Violinist and conductor
10-13-79
"Travel is not fun anymore," sighs world-renowned violinist, violist and conductor Pinchas Zukerman. "It used to be. Now there are all the checks and securities at airports, and the hotel standards have gone down. The old-style luxury hotel is gone. Now it's a businessman's Ramada Inn, kind of hit-and-run hotel. But you learn to live with it."
Since making his American debut2 with the New York Philharmonic under Leonard Bernstein 11 years ago, he has been a soloist3 with every major orchestra in Europe, and acted as both conductor and soloist for most of the leading orchestras in America. His schedule of 120 concerts a year is solidly booked until 1982, and he has a discography of several dozen recordings5 on four labels. For personal credits, Pinchas — or "Pinky," as he prefers to be called — has lived on the West Side for 17 years, been married to Eugenia Zukerman for 12 of those years. They have two daughters, one of whom is a skilled pianist.
The New York Times has called him "one of the world's leading violinists," the London Times has said he is "absolutely without peer," and the Washington Post has labeled him "the most versatile6 of all major musicians." Born in Israel, the son of Polish survivors7 of Auschwitz, he was invited to perform at the White House last year for Egyptian President Anwar Sadat and Israeli Prime Minister Menachem Begin. "I want to tell Sadat he should set up a recording4 studio inside the pyramids," he joked before the event. This year, Pinky's greatest honor was his appointment as music director of the St. Paul Chamber8 Orchestra, the only full-time9 chamber orchestra in America.
But the most astonishing thing about this burly, muscular man who speaks nostalgically of the "old days," may be his age. He's 31.
"I think I had as normal a childhood as one could expect from a talented boy that had to work," he muses10 in his living room overlooking the Hudson River. Serious one moment, clownish the next, he frequently punctuates11 his remarks with loud belly12 laughter. Pinky's sense of humor is one of the things that endears him to his close friend, violinist Itzhak Perlman, who lives six floors above. They were born three years apart, grew up a few miles from each other, and both came to New York with the help of violinist Isaac Stern to study at Juilliard.
The pair sometimes travel together for concerts, and according to Eugenia Zukerman, "they do things like imitate apes at airports." Eugenia herself is an extraordinary woman. Besides being a wife and mother, she is a flutist with an international music career of her own, frequently appearing in recitals13 with her husband. In addition, she is a highly talented writer who has written free-lance articles for many leading publications, and now devotes three or four hours a day to her first novel.
On October 19 at 10 p.m., and for the next three Friday evenings, Channel 13 will present a series called Here to Make Music, which documents Pinchas Zukerman's musical collaborations with Perlman, Stern and others. Zukerman's life story is told through the use of recordings he made before the age of 10, old photographs and candid14 interviews, producing a portrait that is often fascinating.
"I think music on TV is getting definitely better in America. They're ahead of the game at the BBC and in Europe, but they're quickly catching15 up here," he notes. "Sometimes they overcompensate with pictures for the sake of making a so-called 'interesting' show for the guy sitting with his slippers16 in the living room, drinking a glass of beer. They're afraid to leave the camera on the same musician for three minutes. That's why you've got this flute17 playing, and you see this horn player picking his nose."
When I ask Pinky about critics, the color rises in his cheeks. "Don't get me on critics," he warns, before launching into an unrestrained diatribe18. "First of all, they're not critics as far as I'm concerned. They should be reporters. But they never report what goes on in the concert hall. The public stood up and clapped for 10 minutes. Say it, damn it! Don't say that bar 56 was not right in the Beethoven G Major Sonata19. Who cares? It's so stupid!
"I'm a great fiddle20 player. They all say that. Fine. It's understood, it's granted. It's there. Okay. So instead of criticizing my fiddle playing, they say I'm becoming aloof21, and this and that. … One week they tear me to shreds22 for my conducting. The next week I get these rave1 reviews. Now, how can one person be that different in one week? What do they think, that I'm a duet?"
Asked how much time he spends practicing, Pinky replies: "As much as I need to. I don't think about time. You either live music or you don't. … Music is an unending art form which demands your complete attention and perfection at all times. What a wonderful thing to be able to say — I'll be able to say it in maybe 15 or 20 years — that I have gone through all of Schubert's works. What an incredible achievement that is! I can tell you, it's a lot more satisfying than flying an airplane."
The End
点击收听单词发音
1 rave | |
vi.胡言乱语;热衷谈论;n.热情赞扬 | |
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2 debut | |
n.首次演出,初次露面 | |
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3 soloist | |
n.独奏者,独唱者 | |
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4 recording | |
n.录音,记录 | |
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5 recordings | |
n.记录( recording的名词复数 );录音;录像;唱片 | |
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6 versatile | |
adj.通用的,万用的;多才多艺的,多方面的 | |
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7 survivors | |
幸存者,残存者,生还者( survivor的名词复数 ) | |
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8 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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9 full-time | |
adj.满工作日的或工作周的,全时间的 | |
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10 muses | |
v.沉思,冥想( muse的第三人称单数 );沉思自语说(某事) | |
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11 punctuates | |
v.(在文字中)加标点符号,加标点( punctuate的第三人称单数 );不时打断某事物 | |
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12 belly | |
n.肚子,腹部;(像肚子一样)鼓起的部分,膛 | |
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13 recitals | |
n.独唱会( recital的名词复数 );独奏会;小型音乐会、舞蹈表演会等;一系列事件等的详述 | |
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14 candid | |
adj.公正的,正直的;坦率的 | |
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15 catching | |
adj.易传染的,有魅力的,迷人的,接住 | |
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16 slippers | |
n. 拖鞋 | |
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17 flute | |
n.长笛;v.吹笛 | |
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18 diatribe | |
n.抨击,抨击性演说 | |
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19 sonata | |
n.奏鸣曲 | |
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20 fiddle | |
n.小提琴;vi.拉提琴;不停拨弄,乱动 | |
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21 aloof | |
adj.远离的;冷淡的,漠不关心的 | |
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22 shreds | |
v.撕碎,切碎( shred的第三人称单数 );用撕毁机撕毁(文件) | |
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