Pinchas Zukerman (Hebrew: פנחס צוקרמן, born July 16, 1948) is a noted Isra… Read Full Bio ↴Pinchas Zukerman (Hebrew: פנחס צוקרמן, born July 16, 1948) is a noted Israeli violinist, violist, and conductor who was appointed Music Director of Ottawa's National Arts Centre Orchestra in April 1998.
Zukerman was born in Tel Aviv, to Yehuda and Miriam Lieberman Zukerman. He left for the United States and studied at the Juilliard School. He made his New York début in 1963. From 1980 to 1987 he was the director of the Saint Paul Chamber Orchestra in Minnesota.
He is close friends with Daniel Barenboim and Itzhak Perlman. He is currently married to the NAC Orchestra's principal cellist, Amanda Forsyth. He lives in the Rockcliffe Park area of Ottawa. He has two daughters, Arianna and Natalia, from his 15-year marriage to flautist and novelist Eugenia Zukerman. Both girls are vocalists; Arianna Zukerman is an opera singer, while Natalia Zukerman is a blues/folk musician. He was also formerly married to actress Tuesday Weld, from 1985 to 1998.
Zukerman has recorded over 100 works and has been nominated for 21 Grammy Awards, winning two.
During the 2005-2006 season, Zukerman performed in many concerts away from the NACO in Ottawa. He toured with Itzhak Perlman to Washington, New York, Boston, Philadelphia, Atlanta, Miami, and Chicago. He also conducted or was the solo violinist with the Indianapolis, Chicago, Pittsburgh, Dallas, Los Angeles, Singapore, and National Symphony Orchestras, the Israel, Seoul, and Nagoya Philharmonic Orchestras, and the Berlin Staatskapelle. He toured Belgium and Germany with the Belgian National Orchestra, and have another recital tour with pianist Marc Neikrug with concerts in London, Paris, Moscow, Milan, Munich, and Birmingham. On October 20, 2006, Pinchas Zukerman and Amanda Forsyth performed with the Classic FM Orchestra in Sofia, Bulgaria.
With the Zukerman Chamber Players, Zukerman has performed over 40 concerts around the world and recorded two CDs since the ensemble's creation in 2003.
Zukerman is on the faculty at the prestigious Manhattan School of Music and is the head and founder of the Zukerman Performance Program at the school.
He plays the "Dushkin" Guarnerius del Gesù violin of 1742.
Zukerman was born in Tel Aviv, to Yehuda and Miriam Lieberman Zukerman. He left for the United States and studied at the Juilliard School. He made his New York début in 1963. From 1980 to 1987 he was the director of the Saint Paul Chamber Orchestra in Minnesota.
He is close friends with Daniel Barenboim and Itzhak Perlman. He is currently married to the NAC Orchestra's principal cellist, Amanda Forsyth. He lives in the Rockcliffe Park area of Ottawa. He has two daughters, Arianna and Natalia, from his 15-year marriage to flautist and novelist Eugenia Zukerman. Both girls are vocalists; Arianna Zukerman is an opera singer, while Natalia Zukerman is a blues/folk musician. He was also formerly married to actress Tuesday Weld, from 1985 to 1998.
Zukerman has recorded over 100 works and has been nominated for 21 Grammy Awards, winning two.
During the 2005-2006 season, Zukerman performed in many concerts away from the NACO in Ottawa. He toured with Itzhak Perlman to Washington, New York, Boston, Philadelphia, Atlanta, Miami, and Chicago. He also conducted or was the solo violinist with the Indianapolis, Chicago, Pittsburgh, Dallas, Los Angeles, Singapore, and National Symphony Orchestras, the Israel, Seoul, and Nagoya Philharmonic Orchestras, and the Berlin Staatskapelle. He toured Belgium and Germany with the Belgian National Orchestra, and have another recital tour with pianist Marc Neikrug with concerts in London, Paris, Moscow, Milan, Munich, and Birmingham. On October 20, 2006, Pinchas Zukerman and Amanda Forsyth performed with the Classic FM Orchestra in Sofia, Bulgaria.
With the Zukerman Chamber Players, Zukerman has performed over 40 concerts around the world and recorded two CDs since the ensemble's creation in 2003.
Zukerman is on the faculty at the prestigious Manhattan School of Music and is the head and founder of the Zukerman Performance Program at the school.
He plays the "Dushkin" Guarnerius del Gesù violin of 1742.
