Playing for Jascha Heifetz! (Ft. Adam Han-Gorski, Eric Silberger)
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- Опубликовано: 28 фев 2023
- Adam Han-Gorski studied with the legendary violinist, Jascha Heifetz from 1962-1964 at the University of Southern California. Afterwards, Adam embarked on solo tours throughout the USA, and served as concertmaster of orchestras such as the Minnesota Orchestra, Syracuse Symphony, the Metropolitan Opera National Company, and the Vienna Radio Symphony Orchestra.
This video celebrates the 60th anniversary of the Jascha Heifetz Masterclasses which were recorded in 1962 at the University of Southern California. The recording took place at our tonebase Headquarters in Los Angeles on August 16th, 2022 between Head of Violin, Eric Silberger and violinist Adam Han-Gorski.
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this is so amazing. Eric is the perfect guy for this interview.
Borrowed these Heifetz masterclasses from the library 30 years ago but it’s fascinating to see them again with the student’s commentary and the benefit of a lifetime of hindsight!
I've read the following books about Heifetz: Agus, Kloss, Axelrod, & The Early Years. He has always fascinated me, because his sound & playing was unique. Since the early '70s I've amassed about 95% of his recordings, & I listen to them far, far more than I listen to other violinists. I am always fascinated by his playing. What I've read about him could make a good movie. His childhood was far from normal. He was left alone in St. Petersburg at age 5, because his father would have to return home periodically. Jews were treated miserably & needed permission to go do anything. By the time he was age 8 he had a rock star status. He & his family were nearly killed by fans at one of his concerts. He travelled throughout Europe & could speak/read/write in several languages. He was the sole support of his family before he was 10 and became very famous in his part of the world. As he matured he seemed to lose his sense of humor & took things literally. He would shun family members who joked with him in letters. I doubt that any other violinist dead or alive understood the violin repertoire as well as he did, & there's a huge difference between his playing & anybody else's.
I used to think that being a soloist was superior to that of a concertmaster or chamber violinist, but this is not so. Eugene Fodor, who Heifetz greatly admired on a technical level, was strictly a soloist. Heifetz would walk around him as he played downbow staccato studying him, but I believe his favorite student was Erick, which seems evident from the videos. It doesn't seem that Adam & the student playing the Tchaikovsky were on Heifetz's "good list". He also seemed to be easier on the ladies.
This is a very important video, but I find Adam's English a bit difficult to understand. I wish I were doing the interview, because I would have asked him a lot of questions I've always had about his experiences with Heifetz. A few of my questions would be: 1) The atmosphere seemed cold & intimidating. How so? 2) Did you notice Heifetz making any mistakes? 3} Did you have an disagreements with him? 4} Where did you take lessons at? (Heifetz's home?) and what what it like? 5} Did anything interesting happen while taking lessons with Heifetz? For instance, I remember my violin teacher, back in the '70s, getting calls from Ivan Galamian during my lessons. I also recall her anecdotes of Michael Rabin. 6} How did Heifetz make you a better violinist? 7} Do you notice any flaws in Heifetz's playing? 8} Other than yourself, who are your favorite violinists? I know you have many, but I'm talking about the ones who really stand out. Mine are: Heifetz, Oistrakh, Ivry Gitlis, Stern, Rabin, Menuhin, Kogan, Milstein, Zukerman, Huberman, Szigeti, Szeryng, Váša Příhoda, Francescatti among others.
FarmerTice.com
I remember watching the masterclasses, when they first were shown on PBS, with my father, Leon Rudin, who was a violinist with the NY Philharmonic, and idolized Heifetz.
Thank you for sharing
Every year we host a young musicians concert and get the absolute pleasure to perform with Carol Sindell's students (typically we get 1 or 2 a year). It is very apparent how she teaches her students and the discipline they dedicate to learning from her. There is so much more to learn beyond the lesson itself by re-watching masterclasses and lessons taken.
This was a delight. Thank you tonebase and Adam! As a life-long student and lover of his playing, these teaching videos were always intriguing. What was it like in his presence? I could imagine my stomach doing flip-flops through it all, but the students often seem remarkably composed. Brooks Smith was such a rock. I love the intensity of the recordings he made later in his career with Smith. My favorite comparison of a recording with Bay and Smith are the 2 versions of the Saint-Saens Sonata.
Sadly, some of students were gone. People seldom talking about Brooks Smith who Heifetz always play with, he's a great pianist, the original b/w video shows.
