I played for Starker twice in the early Seventies: once (Lalo concerto) at a place called the Adirondack Institute, and once (Schumann 'Fantasy Pieces') at a master class that he gave at the Yale University School of Music. Something that I admired on both occasions was his ability to address specific aspects of the work under consideration, while simultaneously using the occasion to set forth more universally pertinent considerations on technique and interpretation. He was not nearly so fierce as I had expected.
His book is most the ultimate workout for any cellist along with cossman. But in the the hard work will start to payoff when you can play difficult works.
The difference in the quality of the vibrato before and after the lesson is striking... hard to believe it's the same person. Thank you for sharing the master class experience with a great teacher!
I had a chance to play for him at a master class once, I still remember him greeting his cello each day when he take it out of the case. Perhaps the only cellist who really know what he is talking about in the 20th century .
Allow me to provide a more accurate transcription of his quote: "Somebody reaches a certain point in instrumental playing, called 'music making,' then reaches approximately... (shows a level with his hand) then we sort of celebrate. Bravo. But now, we go from here to the next step (gestures to indicate a higher level), and we are on the bottom of the next step. So basically, everything is wrong... if you consider the next station. Then we reach that level (indicates that we have moved from the bottom to the top of the next level of achievement), bravo, celebration time, champagne and all. But now we aim from here to here (shows the gap between levels), again we find ourself [sic] on the bottom of that next step. And it never ends. It only ends if somebody does not use, or doesn't know, the basic elements of instrumental playing and music making, because then there's a limit. They reach a limit, and they can celebrate the rest of their life and what of they succeed [sic] doing with it, it's fine."
Real true... mathematically speaking: his words constitute the very essence of any true scientist... yesterday, today, tomorrow... and it never ends...
I think she was so happy and proud of herself that Mr. Starker is helping her with her lesson... How many of those (cellists..) out there can have the luxury to take lesson from Mr. Starker... Sonny
How fortunate instrumentalists are that they have their playing changed so profoundly by simply being shown a new position in which to hold or in this case feel the position of their fingers, thumbs etc.
Who knows why she smiles? Who cares? All that really matters here is that a master class in cello and music is taking place. I suspect that people psychoanalyze her facial gestures because they are jealous that she is young, beautiful, accomplished, plays beautifully, takes a lesson from a great performer and teacher in Starker, and based on her excellence of performance, either has a career going on or is going to launch one. Jealousy is so woven into the fabric of the human soul.
@maestrophil1 This is absolutely correct. I know that whenever I have one of these "eureka" moments in a lesson or masterclass I react in very much a similar manner. For those that think the girl is trying to "play" Starker, LISTEN to the difference in her vibrato before and after he instructs her and then tell me you wouldn't react the same way.
@medicitv I have an idea... what if you get a page full of advertising and make us watch it for watch you concertos and documentaries, you can earn money and offer a free service, would be nice ;D.
Ya, you really should vibrate with the one finger independently regardless of the situation... I find that bizarre when anyone does that all besides double stops, other wise it's a constriction of the hand, creates tension, and makes your playing a reflection of that fact.
His parents came from (what is now) Germany, and settled in Hungary, although they were not granted citizenship in Hungary. They spoke German and Hungarian.
I played for Starker twice in the early Seventies: once (Lalo concerto) at a place called the Adirondack Institute, and once (Schumann 'Fantasy Pieces') at a master class that he gave at the Yale University School of Music. Something that I admired on both occasions was his ability to address specific aspects of the work under consideration, while simultaneously using the occasion to set forth more universally pertinent considerations on technique and interpretation. He was not nearly so fierce as I had expected.
May his book forever make generations of cellists suffer on the highest positions!
His book is most the ultimate workout for any cellist along with cossman. But in the the hard work will start to payoff when you can play difficult works.
The difference in the quality of the vibrato before and after the lesson is striking... hard to believe it's the same person. Thank you for sharing the master class experience with a great teacher!
I had a chance to play for him at a master class once, I still remember him greeting his cello each day when he take it out of the case. Perhaps the only cellist who really know what he is talking about in the 20th century .
RIP Janos Starker. Thank you for the music.
Starker, you give me hand palm cramps every time I follow your book. And everyday i play harder intervals a bit more in tune, i love you :D
Allow me to provide a more accurate transcription of his quote:
"Somebody reaches a certain point in instrumental playing, called 'music making,' then reaches approximately... (shows a level with his hand) then we sort of celebrate. Bravo. But now, we go from here to the next step (gestures to indicate a higher level), and we are on the bottom of the next step. So basically, everything is wrong... if you consider the next station. Then we reach that level (indicates that we have moved from the bottom to the top of the next level of achievement), bravo, celebration time, champagne and all. But now we aim from here to here (shows the gap between levels), again we find ourself [sic] on the bottom of that next step. And it never ends. It only ends if somebody does not use, or doesn't know, the basic elements of instrumental playing and music making, because then there's a limit. They reach a limit, and they can celebrate the rest of their life and what of they succeed [sic] doing with it, it's fine."
Very true
Dove insulin
Real true... mathematically speaking: his words constitute the very essence of any true scientist... yesterday, today, tomorrow... and it never ends...
Janos Starker is a wise man.
I think she was so happy and proud of herself that Mr. Starker is helping her with her lesson...
How many of those (cellists..) out there can have the luxury to take lesson from Mr. Starker...
Sonny
How fortunate instrumentalists are that they have their playing changed so profoundly by simply being shown a new position in which to hold or in this case feel the position of their fingers, thumbs etc.
To me he is the master of cello technique and no one else could compete with him to this day
my favorite cellist
Who knows why she smiles? Who cares? All that really matters here is that a master class in cello and music is taking place. I suspect that people psychoanalyze her facial gestures because they are jealous that she is young, beautiful, accomplished, plays beautifully, takes a lesson from a great performer and teacher in Starker, and based on her excellence of performance, either has a career going on or is going to launch one. Jealousy is so woven into the fabric of the human soul.
Great maestro.
@maestrophil1 This is absolutely correct. I know that whenever I have one of these "eureka" moments in a lesson or masterclass I react in very much a similar manner. For those that think the girl is trying to "play" Starker, LISTEN to the difference in her vibrato before and after he instructs her and then tell me you wouldn't react the same way.
Beautiful Elgar.
this girl is so pretty!
My favorite cellist rn
rip janos starker
He spoke a very good German!
@kleineschutter Especially in front of such an Icon in music
MAESTROOO!!
beautiful kodaly, too
@medicitv I have an idea... what if you get a page full of advertising and make us watch it for watch you concertos and documentaries, you can earn money and offer a free service, would be nice ;D.
Ya, you really should vibrate with the one finger independently regardless of the situation... I find that bizarre when anyone does that all besides double stops, other wise it's a constriction of the hand, creates tension, and makes your playing a reflection of that fact.
DEP Maestro
rip
István Erdélyi h
ahhh i think i'd pass out if i played in front of starker.
@musicy88 oh stop it she's charming
how come that he speaks perfect german???
His parents came from (what is now) Germany, and settled in Hungary, although they were not granted citizenship in Hungary. They spoke German and Hungarian.
@insomniawheesung and mine...
my teacher's teacher
scary.
@kleineschutter : Deutsche !
@kleineschutter Lol I like you
Being American has nothing to do with it.