@@srinitaaigaurayeah lots of people intimidated by Heifetz’s teaching style. But he is just all business. But their are some truly awful people that have taught.
5stringofFernandoSor Heifetz could play the piano and the viola. But he was a master of the violin. He expected all three instruments from his violin students, too.
@@justinbill3101 Brooks Smith said it was very difficult to meet Heifetz's expectations because for one, Heifetz could play all the piano parts better than him.
A different masterclass style compared with others on youtube (Perlman and Menuhin I've seen, maybe Stern), but I find his high standards with little bits of humor thrown in between to be very effective. Thanks for sharing.
These historic films show us a different Heifetz with flashes of humor mixed into his instruction of these gifted students. For them, these moments will remain with them throughout their lifetimes, the tremendous opportunity to be in a Master Class of the incomparable Jascha Heifetz. How wonderful to be able to view these videos as Mr. Heifetz listens and instructs a very few chosen ones who have demonstrated the talent necessary to be in his Master Class.
"Take more time, more bow . Nobody is after you, no rushing. More bow". When I was his student, he brougt a half size bow and gave me to use it during the lesson because I was n't using enough bow. What a gracious and kind teacher Heifetz was. Since than my habit got fixed for the rest.
Very underrated point. Can't tell you how much I have to tell some kids and even some performers this. They've been playing for years but they're simply not using enough bow at all. Without fixing that it's impossible to fix a lot of other issues. When I was learning my teacher told me that this was by far my biggest issue as well.
@@srinitaaigaura In my opinion you have to teach your students in particular HOW to use more bow. If they will be able to use much bow, most of them will like to do so.
He shouldn' t have said: "More bow!", he should have said: "Feel free in your arm and move it, as well your upper arm as your lower arm!" Doing this way, the student would probably have been using more bow.
Sure looks fun🙄 I think the Navy Seals are easier. But honestly, this is the most human I've ever seen him. He's actually very involved in the teaching. For those marvelling that he can also play the piano...I once spoke to Brooks Smith, the accompanist here. I asked what it was like working with Heifetz. He laughed: "Very difficult! He knew the piano parts better than I did, and he could play them better too." It's interesting to watch the very best who ever lived teaching his craft. His mind is just as impressive as his fingers.
i dont play the violin, i just happened upon one of these videos as you do on youtube now completely obsessed with heifetz what a musician what a total master
I'm not a violinist either but damn, this man has this sort of aura of being proficient and expecting proficiency from those around him. He's fascinating!
The girl playing the first movement of Bach's Violin Concerto no. 1 (with Heifetz at the piano) is Carol Sindell, who was 14 or 15 at the time. Sindell, who still performs and teaches today, was then the youngest student taken on by Heifetz. The Maestro wasn't as hard on her as he was on his older students, as he knew she would take it badly. This rare (for him) kid-gloves-treatment of a student (by Ms. Sindell's later admission) worked wonders for her.
Thanks for the comment. I wondered, but I figured he had decided to take students at varying levels. I would have been terrified to play for him when I was at her level. I wouldn’t be terrified now, not because I’m a great player but because I’ve largely lost fear.
@@quokka585 Yes I was but not the last.1973~ for 4 years, at the U.of Southern Cal. I am now living in Korea. My playing is on youtube, in the name simon young kim. Did you have any question regarding Heifetz? Or are you a violinist?
The last violinist has excellent technique, but Heifitz is correct in the need for a lot more bow to give each note more meat! He must have had a wonderful career. And he was less nervous by Heifitz than Claire Hodgkins. Poor Claire was understandably a nervous wreck.
44:22 "It sounds a little panicking..." "More bow!! ... Nobody is rushing you. Nobody is after you." (But somebody is in front of him...) PS: More bow!!
Not sure where you are coming from. Heifetz was an incredible musician, with a lot of emotion. Just listen to him, and not watch his movements. Hilary Hahn has the same criticism. Totally not justified. Both are incredible artists.
Almost all the great violinists play the piano, too. It often helps understanding peaces and for many people it is considered an important part of musical education.
Especially important to learn the fundamentals of the music as it can take a long time to just learn to bow even and straight and play in tune on the violin
Obviously a unique opportunity to work with Heifetz. BUT, does anyone else agree with me in being a little taken-aback at how joyless the whole thing seems?
Old school teachers didn't exactly crack too many jokes in class. Today's teachers do their best to put the students at ease. But Heifetz believed facing nerves is an essential part of playing in public, so he let it stay. 😅
It had to be hard to have a master class with Heifetz on a piece that Heifetz owned (the Tchaikovsky). The young man did OK (actually more than OK!) and I am sure learned a lot. What fun to watch. I also came away with a better appreciation of the concerto and the maestro. Thank you for this video!
Calling gifted mortal humans God ... And no faith in the real living and revealed God. It's a crazy upside-down world today. Stick to this nonsensical error and it will have the highest price for you. For Heifetz's grace won't save you!
16:08 Gitlis was the 12 minute performance. Poor Ivry, he always sounded like he was running to catch a bus before it rounded the corner. Rosand was the 18 minute one, holding up all the phrases and doing tons of rubatos.
This man went all over the world . Is Dont pronounced with T . He probably learned French before he camer to the U.S. If he was at a masters class in the U.S . the Asians would be playing this stuff as well as any professional . I wonder what head of Violin department she became . I'd like to see what he'd think of the super musical virtuosi we have today ! He had a style unlike anyone and you ususually know his sound . The Strad he had must have been very special !
Waait , isn t dont 5 supposed to be in detache I just edited to express my gratitude to the extraordinary musician , artist and teacher Heifetz becouse he existed, and look at us still being able to learn from the master so many years later with the help of this type of content .
