There are only two or three short videos of Mr. Rosand’s teaching on RUclips. I searched for more, even reaching out to the uploader, but sadly received no response. A few years later, I discovered that I actually had the original DVD tucked away in my room, even signed by Mr. Rosand from when I attended the Summit Music Festival many years ago. Many of us love music deeply but don’t have the chance to study in the studio of a world-class master or attend a top music academy-myself included. So, I decided to share this video with everyone. I hope it can be put to good use and be helpful to anyone looking to improve their violin playing.
Thanks so much for this! I studied with him myself at Summit Music Festival and those weeks still have a big influence on my teaching. Nice to be able to see more of his teaching.
@@priceviolinacademy I really miss him so much. As an Asian kid, I was forced to study, so my music career ended even before the Summit Festival. I was only taught by Mr. Rosand once, other times, I was taught by Mrs., Cristina. But I attended every class of his then. Due to lots of exams, I abandoned my violin for almost 10 years. I picked it up last year trying my best to improve as much as I can because I still love nothing more than violin. And I’m glad that my parent now supports me even though it’s too late to be a musician.
Thank you very much up loading this video. Everything that he says is pure gold. In years of practicing, reading and studying with different teachers, there is no so much more this type of masters.
@@noheliazambranogutierrez1470 I’m as grateful as you when I found the DVD🥹 and happy that there’s much more views than I expected cuz he’s not that famous compare to others on the internet. But this is pure gold.
Has anyone noticed that the way Rosand talks is a lot like his playing? He has really good diction - as most singers and even actors usually do, or strive for. He talks in a rather professorial way. No slang words, and very clear enunciation of each word. His playing is that way, not only with the notes but with the clarity of sound. His tonal palette was much wider than most violinists of his time - then again, his playing was always sort of a hybrid of romantic era-20th century. More romantic than 20th century anyway. Nobody will ever again play like Rosand did!
Thanks for sharing this incredible document! I have fond memories of Mr. Rosand from Summit festival. I remember going to his and Mr. Silverstein's studios in the morning to see if someone is playing scales or warming up...one of them always was :)
Me too!!! He was one of the first great violinists I discovered...of all places, in a supermarket. I bought one of his cassette tape recordings for about 3 dollars, maybe less - and it was even better than some of the other CDs/tapes I'd bought, of perhaps bigger name violinists, that were like 20 dollars!
@@spacejackson1612 Agreed. There are many teaching videos, most of them not particularly useful, and similarly some masterclasses that are excellent- like those by Andreas Schiff and Alfred Brendel, but also others that are mediocre, However, your video of Rosand is the most comprehensive teaching video for the violin, and he was a superb artist for the repertoire he favored. (It is a shame that Stern never acknowledged or supported him until he made a world wide career and name for himself.) For cellists, my favorites are Harvey Shapiro's, including his expletives undeleted :)) and also Paul Tortelier's and Laurence Lesser's- as well as Starker's, though Starker's were more focused on navigating the instrument, and communicating his philosophy of teaching, though in some of the classes where he demonstrated, he not only had a brilliant command of the instrument (for which he was famous), but also some interpretations that were very subtle and nuanced. For me however, Harvey's were the best for teaching music and how the instrument could be played to reveal a work's character and narrative, as well as its artistic elements and nuances- that is what he used to call technique as opposed to facility. And there were certain works that he owned- for example the Rachmaninoff Cello Sonata. When he made the Nonesuch recording he made two takes and no cuts. Yet many years later his interpretation of the piece deepened even further.
After the concert I went to his dressing room to congratulate him --in his double case across the room I saw another violin--I said "is that an Oddone?" he looked at me crazy and said my god how did you know that ???? I said "I know Oddone..." and walked out like in the movies...him staring after me in wonderment..
@@cindylau8797 Yes he did😆 He put most of his time after performing career into teaching in Curtis. So it’s sad that not many people know him. He was a true world class master.
