Pinchas Zukerman: Violin / Viola Masterclass 2014


Pinchas Zukerman: Violin / Viola Masterclass 2014
The Britten Theatre at London’s Royal College of Music was packed with students, teachers and music fans eager to learn from maestro Pinchas Zukerman’s masterclass. Three young violinists had been selected to perform; Chieri Tomi from the Royal Academy of Music and Soh Yon Kim and Emily Sun from the Royal College of Music.

Le Britten Theatre du Royal College of Music à Londres était rempli d’élèves, d’enseignants et de mélomanes venus assister à la classe de maître de Pinchas Zukerman. Trois jeunes violonistes partageaient la scène avec lui dans le cadre de cet événement : Chieri Tomi de la Royal Academy of Music, et Soh Yon Kim et Emily Sun, toutes deux étudiantes au Royal College of Music.

Programme: (subject to change)

TCHAIKOVSKY Violin Concerto in D major, Op. 35: Allegro moderato
Chieri Tomi, violin (Royal Academy of Music)
Somi Kim, piano

WAXMAN Carmen Fantasy
Soh Yon Kim, violin (Royal College of Music)
Paul McKenzie, piano

BARBER Violin Concerto, Op. 14
Emily Sun, violin (Royal College of Music)
Paul McKenzie, piano

16 Comments

  1. That violin he has is hard friggin core… An older Guarnieri. Nice, dark, bold “in your face” sound Sounds totally different than most of the violins out there.

  2. How does Zukerman make so much more sound on the violin? Is it his the force on his bow he applies, his violin, or the fact that he is closer to the mic?

  3. It seems the first violinist is not listening to the nuances and expression he is trying to get her to play. She is simply concentrating on hitting the right notes.

  4. In regards with the question of Zukerman Big sound, 30% comes from the fact that his unique Guarneri and other 70% is for the fact his excellent bowing arm. However, his very heavy bowing( typically from Juilliard ) did have some drawbacks such as been heard in the playing of Beethoven sonata no9. Anyway, concert hall gets bigger and the taste of audience changes compared with the era of Nathan milstein.

  5. It is a sad thing that “orchestral society” prohibits/discourages cultivating this kind of sound as a primary one. Truly,after many
    years in an orchestra – (any orchestra) – most string players who had this kind of sound and approach when they won their positions – are
    shadows of themselves… Can you imagine what a violin section full of PZs would sound like??? Unlike any you could have heard so far…

  6. I’m a member of Korean Chamber Orchestra. I saw so many his masterclasses here in Youtube and also as live. But his ‘advice’ from beginning to 11:30 is really priceless. Really well said and there’s probably (almost) everything which he wants to give younger generation every time.

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