Pinchas Zukerman & Marc Neikrug: César Franck - Sonata in A major for Violin and Piano
ฝัง
- เผยแพร่เมื่อ 19 ก.ค. 2015
- Pinchas Zukerman and Marc Neikrug in Santa Fe
performing
César Franck - Sonata in A major for Violin and Piano (with statements by Pinchas Zukerman and Marc Neikrug)
0:52 I.Allegretto ben moderato
6:54 II. Allegro
15:19 III. Ben moderato: Recitative-Fantasia
22:49 IV. Allegretto poco mosso
Watch the complete film: goo.gl/bFmlKu
Pinchas Zukerman (born 16 July 1948) is an Israeli violinist, violist, and conductor. Born in Tel Aviv, to Yehuda and Miriam Lieberman Zukerman, Zukerman began his musical studies at age 4, on the recorder. His father then taught him clarinet, and he picked up the violin at age 8. Isaac Stern and Pablo Casals learned of Zukerman's violin talent during a 1962 visit to Israel. Zukerman subsequently moved to the United States that year for study at the Juilliard School, under the tutelage of Stern and Ivan Galamian. He made his New York debut in 1963. In 1967, he shared the Leventritt Prize with the Korean violinist Kyung-wha Chung. His 1969 debut recordings of the concerti by Tchaikovsky (under the direction of Antal Dorati, with the London Symphony Orchestra) and Mendelssohn (with Leonard Bernstein and the New York Philharmonic) launched a successful recording career that continues to the present day and boasts over 110 releases.
Zukerman launched his conducting career in 1970 with the English Chamber Orchestra, and served as director of London's South Bank Festival from 1971 to 1974. In the USA, Zukerman was music director of the Saint Paul Chamber Orchestra from 1980 to 1987. He later directed the summer festivals of the Dallas Symphony Orchestra (1991-1995) and the Baltimore Symphony Orchestra (1996-1999). In 1999, he became Music Director of Canada's National Arts Centre Orchestra (NACO) in Ottawa. In March 2012, the NAC Orchestra announced the scheduled conclusion of his music directorship in 2015.[5] He has served as Principal Guest Conductor of the Royal Philharmonic Orchestra since 2009.
Zukerman is on the faculty at the Manhattan School of Music and is the head and founder of the Zukerman Performance Program at the school. His former students have included Koh Gabriel Kameda, Julian Rachlin, and Guy Braunstein. In 1999 he founded the National Arts Centre Young Artists Programme, which counts young musicians such as Viviane Hagner, Jessica Linnebach, and Antal Szalai as alumni. In 2006 Zukerman began his involvement in the Rolex Artistic Mentorship programme.
Zukerman plays the "Dushkin" Guarnerius del Gesù violin of 1742. His honours include the King Solomon Award, the National Medal of Arts (presented by President Reagan in 1983), the Isaac Stern Award for Artistic Excellence, and an honorary doctorate from Brown University.
en.wikipedia.org/wiki/Pinchas...
Marc Neikrug (born September 24, 1946) is a contemporary American pianist, conductor, and composer. He was born in New York City, the son of cellists George Neikrug and Olga Zundel. He is known for a Piano Concerto (1966), the theater piece Through Roses (1980), and the opera Los Alamos (1988). Among his notable recent compositions are the orchestral song cycle Healing Ceremony (2010), his Concerto for Orchestra (2012), and a Bassoon Concerto (2013).
en.wikipedia.org/wiki/Marc_Ne...
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it's always a pleasure to hear Zukerman's beautiful tone and phrasing. But it's also a treat for an instrument afficionado to see and hear Z. going into detail about his del Gesu.
Interesting to layer an interview over the top of a performance like this, but it works better than I would have expected. It’s both an efficient use of time and holds my attention in two different ways.
WONDERFUL ! The playing by both artists, and the lovely comments by Pinchas Zukermann, a truly great musician and an example of simpathy and knowledge. Thx for the upload !
Beautiful playing and excellent sound quality.
I love this sonata. And his interpretation.
I played this sonata and i now very well but played from Zuckerman the only feeling it's HEAVEN is unexplained MUSIC therapy
Glorious composition, masterful performances, and thoughtful commentary by Mr. Zukerman.
Zukerman: master of the mellow tone.
