I was about to comment the same. AMAZING.

It has

@user-op6vy3gg2b Why do you say it distracts? Kevin doesn't seem distracted by it at all. And it's *his* feet; right? So, if anyone was going to be distracted, probably it would be Kevin Zhu himself.

it’s valse scherzo.. you instinctively follow the rythm and your body becomes one with music. If you are a musician you should know this feeling.

I'm on the fence here. Shifting from foot to foot is not a great stage habit but a lot of world class players do a lot more distracting things that this fellow, who is overall pretty conservative in his body movements. I mean just look at Gidon Kremer. Or, there was that time where Eberle got excited and just stomped on a hollow stage platform on a downbeat and it was like a drum, but it was also perfect.

@ermahgerd5697 My earlier comment notwithstanding, and all else being equal, I appreciate a very reserved performance style. Jascha H. taught us a great deal about lots of different things. It has been observed (by watching his behavior in masterclasses, for example) that everywhere, and not only in playing his instrument, he never moved any part of himself, or of anything else, more than the absolute minimum needed to achieve his carefully measured objective.

@@ts13579_texas_usa Yeah, me too. It is perfectly natural to feel a little bit affronted when a classical musician seems intent on showing with his face what can't necessarily be heard in his playing. I don't actually see that problem with Mr. Zhu, but we do see it fairly often. Yes, Heifetz was exceptionally still and economical, and even with the high bar of today's playing it's difficult to find players as precise as him, or actually as intelligent in interpretation- he may have been called schmaltzy in his prime, but was certainly not. He methodically reserved the most expressive playing for the structural apex of a piece in a way most do not, and this kind of sensibility is probably something that has deteriorated rather than improved with the passage of generations. These days everyone wants to be the most expressive player right out of the gates. Oh, and I think those infamous portamenti are actually very tasteful. Oistrakh was also very physically impassive, though his sound was brimming with nuance- more so than JH if you ask me. And yet, when Mullova was physically impassive we panned her as the 'ice queen.' What's with that?

Pure coincidence that you named 2 other Chinese cellists, I'm sure

>> Another yo-yo ma or jian wang. But what's even far more wonderful and astounding -- he's the *first ever*, one and only Zlatomir Fung!

no, no this is just a step further from those cellists who play violin transcriptions; Zlatomir is actually a violinist that plays cello pieces on the cello, and he's done it for so many years he's fooled everyone into believing he's just a cellist

LOL what a nice joke. Innocent people getting fooled lol@@noamginsparg92