A few are still around. I have studied with a few of them - Carol Sindell for a couple years in Oregon (she's on the masterclass videos), and lessons here and there with Elaine Skorodin (in the very first class he did at UCLA, before moving to USC) and Sherry Kloss, Jeanne Skrocki, many years of lessons with Ayke Agus (she's still very active teaching and performing), a lesson one time with Endre Granat...I am immensely grateful and lucky that I had that time with them all. I never met Claire Hodgkins but I knew many people who knew her. Liz (Elizabeth) Matesky is still around and doing well, but retired mostly I think. I know a few people who studied with the great Erick Friedman, whom I believe Heifetz tacitly considered his favorite pupil, as they recorded the Bach Double Concerto together.
Smith replaced Emanuel Bay, who accompanied Heifetz for about 18 years. Bay and Heifetz were always at odds over one thing or another, and they finally parted ways. The more affable and deferential Smith had no such problems, and he took over until Heifetz retired in 1972. In addition to being collaborative to Heifetz and many others, Smith also taught at USC, opened the department of accompanying at Eastman School in 1966, and returned to USC in 1972, after Heifetz's retirement.
i’m a professional violinist/teacher. about a decade ago, i met a wonderful, lovely young pianist who was playing at an upscale restaurant in rochester, ny. i went up to talk to her after her set. she said she liked to “play everything pretty,” which she definitely did! i was so impressed with her playing that i asked her who was her teacher. she said, (not thinking i would know of him), “i took from a pianist named brooks smith.” WELL, i just short-circuited, right there on the spot!! i asked her if i could please shake her hand, and she said (rather incredulously, but humbly), “of course!” after i shook her hand, i exclaimed, i’ve just shook the hand that learned from brooks smith, who shook the hand of jascha heifetz! i’ll never wash it again!!” we both laughed. sadly, she died in a car accident, a couple years later. i was devastated to learn of her passing.
Heifetz seems to be very practical , functional, and common sensical z…He seems to be rooted in the fundamentals .
Great violinist
He was indeed...he had his own approach. Some have called him the worst teacher imaginable, because they don't think the greatest of virtuoso violinists can also teach just as well. I couldn't disagree more.
I was fortunate enough to study violin with one of Mr Heifetz students and he always said: first your establish the note than you vibrate. Also that Mr. Heifetz was not a great teacher as he was a violinist. His students had mostly to figure things out by themselves but it was really worth for students that were intelligent enough to watch him and learn.
Phenomenal video and a great idea to do this. So insightful.
That is so interesting!
So lucky to have a very straight world class violinist as your teacher 🎀🎀
Adam was a good friend of my dad! Thank you for this!
I couldn’t make out who your dad was, I am very curious.
Warm regards,
AHG
@@myrnaadamone4378Nikolaj Nantschev
@@nantschev What a surprise! You must have known Njagul Tumangeloff as well. Would love to hear more about your Dad, I retired from ORF in 2001 and left Vienna in 2004 going back to Minnneapolis after 30 years.
Best regards
A
Fascinating video.
It's interesting to know that in Heifetz class no one was using shoulder rest but later you use the shoulder rest.
Eric Friedman too.
Heifetz bow hold is so unique.
Heifetz used the Russian bow hold. Don’t see too many people do it these days. I will say for me it makes rapid up bow staccato much easier, but I seldom need to use that grip.
Erick Friedman didn’t use a shoulder rest. Source: I was his student for 3 years.
This is AMAZING. Thank you so much for this!
What a phenomenal resource. Thank you!
Enjoyed it so much. Loving greetings to my old friend Adam.
Thank you!!!
Absolutely fascinating!
Wow ... Thanks for sharing... I really enjoied that
What a revelation ... thank you for this three-score anniversary of a life-defining master lesson from the greatest violinist ever and accompanist, too.
Amazing ❤ thanks for sharing
Mhmm, it has never left me - your performance film of the Brahms Sonata #3. After hearing it, I wanted to learn it too...and I did. I listened to everything Heifetz taught him and incorporated it into my own learning of that amazing sonata. Heifetz was very hard on him about it...especially in the last movement. "I WANT A SPECIAL EMPHASIS THERE! This is the first time where it's F-sharp minor, and you make a fuss over it!" Words of wisdom...love it! Thank you Mr. Han Gorski! Glad you went on to such a fine career.
Thank you.
a great teacher tries to be kind and takes great pleasure in HELPING the student. I never saw this from any of the Heifetz master classes I watched.
