It is a daunting task to establish an unique sound character among all competing violinists, especially there were so many maestro 先行者. But that was also how a great musician outshines!
The best Q&A! Question: You spoke about touching the jury members. I think it’s a very important point. And at the same time, it is conventionally considered quite risky in a competition to play a too strong interpretive style or a too strong character in a sense that you are playing for such a variety of musical characters. Do you…? Maxim Vengerov: I completely disagree with you. I completely disagree……We may disagree with other jury members and we don’t have to agree. This is the beauty of the competition. But then the mixture and the harmony have to be reached and we come up with the result. Sometimes it’s a very unorthodox result and sometimes even the audience is wondering why is this one but not that one. Because the identity of the musician, first of all, in my opinion is the sound. Sound is like the finger in print. Let’s just give one example, Jascha Heifetz, or Myron Pollack, or Berlin Philharmonic. You know when you listen to the recordings or the nuance you would immediately know oh this is Jascha Heifetz…so Today, in this competition, the Tchaikovsky Competition, we want to select the 1st prize, 2nd prize, and 3rd prize winners, etc., the ones will stay for the next 20 years that give us the joy and we’ll recognize them. The identity of the sound is as important as in speech……..because the sound is the emotion’s carrier and is also very informative…
You wanted a unique sound, Mr Vengerov? Well, WHO else has such a unique 'sound' as Clara-Jumi Kang? Who has such an individual identity as Clara-Jumi Kang? Who has such a creative musical sensitivity as Clara-Jumi Kang? Who could TOUCH people like Clara-Jumi Kang?
Which instruments get to compete in these musical competitions.? Also how do we know which contestants will be able to sustain a career , not just play a small list of pieces for examination six to ten works a year is not a professional musician.
I think he gave masterclasses in German once so I assume he can manage German pretty well. And I've seen him give interviews in french too. I didn't know he could speak Hebrew, though.
The elephant in the room is that he is not a real musician or artist. He doesn't create any music. He might be a great violinist but that is where it stops. Nothing truly creative or expressive about playing OTHER peoples music
If I might say, I think you are completely wrong. What you are saying is that only the composers are real musicians and that he "only" a violinist and therefore not a musician is incompetent to judge in this competition which is, by the way, created for violinist not composers. A true musician, those like Maxim Vengerov, doesn't have to be a composer in order to create new music; each sincere performance(here I refere to artists/the ones that do not play by copying others but give themselves to the music completely instead) where a musician puts his or her energy, feelings and thoughts in the piece he is playing, is already a transcription, something never heard and unrepeatable.
Me too, as a dancer, I must say that I think you are quite wrong. If you compare the same composition or choreography, executed by different musicians or dancers, maybe even from same schools, so with same technique, style and approach, you will be surprised how individual the piece still is. Art is a complexe phenomena, for sure it does not start with composition/choreographing, as it does not finish with interpretation. It is much more, and it has a very individual life, for both, artists and audience. I suggest, if you have not done it yet, to watch some of Vengerov's masterclasses to get some insight into his world of interpretation, or maybe you can watch Natalia Ospiva's Romeo and Juliet by Mac Millan's choreography, specially the last scene, and compare it to, let's say, Alessandra Ferri's Juliet, and you will understand where being an artist starts. I think you might agree then.
Not to mention when violinists write their very own cadenzas, like Maxim Vengerov in Beethoven concerto. So have care with your criticism because apart from what I wrote, interpretations from the same piece are a creative process too. I suppose that when you’re not an artist, it’s hard to notice that.
Simply fantastic - a joy on so many levels! Thank you all v much.
It is a daunting task to establish an unique sound character among all competing violinists, especially there were so many maestro 先行者. But that was also how a great musician outshines!
The best Q&A!
Question: You spoke about touching the jury members. I think it’s a very important point. And at the same time, it is conventionally considered quite risky in a competition to play a too strong interpretive style or a too strong character in a sense that you are playing for such a variety of musical characters. Do you…?
Maxim Vengerov: I completely disagree with you. I completely disagree……We may disagree with other jury members and we don’t have to agree. This is the beauty of the competition. But then the mixture and the harmony have to be reached and we come up with the result. Sometimes it’s a very unorthodox result and sometimes even the audience is wondering why is this one but not that one. Because the identity of the musician, first of all, in my opinion is the sound. Sound is like the finger in print. Let’s just give one example, Jascha Heifetz, or Myron Pollack, or Berlin Philharmonic. You know when you listen to the recordings or the nuance you would immediately know oh this is Jascha Heifetz…so Today, in this competition, the Tchaikovsky Competition, we want to select the 1st prize, 2nd prize, and 3rd prize winners, etc., the ones will stay for the next 20 years that give us the joy and we’ll recognize them. The identity of the sound is as important as in speech……..because the sound is the emotion’s carrier and is also very informative…
maxim adalah idolaku ! matur suksma
You wanted a unique sound, Mr Vengerov? Well, WHO else has such a unique 'sound' as Clara-Jumi Kang? Who has such an individual identity as Clara-Jumi Kang? Who has such a creative musical sensitivity as Clara-Jumi Kang? Who could TOUCH people like Clara-Jumi Kang?
+Bill Y , I kow who that man ! This man is Max Venerov,i suppose )))
+Александр Шинкаренко Yes.
Are you dissing him??? BOI I--
If u r dissing I will find you. Sorry u can't appreciate musicians but pls stop
W o w !!
Which instruments get to compete in these musical competitions.? Also how do we know which contestants will be able to sustain a career , not just play a small list of pieces for examination six to ten works a year is not a professional musician.
So Russian, English, Hebrew, what else can he speak?
Clement Ng french
German
I think he gave masterclasses in German once so I assume he can manage German pretty well. And I've seen him give interviews in french too. I didn't know he could speak Hebrew, though.
German, French i think,
The elephant in the room is that he is not a real musician or artist. He doesn't create any music. He might be a great violinist but that is where it stops. Nothing truly creative or expressive about playing OTHER peoples music
If I might say, I think you are completely wrong. What you are saying is that only the composers are real musicians and that he "only" a violinist and therefore not a musician is incompetent to judge in this competition which is, by the way, created for violinist not composers. A true musician, those like Maxim Vengerov, doesn't have to be a composer in order to create new music; each sincere performance(here I refere to artists/the ones that do not play by copying others but give themselves to the music completely instead) where a musician puts his or her energy, feelings and thoughts in the piece he is playing, is already a transcription, something never heard and unrepeatable.
Me too, as a dancer, I must say that I think you are quite wrong. If you compare the same composition or choreography, executed by different musicians or dancers, maybe even from same schools, so with same technique, style and approach, you will be surprised how individual the piece still is. Art is a complexe phenomena, for sure it does not start with composition/choreographing, as it does not finish with interpretation. It is much more, and it has a very individual life, for both, artists and audience. I suggest, if you have not done it yet, to watch some of Vengerov's masterclasses to get some insight into his world of interpretation, or maybe you can watch Natalia Ospiva's Romeo and Juliet by Mac Millan's choreography, specially the last scene, and compare it to, let's say, Alessandra Ferri's Juliet, and you will understand where being an artist starts. I think you might agree then.
Not to mention when violinists write their very own cadenzas, like Maxim Vengerov in Beethoven concerto. So have care with your criticism because apart from what I wrote, interpretations from the same piece are a creative process too.
I suppose that when you’re not an artist, it’s hard to notice that.
Hello, the bully that TwoSet was talking about?! Amazing! You do exist. I can't believe it
WRONG