My friend and colleague studied with him at Curtis(Charley Weatherb - - etc.) I also was supposed to. He also picked out a great violin for Arnold Amqui _ _ etc. Due to family problems I couldn’t attend. Unfortunately Chaz passed away due to cancer. Rosand was a great legendary violinist, but his teaching methods were not for the normal students. I am not going to say anything that was said to me.. Only the truly gifted could understand and appreciate him. His recordings of lesser known composers are beyond exceptional. His violin was also very special. It was his playing of course, but when you find a violin that speaks your voice, it’s irreplaceable especially when it allows you to play and sound like you. Rosand is great regardless of artistic opinions. It’s too bad that I did not have the honor to work with him. Buy the way, “I don’t use a shoulder rest” “ It worked for Rosand” “ “it worked for Heifetz””Milstein””Etc.”
Agree on the shoulder rest issue... I used to use them. Then one day I realized it was completely unnecessary. My playing actually improved a lot without this "aid" - which it turns out wasn't even an aid at all - it was actually getting in my way. A pad under the chin rest actually dampens the sound of the violin or viola.
Все так восхищаются звуком учеников Ауера, но, почему-то, массово сейчас учат противоположному - Использовать вес всей руки (правой), "положить" руку на смычек вместо контроля веса пальцами, позиционная игра с чёткими переходами вместо "скольжения", стучать пальцами левой руки по струнам так, что на грифе ямы появляются вместо "лёгкого нащупывания". Для меня это загадка.
Correct me if I am wrong please but didn't Rosand play the complete Bach Sonata-Partita cycle in one program? If so, he's one of the only ones to be able to handle that almost impossible feat. A more impossible feat than doing even the Paganini Caprices in one concert.
Ray Chen was blessed to have that pianist 😉 (speaking as a pianist with substantial ensemble experience) Also, can anyone tell me the title of the piece in the credits? It sounds a bit like a Scarlatti Sonata
@@tabby7189 I’ll be happy to hear more about why you give such a good comment about the pianist. And which piece to you mean? Which time in the video? Thankyou
@spacejackson1612 This Mr. Tyson is a full participant and contributor to the performance. I hear a lot of pianists in that role underplaying a lot because they want all the attention on the soloist, except they end up failing, for example, to give the texture the punch it gives from the bass (and with treble instruments like violins we can give a fairly generous amount of bass in louder dynamics because of registral separation) or to draw attention to interplay between soloist and countermelody or to create the kind of texture that adequately reinforces the character the soloist is weaving. If you want a more direct comparative demonstration, there's a video of Daniel Barenboim discussing his work on Brahms 3 with Vengerov showing what it sounds like when pianists overplay (and bury the violinist) or underplay (and the violinist can't carry the drama with a partner not pulling their weight) As for the piece, I meant the one that plays in the last 30-45 seconds of the video under the credits roll.
@@tabby7189 the piece is violin sonata in E major op.20 No.12 composed by Giovanni Battista Pergolesi ruclips.net/video/aHFBwXb3XRE/видео.htmlsi=WEbvaSPw0oms8j7c
He's like an internet violinist nowadays.... Or, his presence online seems excessive, let's just say that. Does he compare to any of the great old masters of the violin? Nope. He does play quite, quite well, but......
I don’t play viola but I think the concept is the same. It’s just a bigger violin. But everyone’s body is different so you can try it and find the best way( including comfort and sound quality) for you.
Unfortunately he is of the old school of one-size-fits-all, as a result he said things that are not true, Pinchas Zukerman does certainly use a shoulder rest (as well as other greats like Hillary Hann), as a tall man Zuckerman doesn't prioritize looking down the fingerboard to the scroll, he uses something like a pillow approach, as a tall man with long arms I have to do the same, if I am to hold the violin without much effort.
