Pinchas Zukerman in an inspiring MasterClass

Pinchas Zukerman on almost everything one needs to know about the violin playing. Nearly three hours of invaluable guidance, demonstrations, storytelling on learning from Galamian and many great masters such as Milstein, Heifetz, Stern, Kogan and Roisman.
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: bit.ly/BerlinskyViolinChannel
00:02:29 - Wieniawski «Faust Fantasy» (Allegro Moderato part)
00:06:48 - The importance of the fourth finger
00:12:16 - Chinrests, shoulder rests and their effect on the posture
00:21:43 - Wieniawski «Faust Fantasy» (Andante ma non troppo part)
00:24:31 - The concept of the musical statement
00:28:59 - On Milstein’s «voice» shiftings
00:29:57 - «The bow creates the color» (exercises on different arm application)
00:37:24 - The Importance of the bottom note (octave technique, ensemble playing)
00:41:15 - Leonid Kogan’s exercise on bow control
00:44:15 - Intonation as a sound expression
00:48:58 - Beethoven Violin Sonata no.9 1st mvt
01:00:55 - Tempo relations as a golden rule in architecture
01:09:57 - «Sforzando» in Beethoven’s music
01:12:33 - The revolution of Beethoven’s music
01:22:02 - Pizzicato techniques
01:32:13 - Acoustical and musical aspects in piano-violin duets
01:36:28 - Exercises and the concept of the vibrato
01:40:20 - About the practicing routing and playing scales
01:44:41 - On double stops
01:47:14 - The brain capacity and the secrets for the efficient practicing
02:06:51 - On his extraordinary mentors (Isaac Stern and Beethoven Violin Concerto)
02:10:02 - On his extraordinary mentors (Ivan Galamian and Tchaikovsky Violin Concerto)
02:18:47 - The idea of the sponge
02:20:01 - On finding the right fingerings and shiftings
02:24:08 - About his teacher Ivan Galamian (Mr. G)
02:28:50 - Preparation for the concert and superstition

Q&A with Itzhak and Toby Perlman
• Q&A with Itzhak and To...
Pinchas Zukerman on the art of practicing
• Pinchas Zukerman on th...
Cho-Liang Lin on the art of practicing
• Cho-Liang Lin on the a...
Pinchas Zukerman on treating the bow arm as your bank account
• Pinchas Zukerman on th...
Shlomo Mintz on the art of practicing
• Shlomo Mintz on the ar...
Discussion with Vadim Repin
• Discussion with Vadim ...
Pinchas Zukerman on learning from the great masters and being a "sponge"
• Pinchas Zukerman on le...
Anne Akiko Meyers on the practice routine
• Anne Akiko Meyers on t...
David Kim on the art of practicing
• David Kim on the art o...
Dmitri Berlinsky on Mozart Concerto
• Dmitri Berlinsky on Mo...
Vadim Repin on the art of practicing
• 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
• Masao Kawasaki talks a...
Vadim Repin talks about his Trans-Siberian Art Festival
• Vadim Repin talks abou...
#zukerman#dmitriberlinsky

[@Berlinsky]

00:02:29 - Wieniawski «Faust Fantasy» (Allegro Moderato part) 00:06:48 - The importance of the fourth finger 00:12:16 - Chinrests, shoulder rests and their effect on the posture 00:21:43 - Wieniawski «Faust Fantasy» (Andante ma non troppo part) 00:24:31 - The concept of the musical statement 00:28:59 - On Milstein’s «voice» shiftings 00:29:57 - «The bow creates the color» (exercises on different arm application) 00:37:24 - The Importance of the bottom note (octave technique, ensemble playing) 00:41:15 - Leonid Kogan’s exercise on bow control 00:44:15 - Intonation as a sound expression 00:48:58 - Beethoven Violin Sonata no.9 1st mvt 01:00:55 - Tempo relations as a golden rule in architecture 01:09:57 - «Sforzando» in Beethoven’s music 01:12:33 - The revolution of Beethoven’s music 01:22:02 - Pizzicato techniques 01:32:13 - Acoustical and musical aspects in piano-violin duets 01:36:28 - Exercises and the concept of the vibrato 01:40:20 - About the practicing routing and playing scales 01:44:41 - On double stops 01:47:14 - The brain capacity and the secrets for the efficient practicing 02:06:51 - On his extraordinary mentors (Isaac Stern and Beethoven Violin Concerto) 02:10:02 - On his extraordinary mentors (Ivan Galamian and Tchaikovsky Violin Concerto) 02:18:47 - The idea of the sponge 02:20:01 - On finding the right fingerings and shiftings 02:24:08 - About his teacher Ivan Galamian (Mr. G) 02:28:50 - Preparation for the concert and superstition

[@mishpatim123]

This dedication, the results from his teachings, eth are just amazing. A natural yet able to explain things with more than enough empathy to be an excellent, highly enthousiastic teacher.

