I love the way all the students are there before he is, and the second Heifetz walks in, they all stand up to pay their respects. That's how it should be.
You had one chance not to screw up. Or else bye bye. If you think that was strict, Auer was a terror. Many of Heifetz' quirks, like opening the gate 30 sec before the exact time, etc. were Auer's.
@violin614 I mean , usually it’s really up to the teacher to say what u play first . They let him teach them , so surly he has his reasons to start with whatever he feels like for each student
If he asked that to Milstein, as Ysaye once did, the answer would have been "Which one shall I play?" Those 2 Heifetz and Milstein, were a category of their own.
Believe it or not, scales are rather hard to maintain. Heifetz would demand scales in single notes, then all the double stops - octaves, fingered octaves, thirds, sixths, tenths -- in legato, staccato, spiccato, sautille - in any key. Chromatic scales. Harmonics. And 3 or 4 octaves. He asked them to play different fingerings and use different strings. Maybe in whole notes, half, quarter, 1/8th, 1/16th and even 1/32nd notes too. Now there aren't many things that are much harder than that. :D
@@OttoKuust's not stage performance itself. Heifetz could play anything he wanted on the violin at will, including improvising whatever he thought in his mind, playing any piece impromptu, playing even when strings were out of tune, doing completely unrehearsed concerts and chamber music and playing right out of the score. The scale mastery meant he never actually physically needed to practice more than a few hours a day - it was all done in the mind. He played 65 concerts in war zones without repeating any number but the Hora Staccato in crazy conditions where you had no luxury to practice or rehearse. For all his scale practice, Heifetz once thought Milstein was even better at playing scales than he was.
The benefit of being in the Heifetz master class is being able to say that you were in the Heifetz master class. Of course, you will already be a virtuoso in order to be accepted in the class. The hard work of instruction has already been done years before by the teachers who introduced the student to the instrument, taught them to read music, taught them to tune the instrument and so forth. The "instruction" Mr. Heifetz offers consist mostly of his own personal musical interpretation. Actually, some of his students play just as well as Heifetz himself.
He's not teaching the violin, he's teaching Heifetz : ) In the old medieval craft guilds, after an apprentice had learned his craft from a master, he would spend some time as a journeyman, traveling around to learn different ways of doing things from other master craftsmen. That's what I see here.
He is not teaching the violin, he is teaching Heifetz : ). In the old medieval craft guilds, after an apprentice learned his craft from a master, he would travel around as a journeyman, learning different ways of doing things from.other master craftsmen. That's what I see here.
This may be, but in many of his recordings Heifetz preferred to have the mic incredibly close to his violin, as to not lose the sound. Itzhak Perlman says this is one of the many reasons why people may not conceive Jascha's playing, listening to a radio than listening to him in a concert hall.
If you ask me, Heifetz's Chaccone sounds even better here when he demonstrates in the masterclass than the recordings, I can hear all the voices and the sound is well balanced. Can anyone tell me what he's doing from 9:00 onwards? It looks like he's putting more rhythms and even spiccato there. He puts many complex rhythms from 15:15 onwards rather than just play it 1-2-1-2 , he changes to 1-2-3-1-2-3 and then 1-2-3-4-1-2-3-4 (I think) at the end...it brings out many voices. Can anyone explain?
The variations are some auer/heifetz school variations and most probably not what bach intended. Bach wrote arpeggio and wrote the chords, Heifetz simply decided to break down the chords sometimes unevenly (like on the upbeat sometimes)
even if i got into his class, i wouldn't last the first lesson. too much tension and intimidation. nobody there is comfortable. i've had a couple of teachers like that, where you feel like you're on a tightrope, and the tiniest mistake gets pounced on, and you just can't play freely you're so tense.
He criticizes him for playing it exactly like segovia And every other Great classical guitarist. But I suppose if he wants you to play a certain way.Then you copy it so that you can pass the class.
Yes Bach played the violin well and used a shorter bow .Also the violins were not as loud with the flatter neck angle at the time. These players and Heifetz sound (sounded ?) very strident . Also Heifetz " recording of Chaconne stops very quickly on the last note. It`s hard to forgive him for that. Sorry to be so strict with him .
Maybe I have been living under a rock, but I didn't realize that Heifetz didn't use a shoulder rest. And as far as I can tell, none of his students do either. Is this because he makes them do it this way, or did they already not use one?
Heifetz hated shoulder rest with a passion. He firmly believed that the contact of a shoulder rest with the body of the instrument reduced the power and timbre of the instrument. So he advised against using them. I personally stopped using one not for the belief of "losing tone" but rather allowing the instrument to move while I play and not stay in one fixed point, allowing it to become an "extension" of myself and allowing freer mobility.