I'm guessing you've never met nor worked with Zukerman or any of his crew, as he isn't that tall (about 5'10"), is VERY adamant about not using a shoulder rest to the point of making students at Meadowmount throw theirs in a bin before they played for him (something I don't think he does anymore, thankfully), and the time I played for him he told me to look directly down the fingerboard because "that's what Heifetz did." That being said he himself doesn't always look down the fingerboard, but I don't know where you've got the rest of your information
Actually you can change to a higher chinrest to avoid the shoulder rest. It takes about 1 months to get use to it. Then your left shoulder is more free.
@@MurphyMusicAcademy I attended his master classes in Aspen in the 80s when Midori was 11 years old, I haven't seen him in person for a long time so I have no idea what he does nowadays. It is always possible I might be miss remembering, I mostly worked with my teacher Masao Kawasaki. I'm familiar with the strange practices Heifetz did, Zukerman didn't seem like the type to do as Heifetz does, that sounds more like Perlman, I guess I can take your word for it.
Well,......... There are many opinions but the one that matters is yours. One cannot argue with whatever method produces success. There is no one way to hold the fiddle - just look around. There is no one way to hold the bow. (Look up Spivakovsky's book on violin playing, for instance.) The basics of fiddle playing are intonation, rhythm (phrasing), and sound. You are very, very, very, very lucky if you are able to give your playing a unique identity by controlling each factor uniquely. Heifetz, Gitlis, and Elman did it. All the rest sort of sound the same - in a group of twenty (all playing the same phrase), one cannot easily identify one or another. As for the bow, only three things have to be controlled - placement between bridge and fingerboard, speed, and pressure (weight.) Look at how extremely tight Shaham's bow is - yet, his sound is superlative. Simplicity itself.
Yes, I agree with you. Every individual has a different body length, width, size, etc. He gave us a big concept and what suits him, so he used "for me..." In Ray Chen's part, he mentioned that he has long fingers so his left-hand posture will not be recommended to most people, and I think it's an example of flexibility. And for holding the violin, Every great violinist has something different. However as Auer, Heifetz's teacher" said the same which is 1. violin rest on collarbone, not shoulder 2. shoulder rest or cushion will affect violin's vibration. But because Mr. Rosand learned from the same system, so no wonder he will say the same, so this part is not objective to say who's right. For the bow hold, he used both types of bow hold depending on which pieces. So I agree that there's not only one method to hold the fiddle or bow, we need to experiment and find a way that suits our body the most. But the most important part is the "tone". Look at Heifetz, Oistrakh, Gitlis, Kogan, etc. My teacher, student of student of both Heifetz(Amoyal) and Oistrakh(Pikaizen)said, they never forced the violin the yell, with such a tightened bow and pressure, we may have perfect intonation and powerful big sound but never a good tone. With great violins like Strads, and Del Gesu, we make the violin sing and vibrate on its own, not force it to bring out the sound we want. It is the beautiful tone that separates a great violinist from a good violinist.
There are only two or three short videos of Mr. Rosand’s teaching on RUclips. I searched for more, even reaching out to the uploader, but sadly received no response.
A few years later, I discovered that I actually had the original DVD tucked away in my room, even signed by Mr. Rosand from when I attended the Summit Music Festival many years ago.
Many of us love music deeply but don’t have the chance to study in the studio of a world-class master or attend a top music academy-myself included. So, I decided to share this video with everyone. I hope it can be put to good use and be helpful to anyone looking to improve their violin playing.
Thanks so much for this! I studied with him myself at Summit Music Festival and those weeks still have a big influence on my teaching. Nice to be able to see more of his teaching.
@@priceviolinacademy I really miss him so much. As an Asian kid, I was forced to study, so my music career ended even before the Summit Festival. I was only taught by Mr. Rosand once, other times, I was taught by Mrs., Cristina. But I attended every class of his then. Due to lots of exams, I abandoned my violin for almost 10 years. I picked it up last year trying my best to improve as much as I can because I still love nothing more than violin. And I’m glad that my parent now supports me even though it’s too late to be a musician.