[@alexsaldarriaga8318]

“Maria Callas. Maria Callas.” That’s all any violinist needs to hear. The rest is icing on the cake. Students are better off listening to Callas than to, dare I say, Heifetz - especially when studying the Carmen Fantasy. Heifetz was really a singer who happened to play violin. Pinky knows that the greats make the violin sing. Thank you for this wonderful reminder!

[@user-sr3ce7mp7n]

Every word is a piece of gold! Thanks mucn

[@heatherepstein2877]

Amazing class for collaborative pianists as well!! Thank you for making this available.

[@enzocypriani5055]

Thank you very much!

[@vlad9076]

Dear maestro, you are the best!

[@gribmuse5686]

Спасибо огромное! У Вас бесценные видео!

[@stephenkormanyos766]

Thank you so very much for this extraordinary opportunity. Steve K.

[@juancaviolin3978]

Thanks for sharing!!!

[@froobly]

1:05:06: "The rit is inside the note." Mind blown

[@SimonStreuffViolinEducation]

The third part of this video is so valuable, that in my opinion you should upload in a separate video, so more people will get to it.

[@nataservant]

Thanks so much to both of you!

[@nataservant]

Actually of all of you, the players as well!

[@danarosu5833]

Thank you for your generosity!

[@stephanebelizaire3627]

BRAVO !

[@gabrielegiombini]

Grazie!!!

[@jasongregory9914]

Free. I just can’t get over it. I never have to wonder what it would be like to have a lesson with Pinchas Zukerman. This whole series of Dorothy Delay students is a treasure. Free. I just can’t get over it. Maybe it’s because I’m old. The door knob thing really helped to direct my bow hand. I didn’t know about it: (I’m sorry) it opened a door me. Please forgive me, I know it’s corny. But it’s true.

[@alexsaldarriaga8318]

Hi Jason. I loved your comment! I too am from the old school and am in shock that these great masters are sharing their insights and secrets for free. We’re fortunate, despite all the bad news, to be living in this era. Thank you to Dmitry Berlinsky and his wonderful guests for these priceless videos!

[@jasongregory9914]

Because we are older, we understand value better. When he was talking about the bell sound, it changed the way I was hearing my sound. Ringing a bell. I place a high valuation on that information, because it makes playing the violin more satisfying. The sound! I work in the trenches, giving lessons to student addicted to Minecraft.

[@justusforviolin2719]

@@jasongregory9914 yes, I agree and commiserate with you. But the fact that this info is out there and increasingly is being shared for free out of the kindness of people's hearts is wonderful. Also, though. Most of what's in these lessons (including also the Gingold, Galamian, Menuhin, and Heifetz, vids is only REALLY going to be able to be leveraged to full extent by dedicated students who have done the 4-5hrs a day practice journey for a while.

[@jasongregory9914]

@@justusforviolin2719 I should have left the Minecraft bit out. You’re right: you have to walk the trail a bit to see something special happen.

[@gavrinmahaffey3656]

Thank you for sharing this musical wisdom!🙏

[@Berlinsky]

Glad you enjoyed it!

[@Cest.La.Vie..]

I also like your accent, Zukerman. :)

[@kovacszsolt9067]

Yeeess,thank you!

[@muken48]

...She has a beautiful, logical, bow arm. She seems to easily absorb the knowledge that's being presented to her.

[@drjact]

A legend speaking from his heart was one of best teaching sessions I have had the pleasure to attend. My notes on this interview runs into many pages. Thank you sir. Much obliged to the organizers for the event.

[@notrobocapnombo]

Thank you so much maestro Berlinsky for sharing it! 😊👍

[@bachjs6182]

Thank you so much to both of you!!!

[@dosvidos5821]

Спасибо,Дима! Это уникальный мастер-класс для всех. И для тех кто учится и для тех уже преподает! Ах если бы ещё субтитры по-русски! Я бы смог своим ученикам настоятельно рекомендовать посмотреть это видео! У нас ,к сожалению, не все дети понимают английский... Да и не только дети)))

[@Berlinsky]

Можно попробовать в настройках включить авто- субтитры на русском. Конечно, будут неточности, но хоть что-то..

