A selection of letters The Strad receives each month from its readers around the world: September 2023 issue
Regarding the recollections of my outstanding colleagues Ayke Agus and Zina Schiff on whether Jascha Heifetz used predetermined fingerings and bowings (‘Inside Jascha Heifetz’s teaching studio’, bit.ly/3Owzfms) I would like to comment on their observations. Mr Heifetz used fully fingered and bowed music for his own use. For public performances he had totally unmarked parts. He considered his own markings as his intellectual property. Fellow violinists from the audience were mightily surprised when rushing to his music stand to find an unmarked violin part…
Already subscribed? Please sign in
We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.