Liebeslied
Pinchas Zukerman Lyrics
We have lyrics for 'Liebeslied' by these artists:
Absolute Beginner Das ist Liebe auf den ersten Blick Nicht mal Drum 'n…
Absolute Beginners (Oooh... Jetzt... Jetzt brauch' ich einen Drink, ich auch, u…
Arno & Andreas Dies ist kein Liebeslied Denn das wäre nicht mein Fachgebiet…
Bertolt Brecht Siehst du den Mond über Soho? Ich sehe ihn, Lieber Fühlst du…
Betontod Hör endlich auf mir zu erzählen warum es nicht weitergeht Od…
Bodo Wartke Ich will’s in allen Sprachen für dich singen, auf allen Ins…
Die Schröders Jetzt sitz ich hier alleine und spiel für Dich 'n…
Die Toten Hosen Es war so schnell, wie alles begann, ein fliegender Stein al…
Florian Ast I ghöre d'Chilche Glocke wider lüte, Verschtah das stärnezei…
Gerhard Schöne Du, ich danke dir, Du bist gut zu mir, Dein Gesicht stimmt…
Heiner Pudelko Ich möcht′ dich wiedersehen Ich möchte wissen Was du machst …
hexer (a3 serving up a plate) Erst hab' ich geliebt Dann hab' ich…
Hirsch Ludwig Ja i weiá I hab's net leicht mit ihr! I weiá ja…
KMFDM Wenn Ich Also Sterben Muss Will Ich Mich Erhangen In Deinem…
Konstantin Wecker Ich möchte am Abend mit dir Auf fremden Balkonen sitzen Da…
Lift Will an Deinen Leib mich fügen, ohne Furcht vor meinem End.…
Ludwig Hirsch Ja i weiá I hab's net leicht mit ihr! I weiá ja…
Madsen Hörst du den Lärm draußen in den Straßen Auf den Plätzen…
Marius Müller-Westernhagen Liebeslied Bohrst dich ins Herz Liebeslied zynischer Scher…
Mess Siehst du mich an Dann winkst du mir zu Schau ich mal…
Nixda! Wir sitzen hier zusammen, ich fühl mich ganz allein …
Ost Front Tief in der Nacht ein Stoßgebet, schon wieder nichts zum Him…
Ost+Front Tief in der Nacht, ein Stoßgebet Schon wieder nicht zum Him…
Petsch Moser Ich lieb dich kreuz und quer Ich lieb dich hin und…
Rainhard Fendrich I mecht dir gaunz afoch amoi daunksche sogn, Fia des Lochn…
Samsas Traum Wie viel Licht wirst Du noch atmen, Wie weit werden mich…
Sleeping Sin Eine Sehnsucht ohne Worte Glüht in mir an jedem Orte Und i…
Steasy Null, Vier, Drei, Eins Ich war lange Zeit weg, start' jetzt…
Stoneman Was macht die Sonne am Himmel rot? Wie kommt der Tod…
Sturmwehr Ich blicke über Berge, Täler, Flüsse und Seen. Im Teuteburge…
Thees Uhlmann Es war so schnell, wie alles begann, ein fliegender Stein a…
Torfrock Ich weiß das is nich so wie mir scheint Ich weiß…
Toti Soler Soledat que m’envoltes, flotant, una queixa en la nit deus s…
Umbra Et Imago Das Papier vor mir weiß und leer Und drückt es mich…
Untergangskommando Wenn ich dich sehe irgendwo, fällt mir wieder ein warum…
Wecker Konstantin Ich möchte am Abend mit dir auf fremden Balkonen sitzen, das…
Westernhagen Liebeslied Bohrst dich ins Herz Liebeslied zynischer Scher…
Witthüser & Westrupp Frag uns nicht, woher und wohin, Frage uns nicht nach den…
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J. C.
Some people argue, this is too jovial to be applicable as Love Sorrow. In consequence, someone would think that he didn't play well. I humbly disagree with that assertion. I came to this conclusion in contextualizing this performance with other violinists and critically listening to their rendition of "Liebeslied." One could make the argument that many of the known violinists we've seen on YouTube do capture the essence of the piece, and seeing how they're "into" the music the effect of their playing becomes a "Love Sorrow" experience. What separates this maestro from them is in context of age. I don't mean technique or feeling, because if we hear Anne Meyers or Clara Kang, their skill with the violin is unquestionable - and they do invoke the feeling of sorrow more effectively than Stern's performance here.