[@mnsolomche6813]

Субтитры это дополнительная работа. Я бы вообще предпочла синхронный перевод, ну то таке.. , не реально. ))

[@mnsolomche6813]

Очень содержательное видео. Специально посмотрела до конца. Несмотря на то, что английского не знаю, мне интересны показы Цукермана. Он говорит о своём учителе, и смешно пародирует его мимику. Все нотные примеры узнала, за исключением, может быть, одного (после квартета Бетховена какая тема была?). Главное - звук, ритм, интонация, легато, игра со струны, соединение струн, переходы в зависимости от ритмических группировок в произведении. Открытые струны и флажолеты не бояться использовать как краску. Игра гаммы в едином ритме разными длительностями. Никаких лишних движений в настройке скрипки, и в целом в игре. Пальцами на грифе не ёрзать, исправляя интонацию, а сразу ставить чисто. Точное прикосновение к струне, артикуляция. Осознанность и проработка малейших деталей.

[@naiaramos]

wonderful, thanks. Will it be posted longer , or is a direct?

[@Berlinsky]

Subscribe and stay updated on KZbin & FaceBook: bit.ly/DDMasterClasS bit.ly/DDMasterClasSFB

[@horizonforevergold]

No words to express the gratitude for sharing this, thank you Dmitri and Pinchas!

[@jorgevallin4836]

Amazing video... Pure love ❤️

[@Fepsfili]

Master, this is a need. Thank you Pinchas Zukermann. What a lesson.

[@leoluyendijk2201]

Zukerman - one of the great violinists/musicians/teachers of his era - but, THE GOAT violist - period (DeLay would have agreed I am sure).

[@SimonStreuffViolinEducation]

I am pretty sure he mistake KUN with Bonmusica, because that's not a KUN and Kun shoulder rests are by far not the worst. In opposite KUN shoulder rests are usually very light and not as much bent.

[@VictorMinchihLee]

Yes, Olga uses a Bon Musica, and Yuanmiao uses the KorfkerRest. Pinchas is a genius with such good insights in this video, but on this one he was totally off and wrong. That's what happens when one isn't familiar and expert on shoulder rests. It's not surprising though, since he is from the school of "no" shoulder rest. Ironically, the Bon Musica has some of the best support, so that really wasn't the source of the issue. I actually agree with his opinion of Kuns in general (but for the opposite reason); he lost some credibility (just on this topic) when he mixed his critique of the Kun with the Bon Musica. Perhaps he just wanted to share his Kun story? At the end of the day, each person needs to figure out the solution that works best for themselves. Pinchas is right that going to a good store to do hands-on trial with a range of different options is the best approach. He also underestimates the adjustment required to learn the different downshifting technique when one moves away from the shoulder rest. It's the Heifetz legacy talking through Maestro Zukerman.

[@SimonStreuffViolinEducation]

@@VictorMinchihLee I am on the same boat as Zukerman regarding the Bonmusica though. I think another factor is important when talking about chinrests and shoulder rests. There are options out there, that can provide you with the best support and hold the violin in a fixed position (like the Bonmusica). But the critique should be: "is a totally fixed position so achievable?", because 1. A fixed position can lead to harm to your body much more quickly because of restricted movements and 2. A fixed position limits your instruments movement capabilities. That is why I like the basic KUN shoulder rest quite much: 1. it is very light. 2. it can be adjusted so that it is very low and leaves much freedom for the shoulder and head to move. If I could, I would even play without a shoulder rest, but with 186cm of height it is not the same as for a smaller violinist. Soundwise though no shoulder rest is the most pleasing!

[@VictorMinchihLee]