Thank you very much up loading this video. Everything that he says is pure gold. In years of practicing, reading and studying with different teachers, there is no so much more this type of masters.
@@noheliazambranogutierrez1470 I’m as grateful as you when I found the DVD🥹 and happy that there’s much more views than I expected cuz he’s not that famous compare to others on the internet. But this is pure gold.
Has anyone noticed that the way Rosand talks is a lot like his playing? He has really good diction - as most singers and even actors usually do, or strive for. He talks in a rather professorial way. No slang words, and very clear enunciation of each word. His playing is that way, not only with the notes but with the clarity of sound. His tonal palette was much wider than most violinists of his time - then again, his playing was always sort of a hybrid of romantic era-20th century. More romantic than 20th century anyway. Nobody will ever again play like Rosand did!
Mr. Rosand is so eloquent and is not shy to praise Ray while being honest about having high expectations of him.
Thanks for sharing this incredible document! I have fond memories of Mr. Rosand from Summit festival. I remember going to his and Mr. Silverstein's studios in the morning to see if someone is playing scales or warming up...one of them always was :)
Thank you for uploading this video. Mr. Rosand has so many pearls of wisdom that this is like a master class for all levels of players.
The passion and the love of music are very evident with Mr. Rosand. Love him.
Rosand was my recording idol when I was teenager on his records which I still have.
Me too!!! He was one of the first great violinists I discovered...of all places, in a supermarket. I bought one of his cassette tape recordings for about 3 dollars, maybe less - and it was even better than some of the other CDs/tapes I'd bought, of perhaps bigger name violinists, that were like 20 dollars!
Good teacher. Comes across as such from the first moment.
Such a privilege to warch this. Thank you ❤
@@elainelindsay8152 please enjoy and practice 😆
Point made at time stamo 25. Gave me chills so true . Bulb! Thank you
Maestro y Violinista de Excelencia .
Wonderful thanks
What a treasure 🎉!!
Such a great teacher!
Yes he is and it’s my pressure to share the video to everyone. So much wise words yet easy to understand. I’m glad you like it😊
Grazie! Wonderful
What a marvelous class, even for cellists.
Glad you like it. I really hope we can see more of this kind of video nowadays.
@@spacejackson1612 Agreed. There are many teaching videos, most of them not particularly useful, and similarly some masterclasses that are excellent- like those by Andreas Schiff and Alfred Brendel, but also others that are mediocre, However, your video of Rosand is the most comprehensive teaching video for the violin, and he was a superb artist for the repertoire he favored. (It is a shame that Stern never acknowledged or supported him until he made a world wide career and name for himself.)
For cellists, my favorites are Harvey Shapiro's, including his expletives undeleted :)) and also Paul Tortelier's and Laurence Lesser's- as well as Starker's, though Starker's were more focused on navigating the instrument, and communicating his philosophy of teaching, though in some of the classes where he demonstrated, he not only had a brilliant command of the instrument (for which he was famous), but also some interpretations that were very subtle and nuanced.
For me however, Harvey's were the best for teaching music and how the instrument could be played to reveal a work's character and narrative, as well as its artistic elements and nuances- that is what he used to call technique as opposed to facility. And there were certain works that he owned- for example the Rachmaninoff Cello Sonata. When he made the Nonesuch recording he made two takes and no cuts. Yet many years later his interpretation of the piece deepened even further.
Wonderful 🙏🙏🙏
After the concert I went to his dressing room to congratulate him --in his double case across the room I saw another violin--I said "is that an Oddone?" he looked at me crazy and said my god how did you know that ???? I said "I know Oddone..." and walked out like in the movies...him staring after me in wonderment..
@@w8sted1 I can even hear his voice saying “how did you know that”😂
All makes gd sense… a great teacher!
Yes! You are so right about vibrato in excess! I have seen great modern violinists murder a song with way too much vibrato!