They used gut string core often at that time so tuning would loose often. My instrument does as well with pirarstro passione gut core. It doesn't really depend on the violin as much as on the strings (if they are old they will lose tuning more often)
I guess that instead of playing chords, he plays arpeggios: The first note of the rhythm is at first a single note ; he plays 1-2 Then it is a two notes chord ; instead of 1-2, he plays 1'-1"-2
If you type the japanese, I think they are japanese, characters that appear on screen while is saying what you want to understand you will indeed understand.
Well, his main point is to show the different voices as how they were meant to be, so not only the soprano to give it a name, but the alto etc as well. Nothing special, but mainly refering top the music itself.
Still the best recording: th-cam.com/video/SDSeRorHJAs/w-d-xo.html Otto Buechner knows what to do and how to play. And on the "normal" violin I have never heard it better than by Johanna Martzy: th-cam.com/video/Z0DzIBPSFjQ/w-d-xo.html
![[TH] 2024 PMSL SEA W1D4 | Summer | ละเอียดทุกเม็ด เพื่อเข้าไปเก็บคะแนน](http://i.ytimg.com/vi/W6i3u5r1Vbw/mqdefault.jpg)
I love the way all the students are there before he is, and the second Heifetz walks in, they all stand up to pay their respects. That's how it should be.
You had one chance not to screw up. Or else bye bye. If you think that was strict, Auer was a terror. Many of Heifetz' quirks, like opening the gate 30 sec before the exact time, etc. were Auer's.
That’s how schools in Asia do it even today
Yes culture should never ever change. We should also go back and use the manners and conventions of the year 1435
People don't do that nowadays.
Love the Beginning:
"Well, what should we play?"
"I practiced Kreutzer No. 15, Paganini No. 19..."
"Okay, we play the Chaconne then" :D
sounds like our violin teacher, keep us on our toes ...
Or Heifetz doesn’t like Paganini
@violin614 I mean , usually it’s really up to the teacher to say what u play first . They let him teach them , so surly he has his reasons to start with whatever he feels like for each student
@@Gangmaster2016 aww a@
That's what the best teacher does
His imitation is gold 😂 so serious & accurate, makes that even funnier.
Amazing that the students could all aford to wear suits and play a decent violin.
What that must have been an honor to be in a Heifetz class.
Heifetz has a sense of humor, a sign of true genius.
WHAT ARE YOU TALKING ABOUT?
LOTS OF RETARDS HAVE A SENSE OF HUMOUR
YOU HAVE A SENSE OF HUMOUR AND YOUR A NITWIT
@@roman14032 "your a nitwit"
@No Theory This does not discredit his point
I didn't know there was any relation between a sense of humor and genius.
This is THE GOAT. No debate. He could play any piece you asked. On the spot. And perfectly memorized. Love you Heifetz.
I mean, even his tuning sounds crisp, clean, yet warm and beautiful😂
Imagine having to play the most sacred piece ever written for violin for Heifetz O.O
"So, which of the Paganinis you have at your fingertips?"
"None of them..."
"Good, play seventeen"
Poor Erick Friedman
If he asked that to Milstein, as Ysaye once did, the answer would have been "Which one shall I play?"
Those 2 Heifetz and Milstein, were a category of their own.
Absolutely love the alternative ending to Bach Chaconne at 16:37. So beautifully played ❤
The audition imitation at the end was hilarious! A gem!
I didn't appreciate Heifetz as much as I do after seeing this video.....AMAZING teacher, love his wit, amazing era, love the suits, love the respect
Lindo d mais essa aula , somente em 2024 fui saber q esse gênio do violino da música um dia viveu entre nois , obrigado heifetz
I learn a lot from this Masterclasses,never to old to learn..
Believe it or not, scales are rather hard to maintain. Heifetz would demand scales in single notes, then all the double stops - octaves, fingered octaves, thirds, sixths, tenths -- in legato, staccato, spiccato, sautille - in any key. Chromatic scales. Harmonics. And 3 or 4 octaves.
He asked them to play different fingerings and use different strings. Maybe in whole notes, half, quarter, 1/8th, 1/16th and even 1/32nd notes too. Now there aren't many things that are much harder than that. :D
He was a MASTER performer and a MASTER "kickass" teacher ....mollycoddling isn't going to produce great violinists....
@@lotusbuds2000 Igor Oistrakh said his father David did not practice scales or etudes. He preferred to practice the music .
@@amezcuaist Yes, and Heifetz had better intonation.
@@OttoKuust's not stage performance itself. Heifetz could play anything he wanted on the violin at will, including improvising whatever he thought in his mind, playing any piece impromptu, playing even when strings were out of tune, doing completely unrehearsed concerts and chamber music and playing right out of the score. The scale mastery meant he never actually physically needed to practice more than a few hours a day - it was all done in the mind. He played 65 concerts in war zones without repeating any number but the Hora Staccato in crazy conditions where you had no luxury to practice or rehearse. For all his scale practice, Heifetz once thought Milstein was even better at playing scales than he was.