I think there are a lot of misconceptions out there. I agree that the Bon Musica, because of its hook for starters, provides a sense of more “fixed” positioning, and that is not good for everyone. But in reality, the Bon Musica actually has more flexibility than people realize if properly setup. The issue I have is that people tend to oversimplify these assessments into absolutes rather than evaluating them on a scale. The Bon Musica does NOT necessarily totally fix the position, but it does make lateral movement on the shoulder a bit harder than, say, the Kun or KorfkerRest. I fully agree there. It is also a heavy rest and made with less desirable plastic washers. And overbent, it can create risks for scratching the violin. Regarding sound, I disagree with the comment that without a shoulder rest is always the most pleasing. Formal studies have indeed shown that the Bon Musica is one that alters the natural sound of the violin and overtone patterns (if memory serves). However, whether this alteration is a good or bad thing is subjective. In informal blind testing with different rests and violins, I have found that sometimes audiences prefer the sound with a Bon Musica vs. without it. Then there are other shoulder rests that have relatively minimal impact on the natural sound of the violin. All this assumes that the natural sound of the violin is the best - which is, again, not necessarily true for all listeners. Ultimately, it is the combination of our instruments, our strings, our bows, our rosin, our technique, and our accessories and fittings that IN TOTALITY form our unique sound. Many of us have accepted the arrival of synthetic strings as technology has evolved. Do they change the “natural” sound of a del Gesu used to gut hundreds of years ago? Sure. Some might say for the better. The same in some cases could be argued for some of our newer shoulder rest designs and options today. “Technological” change and advancement is not necessarily inferior. Again, my main point is that I don’t believe there are any single prescriptive answers for all players. In my opinion, the key is being open to trying a range of solutions and combinations until one finds the one that works best. General words of guidance are fine, but comments that lean towards absolutism in my opinion are dangerous.

[@SimonStreuffViolinEducation]

@@VictorMinchihLee I understand what you are saying and sure my opinion is subjective. But having an opinion doesn't mean, that there could not be exceptions or that experimentation is not desired. I experimented a lot with the setup (chinrest and shoulder rests) and came to some conclusions, which formed my opinion. I also worked with string classes, where I fitted around 40 shoulder rests each year to individual needs. We only had two options: KUN or Wolf. 90% chose KUN from the beginning. 5 % switched later. Regarding the impact on the sound the weight of the shoulder rest has a significant muting effect. I experienced that when I compared a (beautiful) wooden KUN shoulder rest with the regular plastic one. With the wooden shoulder rest the violin sounded so muted, I couldn't even believe it back then. But also more recent tests with these wooden rests had similar results. I think it is basic physics that everything we put on the violin will have a dampening effect to some frequencies. Regarding the sound of playing without a shoulder rest, there is so much more freedom in the vibration and so much more singing quality on the e-string, that I don't think that it is a question of taste, but of quality of sound. Of course when we play without a shoulder rest, we also have a muting effect from the shoulder touching the violin. So that plays also into it too. But in general the sound is much more pleasing in my experience. Giving that the instrument is healthy. The fact, that these suggestions are by no means my rules of do's and dont's, can be easily proofed, because I myself think that the sound without a shoulder rest does not make up for the amount of difficulties and health risks it brings for larger players to play without a shoulder rest. I am also very suspicious when a teacher tries too much to imprint their setup to every student and has a rigid opinion about shoulder rests. (More so if rather uninformed). One of my teachers said it very well: "You can play correctly with or without a shoulder rest". But I think every violinists should have experienced the feel of playing without a shoulder rest at some time in their career. The freedom it provides is something you should always strive for even with a shoulder rest attached. That is why I prefer the smaller shoulder rests and am very sceptical towards the Bonmusica. If anything I would say the more fixated the position of the violin, the better the adjustment must be and also has to be changed and reevaluated from time to time.

[@VictorMinchihLee]