He taught Ray Chen! ❤
@@cindylau8797 Yes he did😆 He put most of his time after performing career into teaching in Curtis. So it’s sad that not many people know him. He was a true world class master.
And many other students who went on to concertmaster/chamber music careers.
My friend and colleague studied with him at Curtis(Charley Weatherb - - etc.) I also was supposed to. He also picked out a great violin for Arnold Amqui _ _ etc. Due to family problems I couldn’t attend. Unfortunately Chaz passed away due to cancer. Rosand was a great legendary violinist, but his teaching methods were not for the normal students. I am not going to say anything that was said to me.. Only the truly gifted could understand and appreciate him. His recordings of lesser known composers are beyond exceptional. His violin was also very special. It was his playing of course, but when you find a violin that speaks your voice, it’s irreplaceable especially when it allows you to play and sound like you. Rosand is great regardless of artistic opinions. It’s too bad that I did not have the honor to work with him. Buy the way, “I don’t use a shoulder rest” “ It worked for Rosand” “ “it worked for Heifetz””Milstein””Etc.”
Agree on the shoulder rest issue... I used to use them. Then one day I realized it was completely unnecessary. My playing actually improved a lot without this "aid" - which it turns out wasn't even an aid at all - it was actually getting in my way. A pad under the chin rest actually dampens the sound of the violin or viola.
my playing getting better with shouldrest😊
Amazing
Все так восхищаются звуком учеников Ауера, но, почему-то, массово сейчас учат противоположному - Использовать вес всей руки (правой), "положить" руку на смычек вместо контроля веса пальцами, позиционная игра с чёткими переходами вместо "скольжения", стучать пальцами левой руки по струнам так, что на грифе ямы появляются вместо "лёгкого нащупывания". Для меня это загадка.
🙌🎻
Correct me if I am wrong please but didn't Rosand play the complete Bach Sonata-Partita cycle in one program? If so, he's one of the only ones to be able to handle that almost impossible feat. A more impossible feat than doing even the Paganini Caprices in one concert.
What is that piece he plays at the beginning❓Tremendous teaching❗️Thanks.🥀
16:23 matur suksma
Ray Chen was blessed to have that pianist 😉 (speaking as a pianist with substantial ensemble experience)
Also, can anyone tell me the title of the piece in the credits? It sounds a bit like a Scarlatti Sonata
@@tabby7189 I’ll be happy to hear more about why you give such a good comment about the pianist.
And which piece to you mean? Which time in the video? Thankyou
@spacejackson1612 This Mr. Tyson is a full participant and contributor to the performance. I hear a lot of pianists in that role underplaying a lot because they want all the attention on the soloist, except they end up failing, for example, to give the texture the punch it gives from the bass (and with treble instruments like violins we can give a fairly generous amount of bass in louder dynamics because of registral separation) or to draw attention to interplay between soloist and countermelody or to create the kind of texture that adequately reinforces the character the soloist is weaving. If you want a more direct comparative demonstration, there's a video of Daniel Barenboim discussing his work on Brahms 3 with Vengerov showing what it sounds like when pianists overplay (and bury the violinist) or underplay (and the violinist can't carry the drama with a partner not pulling their weight)
As for the piece, I meant the one that plays in the last 30-45 seconds of the video under the credits roll.
@@tabby7189 the piece is violin sonata in E major op.20 No.12 composed by Giovanni Battista Pergolesi
ruclips.net/video/aHFBwXb3XRE/видео.htmlsi=WEbvaSPw0oms8j7c
@@spacejackson1612 thanks a bunch
@@tabby7189 no problem! And thank you for your detailed explanation 😆 I don’t play piano so it’s cool to hear from a pianist view!
What is the name of the piece the student is playing in the Bowing section of the video?
It's Lalo Symphonie Espagnole 2nd mvt.
ruclips.net/video/3Oh1OEaT6ZE/видео.html
@spacejackson1612 thank you!
