Henryk Szeryng Violin Mastercourse 1974 - Bloch, Bach, Mozart

[@yakimafernandez5246]

'You do not need to play the violin exceptionally brilliant to make music.' What a great thing to say.

[@fcopaja]

12:38

[@lukashf8440]

he says this as a compliment but i don't know if i would take it as such😂😂

[@ts13579_texas_usa]

Ha. Yeah, right. What would Szeryng, of all people, know about not playing the violin exceptionally brilliantly?! :-)

[@gerrykan3437]

Dear Daniel, thanks for this and your other videos. I have learnt a lot from them. Here is the transcript in English, although there are parts of the dialogue that are not very clear to me. Perhaps I will fill them in as I have more time to listen to it more carefully in the future. [00:43 After Nigun] [Szeryng to the students] Come closer. We have no contact, the communication is not there. You must come very close. [Two / three more sentences ???] [01:07 Tuning] But very seriously, a recommendation only for strings. It is terribly difficult to tune. It is a hard recommendation, my colleagues who have listened to all the orchestras imaginable. When one would like to tune with the lower half of the bow, one will be doing it in forte. [Szeryng imitates tuning with the lower bow] The result, one hears absolutely nothing: First conclusion. [Laughter from the audience] But something even worse. When one changes the bow too often, and left hand [adjusts the pegs] continuously, then one does not know where one is anymore. If so, then change the bow very rarely. [Szeryng tunes the violin] Besides, [the following] is an excellent exercise for the nerves, a natural test of the nerve. Because it is a much easier maneuver when one is nervous. [Szeryng tunes the violin again with short, alternating bow strokes] It sounds like a joke, but it is a bitter truth, and I highly recommend smooth tuning. [02:38 Bach Concerto in E Major] So, now comes the famous, much feared, and brilliant Concerto in E-major by Johann Sebastian. [Student plays] First criticism: Too romantic. It is an accusation but not an angry one. I will imitate you. You played [like this] [Szeryng imitates playing] It is not ill-meaning, but I would like you [the students] to simply break the habit of being excessively romantic on Bach, and I am certain that you do it immediately. [Szeryng continues playing] [5:10 Mozart Concerto No 5 in A Major] [Student plays] This violin concerto is already an introduction to the great concertos of Beethoven and Brahms. It is a symphonic work, and so it must be contemplated as such. As criticism number one [to another student], please say it aloud. [Student announces] Short eighth notes. Short eight notes, yes. Now we shall not forget that Mozart was a great man of opera. In Mozart, there is not only a theme, a second theme, a third theme, a fourth theme, development, recapitulation, etc.. In Mozart, there are human forms and from these forms have each a distinctive character. We will somehow attempt to analyze [this piece]. So, first this gorgeous Adagio, the entrance. [Szeryng tunes] One more minute rather for tuning correctly. [To the pianist] You may play the last three bars of the tutti. [Szeryng plays after a pause] [Two comments while playing ???] Now comes the Allegro aperto, which we already had in tutti at the very beginning. And it goes as follows. [Plays after a false start] [While playing] Without crescendo ... etc. [then stops] I would like that Prof. Schwalbe comes closer for the shooting, [Prof. Schwalbe] Why? So that we can play together. [Prof. Schwable] No no [muttering] We are going on holidays together this evening, this I would like very much. [More muttering from Prof. Schwalbe] The same character of the first tutti should be expressed in the second Allegro aperto. In other words [to the students] [Student] Gracefulness Yes, gracefulness, go on. [Student] Dynamic differentiation Dynamic differentiation [Student] ... and ... But it is all there! What do we have on the score? There are fortepianos everywhere. [Szeryng continues playing] Now [???] again Second [???] Second violin [???] [11:04 Bach Double Concerto in d minor] [Students play followed by applause from the audience] I would have to say this, and at the same time it is an idea and perhaps a reminder. One must not be extraordinary brilliant in violin playing in order to make music, and this is the most beautiful compliment I can give to these children. [End]

[@violinhunter2]

Szeryng could conduct masterclasses in six languages. I heard him live only once - he played the Bach E major and the Beethoven concertos on the same program - it was unforgettable.