@@SimonStreuffViolinEducation I think we agree on some of the points you raise, and I appreciate the dialogue. Like you, I have also personally (and for those with whom I have worked) tried numerous shoulder rests over the decades. Currently I use a KorfkerRest and BonMusica as my primaries on my violins (more often the Korfker) and a cheapo Everest as an emergency backup. For my viola, I use a Kun. Like your experience, I am not as big of a fan personally of the Wolf, but I can understand why it might work for some. Now regarding some of your points, you mention that you believe "the weight of the shoulder rest has a significant muting effect." This interesting research study (ttu-ir.tdl.org/handle/2346/72365#:~:text=The%20purpose%20of%20this%20research,the%20sound%20of%20the%20violin.&text=The%20study%20found%20that%20the,the%20timbre%20of%20the%20instrument.) actually suggests that weight/mass was not a significant factor. According to their data and measurements using multiple different violins and shoulder rests, "it was possible to achieve the same sound volume with all violins with the same easiness in all setups." Then the question becomes, ok, if mass/weight is not a significant factor, what about the impact on frequencies? Using Fourier analysis, that research team did find that different shoulder rests did change the balance across overtones. Note that the key is the *balance* was changed - and not that there was necessarily a universal reduction in overtones. Put more simply, there is this conception out there that you have articulated that shoulder rests mute the projection and dampen frequencies. This research suggests the former is incorrect and the second may be correct - but not necessarily in the way you (and many others) seem to think! The important question is: is the alteration in some frequencies and relative elevation of other overtones in that balance shift good or bad? The assumption you make is that it is a bad thing and a negative impact on the quality of sound. Both that research I cited and my own experience conducting various blind - and sometimes double-blind - tests reveals that actually the shoulder rest does NOT necessarily negatively impact the sound and actually can ENHANCE the sound or make the playing sound more appealing to some audiences. In a way, it is somewhat similar to the tailpiece issue. While generally speaking tailpiece mass and composition/material do make a difference, it is well established that the larger mass tailpiece is not always worse - and in some cases can even enhance the tonal quality of the instrument depending on the material used in it. Now, there is at least one one major outstanding question, and that is the effect that having a shoulder rest has on a player's confidence and comfort. One could argue (and this needs to be tested further) that unless you have a player who is truly equally comfortable playing with shoulder rests and without them - and there aren't that many who can honestly make this claim as usually one has a preference or more experience with one setup vs. the other - you may have an inherent player bias even in a double blind study. There are statistical ways to minimize this aspect, but the sample sizes of most studies to date (as far as I am aware) are not conducive to this adjustment. Finally, I agree fully with your point that a teacher should not - absent any data or other objective guidance - try to imprint a dogmatic perspective on shoulder rests to any student. I also agree that, for many players, one could indeed learn to play correctly both with or without a shoulder rest. There are different techniques involved (e.g., the thumb leading downshift that can help when playing without a shoulder rest), but they are learnable. I also agree that most competent violinists should at some point try learning how to play in both styles before landing on a final solution. To be clear, I am not saying a shoulder rest is better than playing without one. My point is that it is not necessarily clear that playing with one is inferior to playing without one as some seem to believe still - relying on concepts that scientific research seems to disprove or at least call into question.

[@tomatojuice12]

Thank you so much for posting this and sharing it. It's a treasure. I hope to see more of these, including cello masterclasses!

[@Berlinsky]

More to come!

[@Sweendog]

Hello, did you find a good cello masterclass? :) This is a excellent video! Thank you!

[@zantahofmeyr1096]

Thank you so much for this wonderful masterclass! What a privilege to be able to watch and listen to him.

[@hang10244]

What did Maestro Zukerman say at 2:16:49 when he imitated Jascha Heifetz? :)

[@rafaelregilio]

Every musician in this world, should watch it! It just changes your way to see the musical field, the musicians, the colleges, the masters and obviously, the music!

[@leonardoiglesias2394]

His way reminds me very much of Stallone.

[@christophgoldstein9084]

Wich korean shoulder rest does he mean?

[@froobly]

I want to know this as well

[@VictorMinchihLee]

I am not sure it was a Korean rest. Given he made multiple factual mistakes in his other comments on shoulder rests (not uncommon among practitioners like him of the Heifetz legacy who don't use shoulder rests), I would with all due respect not follow Pinchas' guidance on this. On musical aspects, he is extremely on point as the world-class player he is.

[@nobuujihara8801]

1:40:00

[@leonardoiglesias2394]

Zukerman can play the violin but he cannot explain how he does it.

[@Vaskoism]

Как можно связаться с маэстро? Очень бы хотелось исполнить свою давнюю мечту, а именно урок с Пинхасом Цукерманом!

[@cooldude5699]

How much does Zukerman charge for lessons?

[@agneschang5234]

I have always been a huge fan of Mr. Zukerman's playing -- and now of his insight on music as well! Though… I gotta say I'm not the biggest fan of his commentary of classical music practiced in China.

[@benjamintomasperezperez657]

2:10:14 lol

[@jenvogue5005]

pinchas zukerman isn't just racist to Koreans (his inferiority complex to Kyungwha Chung and envy of Sarah Chang is obvious), he basically tells the facilitator, it's cute you are trying to speak english.... wow....

[@user-sr3ce7mp7n]

Anything anybody say- people like you got offended! It’s just an old school humour, nothing more

[@jenvogue5005]

@user-sr3ce7mp7n no it's not. It stems from his inferiority complex to Kyungwha Chung

[@leonardobastos1945]

Catch = SCRATCHY SOUND

[@BorregOmar]

No at all it is the other way it just help you to control whether you want scratchy when it is needed or not

[@justusforviolin2719]

Catch means a consonant, which 90 percent of the time is what you want for clean playing (canon classical tradition playing that is).

[@justusforviolin2719]

Also, a bit of fluctuating nuanced hiss and grain under your own ear= beautiful warm lush sound at the back of a concert hall. :)