@@ronicl please enjoy:)
Ray Chen was better before he turned into a dancing fool
@@thatoneguy8064 😂
He's like an internet violinist nowadays.... Or, his presence online seems excessive, let's just say that. Does he compare to any of the great old masters of the violin? Nope. He does play quite, quite well, but......
Thank you!!! 👍😀
Holding the violin,does this apply to the viola
I don’t play viola but I think the concept is the same. It’s just a bigger violin. But everyone’s body is different so you can try it and find the best way( including comfort and sound quality) for you.
Unfortunately he is of the old school of one-size-fits-all, as a result he said things that are not true, Pinchas Zukerman does certainly use a shoulder rest (as well as other greats like Hillary Hann), as a tall man Zuckerman doesn't prioritize looking down the fingerboard to the scroll, he uses something like a pillow approach, as a tall man with long arms I have to do the same, if I am to hold the violin without much effort.
I'm guessing you've never met nor worked with Zukerman or any of his crew, as he isn't that tall (about 5'10"), is VERY adamant about not using a shoulder rest to the point of making students at Meadowmount throw theirs in a bin before they played for him (something I don't think he does anymore, thankfully), and the time I played for him he told me to look directly down the fingerboard because "that's what Heifetz did." That being said he himself doesn't always look down the fingerboard, but I don't know where you've got the rest of your information
Actually you can change to a higher chinrest to avoid the shoulder rest. It takes about 1 months to get use to it. Then your left shoulder is more free.
@@MurphyMusicAcademy I attended his master classes in Aspen in the 80s when Midori was 11 years old, I haven't seen him in person for a long time so I have no idea what he does nowadays. It is always possible I might be miss remembering, I mostly worked with my teacher Masao Kawasaki. I'm familiar with the strange practices Heifetz did, Zukerman didn't seem like the type to do as Heifetz does, that sounds more like Perlman, I guess I can take your word for it.
@@gabriel1chan I use both.
pinchas zukerman use secret " shouldrest" behind his shirt😊
Well,......... There are many opinions but the one that matters is yours. One cannot argue with whatever method produces success. There is no one way to hold the fiddle - just look around. There is no one way to hold the bow. (Look up Spivakovsky's book on violin playing, for instance.) The basics of fiddle playing are intonation, rhythm (phrasing), and sound. You are very, very, very, very lucky if you are able to give your playing a unique identity by controlling each factor uniquely. Heifetz, Gitlis, and Elman did it. All the rest sort of sound the same - in a group of twenty (all playing the same phrase), one cannot easily identify one or another. As for the bow, only three things have to be controlled - placement between bridge and fingerboard, speed, and pressure (weight.) Look at how extremely tight Shaham's bow is - yet, his sound is superlative. Simplicity itself.
Yes, I agree with you. Every individual has a different body length, width, size, etc. He gave us a big concept and what suits him, so he used "for me..." In Ray Chen's part, he mentioned that he has long fingers so his left-hand posture will not be recommended to most people, and I think it's an example of flexibility.
And for holding the violin, Every great violinist has something different. However as Auer, Heifetz's teacher" said the same which is 1. violin rest on collarbone, not shoulder 2. shoulder rest or cushion will affect violin's vibration. But because Mr. Rosand learned from the same system, so no wonder he will say the same, so this part is not objective to say who's right.
For the bow hold, he used both types of bow hold depending on which pieces.
So I agree that there's not only one method to hold the fiddle or bow, we need to experiment and find a way that suits our body the most.
But the most important part is the "tone". Look at Heifetz, Oistrakh, Gitlis, Kogan, etc. My teacher, student of student of both Heifetz(Amoyal) and Oistrakh(Pikaizen)said, they never forced the violin the yell, with such a tightened bow and pressure, we may have perfect intonation and powerful big sound but never a good tone. With great violins like Strads, and Del Gesu, we make the violin sing and vibrate on its own, not force it to bring out the sound we want. It is the beautiful tone that separates a great violinist from a good violinist.
@@spacejackson1612 Thank you.