[@CLASSICALFAN100]

RIP Henryk Szeryng (1918-1988), gone 'way too soon: kzbin.info/www/bejne/aYHbpmCvfMd9h7s

[@philnewton4844]

I saw him in rehearsal with the RLPO ,about 1961.

[@Deadbushfan1618]

Which 6 languages?

[@violinhunter2]

@@Deadbushfan1618 Polish, German, French, Italian, Spanish, and English.

[@yvonne2546]

Just incredible that he made the master class a public event. Not even Heifetz allowed that. And he speaks quite slowly so all his students understand him. I fell in love with his Deutsche Gramophon Bach Sonatas & Partitas record album when I was learning to play the violin. Decades later I found a copy of his B S&P book with his bowing and fingering. Gosh, was the music a challenge. Thank you so much for uploading the film to KZbin. This video is the first occasion I have seen him play "live." And of course of hearing him speak.

[@mbwilson2625]

Vladimir Horowitz did the same. I attended one in 1979. Amazing......

[@SallyGordonMark]

I am a musician, but I never was crazy about listening to the violin until I heard him play. The tone he made was exquisite.

[@last9bars]

I arrived with Szeryng with Bartok 2 and unaccompanied Bach (old school)

[@susanamelody7319]

Wonderful Henryk!!!!!!❤

[@Ploutvonozec]

I love English titled videos which are actually in another language and not subtitled. For example "Maxim Vengerov interview" which gives you some порусскы непонемаю and this "Mastercourse in Berlin Henryk Szeryng with Bach and his friends" which ended in some Deutsche ich spracht nicht kann wenn is das Nunstück git und Slottermayer.

[@ivyssauro123]

Exactly 😂😂😂

[@pmilane8814]

Luckily i speak German

[@adamcathcart]

wonderful opening point about using tuning on stage as 'Nervenprobe' -- keep calm, tune relatively quietly and with a steady bowstroke

[@ephorntube]

It’s amazing what was not considered Romantic for Bach many years ago.

[@lada8886]

Почему сейчас так не играют ?!Обожаю старых мастеров !

[@AnnaKarkowskaVirtuoso]

Thank you so very much for sharing Szeryng !! He was not only one of three LAST TRUE VIOLIN VIRTUOSOS WHO NOT ONLY PLAYED PAGANINI AND ALSO RECORDED IT BUT ALSO A HERO !! HE SAVED FROM GERMAN HATE DEATH SENTENCE IN 1941 AS ASSISTANT TO GEN .SIKORSKI 4000 PEOPLE !!! FOR THAT HE HAD DEATH SENTENCE BY NKWD AND COULD NOT COME BACK TO POLAND FOR MANY YEARS !!

[@Deadbushfan1618]

Who were the other two great virtuosi? Never heard of such a trio of greats.

[@jirinovak1330]

dękuji za vynikajīcī svętovė nahråvky!

[@sobrikey]

Thanks for this !

[@mojamal141]

Thanks for Sharing.

[@TheNeilsolaris]

Thanks for Szerying!

[@ivyssauro123]

Really cool footage, I wish it had subtitles tho I don't speak german

[@violinstockholm]

Great!!! Thank you so much!!!

[@FodorPupil]

Wait, he sounds like everyone else...or so we were told. *sigh* Szeryng is AMAZING.

[@PaperGrape]

Yeah, Perlman put dirt on his own name with that. Not sure what he was trying to accomplish.

[@martinszemberg-goldgraber8772]

PaperGrape what did Perlman say about him?

[@PaperGrape]

@@martinszemberg-goldgraber8772 that he sounded like everyone else

[@martinszemberg-goldgraber8772]

PaperGrape where? Was it an interview?

[@PaperGrape]

@@martinszemberg-goldgraber8772 Geez oh man, noone trusts us, William... Look up 'The Art of Violin' documentary. 1:24:35

[@sumedhprasad1484]

WHere can one find the whole video? There is so much to learn there. Thanks for sharing this.

[@joetred]

Very nice. Unfortunately my German isn't good enough to understand half of what Szeryng was saying.

[@gijsphilip]

No problem. He's speaking a lot.....

[@yvonne2546]

@@gijsphilip Lol.

