Kevin Zhu, violin - Tchaikovsky Valse Scherzo, Op 34, for violin and piano
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- Опубликовано: 24 ноя 2023
- Tchaikovsky Valse Scherzo, Op 34, for violin and piano
Kevin Zhu, violin
David Fung, piano
www.omegaensemble.com
Audio/ video by Michael Sinicropi - www.watchhourfilms.com
October 18, 2023
The Kosciuszko Foundation
15 East 65th Street, New York, NY 
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What a beautiful performance of this piece which is played so often! A vivid and fresh interpretation. I hope I will hear Tchaikovsky's violin concerto played by Kevin Zhu one day.
Aside from the virtuosity, I love the sound of that violin! And what a blessing to have such a brilliant pianist!
Incredibly vibrant and joyful performance
breathtaking
Браво, браво, браво!!!
Wonderful performance. Bravo~
Yet could you do it without too much of feet work?
It distracts .
@user-op6vy3gg2b
Why do you say it distracts? Kevin doesn't seem distracted by it at all.
And it's *his* feet; right?
So, if anyone was going to be distracted, probably it would be Kevin Zhu himself.
it’s valse scherzo.. you instinctively follow the rythm and your body becomes one with music. If you are a musician you should know this feeling.
I'm on the fence here. Shifting from foot to foot is not a great stage habit but a lot of world class players do a lot more distracting things that this fellow, who is overall pretty conservative in his body movements. I mean just look at Gidon Kremer. Or, there was that time where Eberle got excited and just stomped on a hollow stage platform on a downbeat and it was like a drum, but it was also perfect.
@ermahgerd5697
My earlier comment notwithstanding, and all else being equal, I appreciate a very reserved performance style. Jascha H. taught us a great deal about lots of different things. It has been observed (by watching his behavior in masterclasses, for example) that everywhere, and not only in playing his instrument, he never moved any part of himself, or of anything else, more than the absolute minimum needed to achieve his carefully measured objective.
@@ts13579_texas_usa Yeah, me too. It is perfectly natural to feel a little bit affronted when a classical musician seems intent on showing with his face what can't necessarily be heard in his playing. I don't actually see that problem with Mr. Zhu, but we do see it fairly often. Yes, Heifetz was exceptionally still and economical, and even with the high bar of today's playing it's difficult to find players as precise as him, or actually as intelligent in interpretation- he may have been called schmaltzy in his prime, but was certainly not. He methodically reserved the most expressive playing for the structural apex of a piece in a way most do not, and this kind of sensibility is probably something that has deteriorated rather than improved with the passage of generations. These days everyone wants to be the most expressive player right out of the gates. Oh, and I think those infamous portamenti are actually very tasteful. Oistrakh was also very physically impassive, though his sound was brimming with nuance- more so than JH if you ask me. And yet, when Mullova was physically impassive we panned her as the 'ice queen.' What's with that?