Браво Маэстро Хейфиц.👏👏👏💔💔💔
I find it fascinating in all of these classes how important Heifetz considered a steady basic tempo! Something for us all to keep in mind...
Brilliant Heifez . His sound is unique
Among all the students, Erick Friedman is the most talented.
Thank you for this great video, kind regards
Heifetz: "his masters voice".
Heifetz teached at USC 1962-1972 see how he teached & learned a lot from him so far the best violinist the world ever had!
Heifetz continued his teaching at USC in LA after 1972. I was his student 1973~1977
"No compromise." Great beginning quote from a great player/ teacher!
Heifetz made every students play Viola and piano.
are you serious, or joking ? :)
@@lotusbuds2000 Really.
WOW!!!! Viola probably make sound more deep
Good for playing Bach’s “Brandenburg Concerto #6” and Berlioz’s “Harold In Italy”.
The student is great!
The way he picks up his violin scares me
You should do it since Heifetz does that which means it is safe to do it:)
@@petrus153w..t....??
The benefit of being in the Heifetz master class is being able to say that you were in the Heifetz master class. Of course, you will already be a virtuoso in order to be accepted in the class. The hard work of instruction has already been done years before by the teachers who introduced the student to the instrument, taught them to read music, taught them to tune the instrument and so forth. The "instruction" Mr. Heifetz offers consist mostly of his own personal musical interpretation. Actually, some of his students play just as well as Heifetz himself.
Lololol
He's not teaching the violin, he's teaching Heifetz : ) In the old medieval craft guilds, after an apprentice had learned his craft from a master, he would spend some time as a journeyman, traveling around to learn different ways of doing things from other master craftsmen. That's what I see here.
He is not teaching the violin, he is teaching Heifetz : ). In the old medieval craft guilds, after an apprentice learned his craft from a master, he would travel around as a journeyman, learning different ways of doing things from.other master craftsmen. That's what I see here.
Simply amazing!
Amazing piece of history amazing times amazing musics amazing time to improve !!!!!!!
Wow its real Master
Love this...double stop sound❤
woww....the slur...😮
Centuries old music that is still incredibly challenging.
wow this is invaluable
居然被演算法推薦到這裡！太令人意外了！還有中文字幕！！
Yes, the segment that wasn't on youtube! thanks for posting! :)
Impressionante!
INcrível!
Rewatching again...
Magic
This may be, but in many of his recordings Heifetz preferred to have the mic incredibly close to his violin, as to not lose the sound. Itzhak Perlman says this is one of the many reasons why people may not conceive Jascha's playing, listening to a radio than listening to him in a concert hall.
Basketball677 answering one of the *mysteries of life* 😀
Qué bueno sería que alguien remasterizara el audio !!!
Very witty comment by JH at ~ 32:32, on one student's overly dry rendition: "Let's just BEND A LITTLE BIT, just to show that we're human after all."
Heifitz witty comments....delivered so straight on....really made me laugh...
Chamber music is a great leveller - even if you're Heifetz ...
He knew how to play badly equally well.
"no compromise"
If you ask me, Heifetz's Chaccone sounds even better here when he demonstrates in the masterclass than the recordings, I can hear all the voices and the sound is well balanced. Can anyone tell me what he's doing from 9:00 onwards? It looks like he's putting more rhythms and even spiccato there.
He puts many complex rhythms from 15:15 onwards rather than just play it 1-2-1-2 , he changes to 1-2-3-1-2-3 and then 1-2-3-4-1-2-3-4 (I think) at the end...it brings out many voices. Can anyone explain?
Heifetz recording of the chaccone was made when he was pretty old, I agree that here he was able to play it MUCH better
The variations are some auer/heifetz school variations and most probably not what bach intended. Bach wrote arpeggio and wrote the chords, Heifetz simply decided to break down the chords sometimes unevenly (like on the upbeat sometimes)
Heifetz likes him a lot! Who is he? Famous violinist!!!
the clowning at the end reminded me of the final recordings of Joseph Szigeti (who didn't know when it was time to quit)
even if i got into his class, i wouldn't last the first lesson. too much tension and intimidation. nobody there is comfortable. i've had a couple of teachers like that, where you feel like you're on a tightrope, and the tiniest mistake gets pounced on, and you just can't play freely you're so tense.
Heifetz getting Ling Ling to do the Heifetz workout...
He criticizes him for playing it exactly like segovia And every other Great classical guitarist. But I suppose if he wants you to play a certain way.Then you copy it so that you can pass the class.
