Zukerman’s Trademark Sound

Originally from Who Is My Teacher? 

She was eager to try to teach me something: All about American style. The fact that she was given a special instruction from Clevenger’s Chicago Rival at the Northwestern was even another story. Among them, I still remember that horrible moment, in which she tried to teach me what kind of full, loud sound I should make to fill the room.

You wrote:

“The most distinctive aspect of Mr. Zukerman’s playing, something that struck the ear right away, was his remarkable tone production. He is a tonal hedonist at heart, and without pressing or forcing his instrument he generated a warm, liquid sound that effortlessly filled the hall and even, at a few thrilling moments… with his trademark full-throated sound. For all of the beauty of tone, however, this listener also wished for a bit more of a commitment to exploring the deep recesses behind the notes. Mr. Zukerman’s playing brought to mind a principle of his former mentor, Isaac Stern. A performer’s task, Stern always said, was to convince a listener not only how this music should be played, but why. (February 10, 2004)”

Interesting writing.

Well… If Zukerman starts to ponder on “a bit more of a commitment to exploring the deep recesses behind the notes,” there would be a huge, fundamental change in his remarkable tone production, and then, his trademark full-throated sound will be gone.

So, it’s the end of the story.

And the less talented his musicians are, the more it will be easy and effective for them to follow his impeccable techniques, either on the violin or on the viola. Then you will say: warm, liquid, full, beautiful, bla-bla-bla…

This Zukerman’s trademark full-throated sound is another answer that led Du Pre’s cello sound and her physical strength finally to death, by the way. Isn’t it? Listen to their Trio, please. Am I wrong?

Still… if I am forced to accept this Barenboim’s dearest friend and their real-or-fake-or-political friendship, Here is my only answer: “Fuck you!”

Barenboim still proudly insists: “There is no compromise in making music. It is a favorite word of the politicians.”

Perfect.

Then the critics’ agreement amidst musical cheers.

More than perfect.

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