What I mean by age is more align of a grandfather telling a story to his grandchildren, sons and daughters of his life.
When we look at other violinist's faces at the start of this composition - their faces tell a story of pain, as if recalling the memory is too painful to tell. For Stern, its the opposite. He even hints this contrast during the tuning. Rather than focusing on the small details - of trying to tell this sad story with absolute perfection - he jokes with the orchestra: "close enough." As if to remind the audience that this "sad story" is "my" story to tell. Also note how at ease, how peaceful and how (forgive me for being rather cliche with this word) "grandfatherly" he looks as he begins the composition at 0:25. Its as if he is saying to us, "Gather around my children, and let me tell you a story of love and sorrow. Not only that, I'll tell you this story with a smile on my face - because it is just that. A story."
The tone in which he begins is this purposefully whimsy - a tone that only older people could casually evoke. He does this again at 1:00 and 1:18, when the more "painful" aspect of the music touches our metaphorical souls. Even the cellists are keeping a somber appearance, as if to match this "heartfelt" moment. Normally, the repetition would subtly suggest a hint of regret - which indicates the "sorrowfulness" of the song. Both Stern's repeats, and expression as he plays through this part, tells it all. "Yes it's sad to hear this story. But would you like to know a secret? I don't regret it." That "secret" aspect of this narrative is especially felt in 1:27 where he smiles to the orchestra and even mouths along with the cello's staccato.
If you're still unconvinced, then note at the tonal shift at 2:12. Arguably, it is more somber than the first melody. This is where he tells the children the "sad" part of the story. This is where the performance captures the sublime aspect of the music's sorrow. As if to tell the audience that this is where the emotions should be visceral. This is the part where we should feel sad and sympathize. What makes this so effective is what he does afterwards. He enters in with a loud bang, as if to say, "Rejoice! Don't feel sad! Be happy!" The happiness, however is forced, as if to mask his pain with a feign joy. It is a moment where, as if he noticed his children suddenly feeling this somberness, snaps them of this revere and warmly embrace them at 2:49: "Don't feel sad, I lived a good and fulfilling life."
I can see how many would see this as a "bad" performance, but one cannot deny that this is uniquely a "grandfatherly" performance. I cannot imagine violinists at the prime of their life to play in this manner. In comparison to Stern, they're too young to tell Liebeslied the way he tells this "Love Sorrow" with this performance. They - to my interpretation - are still mourning for their lost love. Stern has grown past it. He's a grandfather who has sons, daughters and grandchildren. In the end, what is there to feel sad about?
Marshall Artz
🎻Isaac Stern Plays Fritz Kreisler🎻
Fritz Kreisler (1875-1962)
2 Selections from “Alt-Wiener Tanzweisen” (Old Viennese Melodies)
0:24 Liebesleid (Love’s Sorrow)
3:53 Schön Rosmarin (Lovely Rosemary)
Isaac Stern, violin
Polar Music Prize Banquet, 2000
In 2000 the Polar Music Prize was awarded to Isaac Stern (1920-2001) and Bob Dylan (b. 1941)
Nhi Nguyen
actually, this is my favorite interpretation of love's sorrow. Who said love's sorrow could not be enjoyable, after looking back years later? They are the experience that help you grow as a person.
At least, this interpretation doesn't make me feel like someone died every time.
Bening Lintang
The way he plays is like an old lover who reminisce about his long passed lover... It feels so nostalgic and emotion inducing.
messrtwinky
What a lovely ensemble. How honored they must have been to play with a such a master of the violin. Great man. Timeless melody.
DEFCON 4
R.I.P. Isaac & Fritz, two outstanding gentlemen & musicians.
Robert Bishop
Regardless of what others think, I loved every second of this YouTube. A master of the violin 🎻 with a youthful, passionate ensemble. Bravo 👏🏼
Everybody’s a critic and too often, there is little respect shown for our elders.
All I got from this performance were smiles 😊 thanks for posting this great music 🎵 🎼 🎶
rain3906
2:30 I love the accompaniment in this part, it must've been amazing to hear such a following, it's like the whole world is behind you
Péter Wolf
Thank you, this is my arrangement. (A Schott edition.) There is a cd too, its titel is Caprice Viennoise
rain3906
@Péter Wolf it's beautiful <3
catherine hegazi
love this including the joy of the listeners expressed in the exuberant applause
Maria Lasa
Pieknie.Pieknie.Pięknie. Kocham Piekno.