[@penelopewhite5074]

Je tout le temps j'ai savez du M. Szering pense tres bien du lui. Il etez beacoup suestimitez grand violinst( Heifetz et Menuehin,etc.caste une ombre sur le grand talent il avez.)

[@roiehay7547]

I wish this video had an English translation

[@leegeon2096]

the chinese girl played so beautifully

[@yvonne2546]

He said she played Bach as if he were a Romantic composer rather than a Baroque. Plus she used the entire bow and played loud throughout without nuance. I really like his teaching style. Wish I could have taken a class with him (not a master class; maybe good intermediate :)).

[@jesusmon2060]

Según una prestigiosa profesora de violín americana, Heifez no sabía tocar el violin

[@princehazarika5440]

I wish there were subtitles :(

[@qwertylife1158]

Cool❤️❤️❤️🌷

[@milesandolivia]

Was that Michel Schwalbe making a comment at the beginning of the segment?

[@lukashf8440]

please do you have the rest of this footage🙏🙏

[@alsinbad3772]

what is the name of the song that starts on 11:04? Thank you very much

[@petardundjerski2245]

J. S. Bach’s Double Concerto for two violins in d, first movement

[@johnphil7171]

the entire video is available on DVD?

[@MrDagobert123]

Who was the man that got out of his seat in the audience? What’s his name?

[@bernhardlebeda8366]

That was Michael Schwalbé, leader (concertmaster) of Berlin Philharmonic. Excellent player! I wonder what he thought when Szeryng explained also "to bis colleagues in the orchestras" how to tune a violin! He could be so painful at times. I was more impressed by his use of the language and his impeccable german accent as to what he actually said. Nothing to wrote home about and way to much playing himself showing off how well HE could play the stuff. The poor students gazed at him having obviously no idea what he was driving at.

[@egon4593]

@@bernhardlebeda8366 Well, I must say that Szeryng was absolutely right. All musicians in all orchestras of the world simply tune far too loud. It' s not good for the nerves, not good for concentration and not good for musicality. You can even see it at Schwalbé himself. After all the years in the orchestra, he had totally forgotten how to pronounce his own name. It' s a tragedy.

[@arturtarnowski4023]

Any version in English? Thanks anyway:)

[@MadonnaxJ]

Anyone know what Szeryng is playing in the very beginning? Is this Bloch?

[@jeanparke9373]

Ernest Bloch - Baal Shem Suite (Portraite of Jewish Life), No.2 "Nigun (Improvisation)" Try Kogan and Perlman as well!

[@rudolfbilbao6695]

Gitlis version of nigun is incredible!

[@daniel3231995]

You have to sub this

[@wolfie71231]

michel schwalbe at 9:29

[@TheOperamore]

What is he playing in the begining?

[@cristiandesaviolin]

TheOperamore Bloch - Nigun from Baal Shem :)

[@DagOnFire07]

Great advice especially about the Mozart (imagine different singers). Is it just me or was the Bach Double quite out of tune?

[@Treebard]

Not just you.

[@dankoppel6271]

What is the Bloch piece?

[@annajeehee]

English please

[@oldmanandthesea7039]

When you compare the way Heifetz and Szeryng conduct their masterclasses, you have to admit that the former is the God of violin, while the latter is just one of us! 🤓🤓🤓🤓🤓

[@daniel3231995]

Girls bach is so constipated

[@artysanmobile]

Kaiser Gidorah She’s a student. She is learning, yearning to improve. I admire the courage it took to be there at all, revealing her inadequacy in front of a master, her peers, and the audience of presumably parents. Yes, she had a very long way to go and likely found a different vocation. Participating in a master class is a deeply humbling experience, with many of the lessons having nothing to do with technical skill.

[@cooldude5699]

Szeryng was a bit past his prime here. His vibrato had become slower and bow control started to wane.

[@clivemossmoon3611]

lol

[@warandcheese]

@@clivemossmoon3611 lol indeed haha

[@mariusfelixlange6709]

What is bad about a slower vibrato? Maybe he found out that it corresponds more to the cantabilità of the music? Like Oistrakh did in his later years? Or Hadelich in his younger years?