Yeah, the interesting part starts at 17:00 when Heifetz tries to teach his (very good) student, how the passage should be played. The only bad thing is: nobody else could play this passage as Heifetz could. So the student finally failed, but on a very high level. As it is true for many of his masterclasses.
HE Heifetz era diciplinado e meio militar mas ate hj ninguem pega o cara nas escalas e perfeiçao de dedilhado com arcadas conometradas como foce uma maquina e tenho sertea dedepois dele muitos tento copialo mas e durezza hehehe
Insult+Injury=Hearing Heifetz play+being in his master class. Hearing Heifetz as a child was demoralizing to me as a young violinist. How could anybody even hope to play like that? And yet, that was how it should be played. Somehow I managed to keep making half-ass attempts.
Eric Friedman later became professor of Yale. Tall blond Claire Hodgkins became assistant to Heifetz. Pierre Amoyal well known soloist and professor in Europe.
Here is one of the answers: drive.google.com/file/d/11aVzgooiO4EPfuavsvgc4W13qncj-7ss/view?usp=sharing Bartok, Sonata #2 drive.google.com/file/d/1MHxwFIqgbE8UNAKPWnj5mLEp3bsg2szu/view?usp=sharing Dvorak-Kreisler Slavonic Dance (1972) drive.google.com/file/d/1lZ6zzj2pWqd6PPgv915hajBtXQopLR2X/view?usp=sharing Julien Francois Zbinden: „Rhapsodie” I won the price for the best interpretation of a Swiss work in Geneva. drive.google.com/file/d/1APT8JioqMToyhGeNLeP29MsKQgElsyMA/view?usp=sharing (Paganini capriccios 13 & 9) drive.google.com/file/d/1JmZCdygCoBiMBUVlGJriQrF_ed_waB8P/view?usp=sharing Prokofiev and Szymanowski Studio Recording Baden-Baden drive.google.com/file/d/1urhQGkRQogaA_5shQa8TOF_97049G1L8/view?usp=sharing Havanaise - live - Mpls… 1971? drive.google.com/file/d/1BaMUVfbgdHzYsMCX6HX4jEn_nKSm_12e/view?usp=sharing Sinding Suite live Mpls recital drive.google.com/drive/u/0/folders/1Zjj_NJRsxRscX-9uazrbIxiUOjgnKlhb Achron: Stimmungen & Hebrew Lullaby drive.google.com/drive/u/0/folders/1Zjj_NJRsxRscX-9uazrbIxiUOjgnKlhb Bruch: Concerto No.2 in A-minor 1st m. drive.google.com/drive/u/0/folders/1Zjj_NJRsxRscX-9uazrbIxiUOjgnKlhb Alexander Tcherepnin: Duo Concertante with Leonhard Wallisch cello drive.google.com/drive/u/0/folders/1Zjj_NJRsxRscX-9uazrbIxiUOjgnKlhb Brahms: Double Concerto with the Minnesota Orchestra, S. Skrowaczewski, Tony Elliot cello drive.google.com/drive/u/0/folders/1Zjj_NJRsxRscX-9uazrbIxiUOjgnKlhb
drive.google.com/file/d/1MHxwFIqgbE8UNAKPWnj5mLEp3bsg2szu/view?usp=sharing Dvorak-Kreisler Slavonic Dance (1972) drive.google.com/file/d/1lZ6zzj2pWqd6PPgv915hajBtXQopLR2X/view?usp=sharing Julien Francois Zbinden: „Rhapsodie” I won the price for the best interpretation of a Swiss work in Geneva. Sinding Suite live Mpls recital drive.google.com/drive/u/0/folders/1Zjj_NJRsxRscX-9uazrbIxiUOjgnKlhb Achron: Stimmungen & Hebrew Lullaby
the technique of the last violinist is amazing. however, i suppose, when Heifetz says more bow, he means actually more music. he didn't catch this point.
I personally think he just literally means using more bow because the last player indeed uses very little bow and the notes from the player are squeezed.
I know nothing about playing the violin but these are presumably quite advanced students. The girl's scales starting at 2:00 seemed pretty ropey to me - were they quite difficult?
Yes. They're octave scales, and more importantly, the arrangement of the fingerings makes them more difficult to play perfectly in tune. I should also mention that with octave scales, even small errors are noticed much more than in a normal scale.
octave scales are always a problem for violinists!!! you don't really even need to do them....in my opinion... it's a virtuosic technique that is really sparely used. when they're used, it's not for a really long time, so you could just practice that particular part...sibelius or ysaye 6 for example, contain fingered octaves. I don't think a violinist ever uses fingered octaves in orchestral repertoire?
You have to remember these people are playing to be critiqued by (almost objectively) the greatest violinist alive. So just imagine what's going on in their heads. "He's going to notice if a play a note the slightest bit flat even if i don't notice myself, he probably thinks I have really poor tone quality because I mean I'm obviously nothing compared to him, is my posture just right - probably look like I don't know what I'm doing, I can barely even believe I'm getting to meet this guy, I should have practiced more..." And on and on and all these thoughts are running through her head and she's getting really nervous and can't focus. It's like when you're trying to talk to someone that you're intimidated by for whatever reason and you can just barely even put sentences together.
Also the spacing between the notes the higher you get becomes much closer. Much harder to play in tune. And the octaves, well the spacing is continuously changing too. Takes a lot of muscles memory. Not short cut to getting it down.
It looks that Heifetz gave only advice when students played music pieces that has more technique challenges. He did not gave any advice to the first two women. He did not say a word to them😔