I like their interpretation very much, it shows that they’ve played it many times together, it’s very mature, assured, coherent, unlike so many others where the pianist is going one way, the violinist another, with spastic tempo changes for no apparent reason. It reminds me of a performance that is perhaps the opposite, perhaps a first performance for each performer, certainly nearly a first performance together, that of Mikyung Sung and Jaemin Shin, which is nonetheless equally assured and coherent and magical (and unexpected, considering the instrument).
Thanks for posting !
Thank you for sharing this gorgeous piece of art🙏
wonderful! thanks.
Thank you for sharing! 😄
The Boss Of The Violin Mafia
14:36 His imitation of French 😆
Grazie!
As a guitar player, a feel a bit the same about the "unnatural position" 😊. Thanks for posting!
I wish he had recorded the solo Bach
Zukerman: “The violin is the most unnatural instrument”
Viola: “Excuse me sir...”
Good point. However, he may see it from a different perspective. You are more crunched up with a violin, which makes it much harder for tall people with long arms.
great!
Wondered how can wikipedia didnt write ilona feher as his teacher? I think feher is a big influence to his playing. That posture and bowing arm is (I think) taught by ilona feher. Its the same as shlomo mintz's and shmuel ashkenasi's which is also her student.
what do you think about galamian's influence on his playing?
particularly his bow arm
Wikipedia is written by user contributions, so you are free to add it yourself. You should be prepared to cite a published source for the information of course.
Now I know the shoulder and back pain while practicing means I'm doing something right.
me too
Not so sure about that;)
not always. only when getting used to the correct position, just for a while. the pain definitley should not last over a year.
I never had a problem but then I didn't play like Pinchas Z, or probably you either Jason.
It doesn't. Ive been a professional violinist for over 36 years and since I gave up using a shoulder rest 28 yrs ago no back pain at all. ...and no hickey either.Maybe if violinists realised that you hold the violin with the left hand and not the shoulder it would help.
Please give us some captions for the images. Was that Ysaÿe? Who was the young violinist, and who was the woman playing piano?
Do you think Franck's work as an organist and composer for organ influenced the colors he calls for in this sonata?
i was there !
Hi, I love this video, so i wonder if i can translate it to spanish
Good idea. We've activated the user subtitle contributions for this video so that any user can contribute subtitles. You click on the settings wheel and select "add subtitles".
Great datebirth,16th jully ,my son born on that date..
me da esse violin pinchas
What does he say at 1:07? "The essence of 300 years of music comes from ___"
Deutschland
WTF is a Swiss car?
Zukerman is (of course) a very good fiddler. He has always played with a quite lovely (and powerful) tone; however, it is indistinguishable from so many other lovely tones out there - Perlman, Mutter, Kavakos, Schmidt, Shaham, Silverstein, Ughi, Stern, Benedetti, Frang, Cho, Capucon, Fischer, Shoji, Steinbacher, Rabin, Khachatryan, Hristova, Almond, Quint, Batiashvili, Midori, Bell, Szeryng, Hahn, Shaham, Cerovcek, Josefowicz, Kang, Wha-Chung, Dicterow, etc., etc., - the list is almost endless - all producing lovely sounds but without personal fingerprints. One has to SEE them to know who is playing. Heifetz, Gitlis, Francescatti, Milstein, Elman - these are not rubber stamp, cookie cutter violinists. Idiosyncrasy has its pluses. The Stravinsky violin concerto may have been premiered on the violin Zukerman plays.
if you can not distinguish Zukerman from any other, I am afraid that you have the problem, and not him. He has one of the most personal sounds in history.
violinhunter2 I kind of understand what you mean but I guess in this day, most people are playing according to the page and doesn’t want to make mistake. Heifetz and Milstein make their personal sounds that above the page, sometimes you can find out that those old masters cut off the end of a long note and some other personal touches, glissandos, vibratos.... which might be seen as wrong if I play in that way at school I guess because they are real masters which already made their names, they can bring more personal side out of their music rather than composers ideas, such as Zimmerman said in the video, composers doesn’t know everything. But in music school it’s different you should stick on music notations, dynamics...rhythms...
@@marcelo.rebuffi well said
@@marcelo.rebuffi Agree. His career paralleled Perlman's, and I instinctively gravitated to him and not Perlman, even though I couldn't explain very well how I knew this.