But imitating a previous student's attempt in front of other students his low class.
Very nice, very nice.😒
thanks!
Very interesting... but after all... I think Heifetz is just teaching HIS way to play Chaconne.
Yes Bach played the violin well and used a shorter bow .Also the violins were not as loud with the flatter neck angle at the time. These players and Heifetz sound (sounded ?) very strident . Also Heifetz " recording of Chaconne stops very quickly on the last note. It`s hard to forgive him for that. Sorry to be so strict with him .
The performer is Varoujon Kodjian, not Christian Ferras. Watch the opening frames of the video for confirmation.
whpalmer4
Heifetz is a virtuoso +the greatest) but Kogan is a poet
Is Beautiful a very funny music for player.
That was my audition Heifetz heard.
Pedagógic opus 😊
46:25 ;-)
Is the first student Ruggiero Ricci? Kind of looks like him.
Brahms 3rd sonata in D minor at 29:16
Maybe I have been living under a rock, but I didn't realize that Heifetz didn't use a shoulder rest. And as far as I can tell, none of his students do either. Is this because he makes them do it this way, or did they already not use one?
Heifetz hated shoulder rest with a passion. He firmly believed that the contact of a shoulder rest with the body of the instrument reduced the power and timbre of the instrument. So he advised against using them. I personally stopped using one not for the belief of "losing tone" but rather allowing the instrument to move while I play and not stay in one fixed point, allowing it to become an "extension" of myself and allowing freer mobility.
Makes it look cool too B)
Heifetz made all of his students girl or boy not to use shoulder rest. It was an order.
Now I am going to try with no sholder rest. it is slippering actually...so lets.s try without!
Nnnoooope. Now the violin slips.
I'm glad my cheap Chinese instrument doesn't lose it's tuning so easily
They used gut string core often at that time so tuning would loose often. My instrument does as well with pirarstro passione gut core. It doesn't really depend on the violin as much as on the strings (if they are old they will lose tuning more often)
auer
23:00 friedman on viola is so cool
I believe it is Varoujon Kodjian
That last part about audition was scary
Who is the student, the one who crossed Heifitz up?
If you mean the Tchaikovsky competition then it was Erick Friedman
It will great if AI does the job of re imaging video into HD one.
I guess that instead of playing chords, he plays arpeggios:
The first note of the rhythm is at first a single note ; he plays 1-2
Then it is a two notes chord ; instead of 1-2, he plays 1'-1"-2
36:44 C MAJOR SCALE
No comment
不知道能不能看到陳慕融老師當年的片段
37:00
haha so true
Could someone make it out what the students were saying at the very end after the imitation? "...Monday morning..." "...next 50 years"
If you type the japanese, I think they are japanese, characters that appear on screen while is saying what you want to understand you will indeed understand.
1. It’s Chinese
2. That part was not translated therefore it’s not possible
does anyone know who the student is?
Kalindi Bellach Eric Friedman
37:30
Does anyone know what they begin to play at 29:16??
Brahms Violin Sonata No.3 1st movement
19:20 glissando!
28:20
Ele parece ser sério más parem muito conhecimento é divertido ver seus videos
And he was lithuanian ❤️🔥🇱🇹
This is too complex for me to handle.
For most. No one knows the workings of genius unless you're one.
He made them so--especially the men.
So what ?
Well, his main point is to show the different voices as how they were meant to be, so not only the soprano to give it a name, but the alto etc as well. Nothing special, but mainly refering top the music itself.
Peter van Deerse
Still the best recording: th-cam.com/video/SDSeRorHJAs/w-d-xo.html Otto Buechner knows what to do and how to play. And on the "normal" violin I have never heard it better than by Johanna Martzy: th-cam.com/video/Z0DzIBPSFjQ/w-d-xo.html
17:47
На 46минуте очень смешно😂😂😂😂😂😂😂😂
"We will start with you". Just -----You. ---No name. ----You. Impersonal. power play. Did he forget his name ? No .It`s a power play .
Who cares?
Many many jokes are cracked at the poor students' expense.
its better jokes style than yelling or otherwise blatant criticism....I love JH's style of teaching!!!
What did the student say at 38:22? Was he just trying to avoid playing the piece?
He cannot play the piece as he sprained his hand.
He was Christian FERRAS, a wonderful french violinist.
Ferras would not be a student lol he was a soloist in his own right and in many ways a more sensitive player
He was Erik Friedman, who had a successful career in the 60s and 70s.
Dan Erik friedman was a solist. And in think this students hast a level most important at the level today of solist
!!!!!!!!!!!!!
31:09 name of the piece please?
Its brahms violin sonata no 3
@@dangernoodle6423 thank you very much!!
中文字幕！！！
Piece at 46:25??
Vieuxtemps 4th violin concerto