Absolutely Yes!!! One of the cornerstones to Mr Heifetz’ genius and consistency: his tempo was always so well under control, making the initial selection even more meaningful as a tool of expression. Thank you for sharing!!!
I like how Heifietz can at any moment pick up his violin and bow and execute the entire section of the piece with utter ease and perfect inflection to demonstrate how it should sound and how it should be played.
When I was his student yes most of the time Heifetz was holding a baton and beat the rhythm. And says "Keep going! Keep the tempo moving" A great lesson for me.
@bansheegaming107 To me Heifetz was like a Emperor and fatherly figure. He was 74 of age. Can you imagine Heifetz drove his Bently and make a visit to my rented room in Hollywood to see what condition his student is living in?
@@망히-z9z That's great to hear he must have been a very great teacher. I wish If I could only see his performance live, too bad I was born a little too late
@rubengreenberg2253 One day it was my turn to play a piece and take a lesson. Heifetz told me to play a certain scale and I didn't play good enough. And he told me to practice scales and no more hearing . That was one of the best lesson I got. Ever since that embarrassing experience I do practice all kinds of scales seriously. As if he is besides me. And it certainly improved my performance. "Students are afraid of scales. Because number one they don't practice. You must make the scales afraid of you"
Why require someone to hold such rigid tempo here, as the orchestra drops out just before the crescendo, it doesn't make sense to me. I much prefer Yehudi Menuhin's approach to this passage, where he alternates being behind the beat to hitting the beat in the last notes, it is much more emphatic. Heifetz used to play more freely (see his Brahms with Toscanini), but at some point took up these linear rhythmic ideas that I think were detrimental.
Before taking any artistic freedom, it is important to be absolutely clear with the pulse and the beat, especially when educating students. In addition, Brahms didn’t indicate any rubato or ritenuto in the score. Once the performer reaches the artistry of Menuhin or Heifetz, then one should follow one’s artistic convictions.
@@vladimirdyo7301 I imagine Heifetz and Menuhin always followed their convictions, more or less - it wasn't something they employed or were allowed to employ, only upon reaching a very high level of technical ability. If we look at the violinists taught by Auer or Flesch, we find a wide variety of interpreters, many of which went on to play at the highest level. Ida Haendel said of Flesch he rarely commented on her playing, in a stylistic sense. I doubt he could have turned out students with such differing ideas without taking a rather hands off approach. These are just my assumptions, but violin playing did used to be far broader and Heifetz seems more of the school of 'copy my playing'. The poor students are struggling to keep pace (little surprise there). The problem is only Heifetz can be Heifetz, Menuhin be Menuhin, Elman be Elman, if you catch my drift. Their playing not only tells you about the music, but it tells you about their character. Today, the latter is rather diminished for this idea of the 'one true path'.
@@vladimirdyo7301Brahms didn't write such things because he didn't have to. The liberty with tempo in the romantic period is quite clear in the historical records
Well, he was caught in the process of learning one of the most difficult violin concertos. In this particular section, soloists normally take time to execute all these runs, but Heifetz had no mercy in regards of being on time.
Absolutely Yes!!! One of the cornerstones to Mr Heifetz’ genius and consistency: his tempo was always so well under control, making the initial selection even more meaningful as a tool of expression. Thank you for sharing!!!
I like how Heifietz can at any moment pick up his violin and bow and execute the entire section of the piece with utter ease and perfect inflection to demonstrate how it should sound and how it should be played.
Yes indeed
Interesting! I'm so used to hearing rubato in these sections and I enjoy Heifetz requiring brutal honesty in the tempo.
Heifetz didn't 'rush', he just played IN TIME
Nope. That sounds ridiculous, just like Heifetz's face and attitude 💁🏻♂️👌🏻.
I know nothing about violin, but this man (Heifetz) is clearly a genius. What a clean and effortless execution! Magnificent.
When I was his student yes most of the time Heifetz was holding a baton and beat the rhythm.
And says "Keep going!
Keep the tempo moving"
A great lesson for me.
I always enjoy reading your comments Mr. Kim, you give great insights into what it was like to be a student of Heifetz❤❤❤
@bansheegaming107 To me Heifetz was like a Emperor and fatherly figure.
He was 74 of age.
Can you imagine Heifetz drove his Bently and make a visit to my rented room in Hollywood to see what condition his student is living in?
@@망히-z9z That's great to hear he must have been a very great teacher. I wish If I could only see his performance live, too bad I was born a little too late
Please report more advice you heard Heifetz give. Thank you!
@rubengreenberg2253
One day it was my turn to play a piece and take a lesson. Heifetz told me to play a certain scale and I didn't play good enough. And he told me to practice scales and no more hearing .
That was one of the best lesson I got. Ever since that embarrassing experience I do practice all kinds of scales seriously. As if he is besides me. And it certainly improved my performance.
"Students are afraid of scales. Because number one they don't practice. You must make the scales afraid of you"
Fantastic Friedman!!!!
It's not a question of playing in time or not, it's a matter of right hand that eliberates the left as well
Гений!!!
Yes máster!!!!!
謝謝！
Appreciated.
❤
Why require someone to hold such rigid tempo here, as the orchestra drops out just before the crescendo, it doesn't make sense to me. I much prefer Yehudi Menuhin's approach to this passage, where he alternates being behind the beat to hitting the beat in the last notes, it is much more emphatic.
Heifetz used to play more freely (see his Brahms with Toscanini), but at some point took up these linear rhythmic ideas that I think were detrimental.
Before taking any artistic freedom, it is important to be absolutely clear with the pulse and the beat, especially when educating students. In addition, Brahms didn’t indicate any rubato or ritenuto in the score. Once the performer reaches the artistry of Menuhin or Heifetz, then one should follow one’s artistic convictions.
@@vladimirdyo7301 I imagine Heifetz and Menuhin always followed their convictions, more or less - it wasn't something they employed or were allowed to employ, only upon reaching a very high level of technical ability. If we look at the violinists taught by Auer or Flesch, we find a wide variety of interpreters, many of which went on to play at the highest level. Ida Haendel said of Flesch he rarely commented on her playing, in a stylistic sense. I doubt he could have turned out students with such differing ideas without taking a rather hands off approach.
These are just my assumptions, but violin playing did used to be far broader and Heifetz seems more of the school of 'copy my playing'. The poor students are struggling to keep pace (little surprise there).
The problem is only Heifetz can be Heifetz, Menuhin be Menuhin, Elman be Elman, if you catch my drift. Their playing not only tells you about the music, but it tells you about their character. Today, the latter is rather diminished for this idea of the 'one true path'.
@@vladimirdyo7301Brahms didn't write such things because he didn't have to. The liberty with tempo in the romantic period is quite clear in the historical records
I think Mr. Friedman was not in a good day in terms of intonation...
Well, he was caught in the process of learning one of the most difficult violin concertos. In this particular section, soloists normally take time to execute all these runs, but Heifetz had no mercy in regards of being on time.
Ti vorrei vedere suonare davanti a Heifetz con la disinvoltura di Eric...