Well yes, Heifetz wasn't still teaching them to think for themselves like Dorthy Delay or someone much more articulate. But if you think he's scary you should read about Auer. Man was an active volcano. He would stop the student and start with something like "I told you last time not to play this... I told you... I TOLD YOU". And just like that out is thrown the music along with the poor student! 😂 Though after he calmed down he could be very sorry etc... But that was old Russian school.
I love this
13:50 is quite correct and logical. Follow this advice whenever you can.
Definitely
My violin is on the way and this is really cool.
❤❤❤
Yeah when he really gets on it for a second at 24:02 you can hear something special.
Эти молодые люди, которых снимали в классе Хейфеца, похожи на арестантов, которым нужно отбыть пожизненное заключение, о чем и светельствует это видео!
Witaj ADAM! Pozdrawiam z Gdyni, gdzie teraz mieszkam. Piotr Sz.
Adam to prawdziwy mistrz. Ostatni Mohikanin skrzypiec.
Your impressions inspire with a great deal of understanding..and you are admirable tough to accept such punishment.Heifetz a genius but could be a small character and nasty. His treatment of you as a young gifted student was, in my opinion, not very helpful. Oscar Shumsky also a golden age giant would never be sarcastic and ugly in such a manner and always inspire, not simply rapping his pencil forcing unrelenting tempo. My friend who was one of the best Heifetz pupils said he was happiest when she came to a lesson and nearly tying herself into a knot in order to sound like him!.......He said. Very good ! You're starting to get the hang of it." Not to disrespect his great artistry. But being a fine human being is also extremely important. Eric Shumsky
While Heifetz taught his students a lot, aided them in many nuances of technique and often helped them in many ways behind the scenes, one thing he never got the hang of from Auer and modern masterclass teaching is getting them to think for themselves on their own interpretations and sound. However in retrospect, his observations weren't wrong. Many of his mannerisms you see here were all Auer's. Even that gate opening for only 30 sec at the exact time. Heifetz also grew quite moody like Auer Although he never came close to turning into a ln erupting volcano.
I spent three years of lessons with the viola and Oscar Shumsky at his home.He was a wonderful genius and never anything but kind to me. There were many times when I was less than well prepared because of laziness, but he helped me through and the lesson and I came away learning a great deal.He was an extremely important man in my development, invaluable. Ronald Hurwitz
Great video and very touching , expressive and real ! Thank you
Awesome interview! Interviewer was kinda awkward at times… 😅 anyone else get that vibe?
To me, Heifitz always looks like the archetypal headmaster. That's not a criticism btw.
Question for any of you who knew Heifitz personally, how much did he chop his bridges, or did he simply throw them on, tune and go?
What do you mean by “chop his bridges”? Or “throw them on…”. Virtually no players make their own bridges. They take their instrument to a trained luthier (violin maker). Watch the RUclips interview with Hans Benning, in which he talks about Heifetz.
@@solowcelloha, I’m way too lazy to learn how to craft something far inferior than any luthier could do 😂
1:58 - in fact at 1:54 he actually picked it up by the tailpiece though... a very delicate part, much more-so than the fingerboard... not a common practice these days!!!
A perfect example of how even Heifetz's best students misunderstood his technique.
I am curious about what you mean
@@nidurnevets Mr. Han-Gorski's advice is mostly exemplary, but two of his points are directly contradicted by video evidence.
First, Heifetz doesn't roll (or twist) the violin with his left hand at 45 degrees, like this gentleman claims.
Whatever tilt you see in the instrument is the violin resting on the collarbone inclination and Heifetz bending sideways from his waist.
Watch Heifetz here and in other videos and you'll notice that his violin is rather flat and to the side. His bow arm follows the instrument much more than the other way around.
Second, he claims that Heifetz raised the elbow at the start of an upbow, which you can clearly see is not the case when you watch Heifetz.
Leaving aside the differing arm heights according to the string being played, Heifetz's elbow height along the draw was just a function of where the bow is (tip, middle, frog), regardless of direction: at the frog the elbow is high, at the tip it's low.
Ông lớn tuổi này có khuôn mặt giống nhạc sĩ Phạm Duy của VN .
whats the name of the piece?
Well Mr. Silberger my search for your earliest video must end here as ive lost that interest.
Almost Hitlerian, it makes one appreciate more the warm and genuine way Isaac Stern treated his students.
Really, comparing a Jew to Hitler?
Old man certainly lost his touch at this point.
Thank you!!!!