicians seeking a piece of the Menuhin magic. [4]
梅紐因在回憶錄中唯一提到的是弗朗索瓦·澤維爾·圖特的一把1810年金龜甲弓：「赫爾曼...售價中還包括我至今仍在使用的圖特弓。」他1930年購買的1870年弗朗索瓦·尼古拉斯·沃林弓與圖特弓分享了他的愛意。他1999年去世後，三把圖特弓經由蘇富比拍賣行分別以26,400，32,200和36,700英鎊的價格售出，高出估價很多，這要歸功於音樂家們在尋找梅紐因的魔法。 [4]
Tully Potter is a journalist and music critic. He is a regular contributor to various international music journals, including The Strad, and has written a biography of Adolf Busch, published in 2010.
圖利·波特，記者和音樂評論人。經常為各種國際音樂期刊供稿，包括《Strad》，著有阿道夫·布希傳，2010年出版。
Notes
[1] Unfinished Journey: Twenty Years Later, YehudiMenuhin, Fromm Intl. 1997
[2] Conversations with Menuhin, David Dubal, Harcourt 1992
[3] Yehudi Menuhin: the story of the man and the musician,Robert Magidoff, Doubleday 1955
[4] Auction report, The Strad magazine, February 2000
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