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Pinchas Zukerman on the bow arm as your bank account.

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Pinchas Zukerman talks about an importance of telling a story through playing. Working on Wieniavski "Faust" Fantasy and demonstrating essential bow strokes in Bach Presto.
Dorothy DeLay MasterClass Series organized & directed by Dmitri Berlinsky- Artist Teacher, Professor of violin at the Michigan State University College of Music, presenting renowned musicians sharing their insights with emerging young artists in interactive conversations.
Graphic design & video editing by Austin Burket.
Subscribe for the other editions of Dorothy DeLay MasterClass Series:
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Shlomo Mintz on the art of practicing
• Shlomo Mintz on the ar...
Pinchas Zukerman demonstrates excerpts from Sibelius, Tchaikovsky and Beethoven concertos
• Pinchas Zukerman on Tc...
Discussion with Vadim Repin
• Discussion with Vadim ...
Pinchas Zukerman on learning from the great masters and being a "sponge"
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Anne Akiko Meyers on the practice routine
• Anne Akiko Meyers on t...
David Kim on the practice routine
• David Kim on the art o...
Dmitri Berlinsky on Mozart Concerto
• Dmitri Berlinsky on Mo...
Vadim Repin on teaching, learning and performing
• Vadim Repin on the art...
Dmitri Berlinsky on Bach Chaconne
• Dmitri Berlinsky on Ba...
Philippe Quint on Tchaikovsky Violin Concerto
• Philippe Quint on Tcha...
Masao Kawasaki on competitions, auditions and important qualities of musical development
• Masao Kawasaki on comp...
Shlomo Mintz on Paganini
• Shlomo Mintz on Paganini
Philippe Quint talks about practice routine and Dorothy DeLay
• Philippe Quint on the ...
Shlomo Mintz talks about Dorothy DeLay
• Shlomo Mintz talks abo...
Shlomo Mintz on vibrato
• Shlomo Mintz on vibrato
Chee-Yun talks about Dorothy DeLay, the practice routine and YCA
• Chee-Yun talks about D...
Masao Kawasaki talks about Dorothy DeLay
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Vadim Repin talks about his Trans-Siberian Art Festival
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Опубликовано:

27 авг 2024

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Комментарии : 14

@alexsaldarriaga8318 3 года назад

Wonderful insights from the master. Love to hear his anecdotes about my heroes, Heifetz and Milstein. This very brief video is jam packed with great advice. Thank you!

@heymambo 3 года назад

He is so funny 😄 good master and fantastic musician!

@semrabahcivan8627 3 года назад

Such wonderful lessons and live philosophy thank you so much

@violinhunter2 3 года назад

Intonation, Sound, and Rhythm,...that's it. Scales and arpeggios will get you there but,...how do you keep from just playing the veneer of the music, instead of the heart and soul? It's like going to confession in front of 2 thousand people.

@sololinist 3 года назад

Should the right pinky be directly on top of the stick or slightly on the inner diagonal of the stick to prevent slipping over? And why?

@Lamadesbois 3 года назад

I have heard both recommendations. But here is my view on the role of the pinky. Since the frog is heavier than the rest of the bow, when we travel from the frog to the tip, the weight that the bow transmits to the string decreases. In order to get an even sound, we shall try to apply the same weight on the string at every point of the bow. So the right hand has to compensate the loss of weight in a continuous, proportional manner. The _doorknob_ technique, also called pronation/supination of the hand is a convenient way to manage this compensation. The closer we get to the tip, the more the hand leans on the index finger to compensate the loss of weight. Reciprocally, when we go from tip to frog, the hand rotates progressively leaning more on the pinky. So to answer your question, maybe you could experiment with the pinky placement that offers you the more seamless weight transfer as well as preventing you from dropping the bow. If you want to dive deeper into the subject, you can search the web for _supination bow hand violin/viola_ . Also if you want to get a feeling of the influence of the frog weight on the string when bowing, you can try holding your bow by the tip, with the frog on the left side. Unusual sensations guaranteed!

@sololinist 3 года назад

@@Lamadesbois great insights. thank you. position the right Pinky in such a way that allows the smoothest transition of weight? Let's chat more on Facebook Messenger. say hi to me there: Sean Lee Child what's your name? Any critique on my violin playing?

@noramiyako5618 2 года назад

7:00

@antekketna7080 3 года назад

No glissandos, please. No over vibrato, please. It sounds unsteady and archaic. Crying color...well maybe

@alexsimmons8953 3 года назад

Thank you so much for saying this! I was so disappointed that I was only hearing the words of Zuckerman. But now I get to hear from the great Antek Ketna!!! Please share more of your incredible insight, the world holds its breath...

@antekketna7080 3 года назад

@@alexsimmons8953 Alex, your sarcasm is as cheap as Z. soppy glissandos in your video. BTW I do like a lot Zuckeraman's playing. His recordings are wonderful and free from exaggerated vibratos and glissandos. I don't understand, why is he showing wrong emotions to a student.....

@hang10244 3 года назад

@@antekketna7080 You made a great joke of yourself.

@antekketna7080 3 года назад

Why don't you try to understand my point of view. It is easy to make statements without any arguments. Your post is lam-eish julian lam

@alexsimmons8953 3 года назад

@@antekketna7080 ... the entire point of a masterclass is for the “master” to share their interpretation and allow the student to think about the piece in a fresh way. Zuckerman is doing just that. Nathan Milstein once told him that he played Mozart too sweetly, to which he replied. “What can I do, I’m Zuckerman”. Music is not an equation with right and wrong, and you thinking that your interpretation is somehow more correct was annoying.