Essay "Some Aesthetic Principles of Yuri Yankelevich" by Gregory Zhislin

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Essay Some aesthetic principles of

Yuri Yankelevich by Gregory Zhislin
Gregory Zhislin: Some Aesthetic Principles of Yuri Yankelevich [i]
In summing up the immense artistic output that Yankelevichs
pedagogy represents, we find many opinions that are,
unfortunately, one-dimensional.
Some find the secret of his successes to lie in his ability to
choose the right students, others in his remarkable dedication
to his work. And others credit his profound technical knowledge,
such as his pedagogical intuition when positioning the hands.
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Yet, the possibility for Yankelevich to choose his students

occurred only in the later years of his activity. The majority of
his students were his students from the music preparatory
schools, whom he carefully nurtured for many years together
with his assistants. Regarding his capacity for work, this was
truly limitless he never conserved his energy and worked
without weekends or holidays. Yankelevich gave all of himself to
his students, and not only in the professional but also the
personal sense. He showed a heartfelt interest in the lives of
each of his mentees, striving to help each of them attain their
place in life befitting their abilities.
Yuri Yankelevich was truly a great pedagogue; his students
could always be distinguished by a high quality of
tone-production, aesthetically beautiful movement in the right
arm, disciplined intonation, and rhythmic stability. In short by
all that is taken to mean, refined playing. Moreover, these
were qualities intrinsic to most of his students, independent of
their individual talent, characteristics or level, and even for
those who studied with Yankelevich for a relatively short
amount of time.
Notwithstanding these indisputable qualities, the majority of
musicians and teachers always wondered, How did Yankelevich
succeed in achieving what is most important the nurturing of
artistry, the ability to ignite a musical spark in his students and
instill a feeling for the stage in the highest sense of the term?
For in order to nurture artists, and such a variety of them at
that, does not oneself need to be an exceptional artist? And it
was precisely these artistic qualities of Yankelevich that many
failed to see.
Over the course of many years I was fortunate enough to be in
close contact with Yankelevich, both in the classroom, at home,
and during those long walks, so dear to all of his students,
through Moscow at night following classes at the conservatory.
My association with Yankelevich gradually revealed his tastes,
his affections, his innermost thoughts, and the many personal
qualities of his rich and complex nature. I became convinced
that the key to understanding his remarkable success (aside
from his incredible erudition, rare intuition, determination and
integrity) is by recognizing the remarkable artistic nature of Yuri
Yankelevich.
Yes, it is true that Yankelevich was not an artist in the general
sense of the word attributed to a concertizing musician.
Although Yankelevich did possess exceptional gifts as a
performer (as documented by Glazunov and other prominent
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musicians) he did not follow the path of a concert artist.

Evidently, Yankelevich was drawn to living not one musical life
but many artistic lives that were incarnated in the destinies of
his students. And this idea is confirmed in Yankelevichs own
words:
The teacher should be able to live the life of each of his or her
students, to understand profoundly his or her character,
psychology, and develop together with the student.
One cannot say that Yankelevich was one of those people
customarily described as having an artistic temperament i.e.,
flamboyant self-expression, heightened emotions, someone
whose eccentricities are to a certain extent somewhat forgiven.
The main external characteristics of Yankelevichs nature were
seriousness and orderliness, a sense of purpose, and even a
kind of pedantry nothing to do with the generally accepted
characteristics of an artist and an artistic nature. However, it
is important to emphasize that these were precisely external
characteristics. For Yankelevichs nature was extremely rich and
complex and consisted of many contradictory elements. A sense
of poetry and romanticism was combined with realism and
common sense. Exigency and high principles were combined
with a rare quality for forgiveness. Faith in people was
combined with a very accurate analysis of their weaknesses.
Moreover, while maintaining a strict comportment in every-day
life, occasionally amongst close friends Yankelevich would
reveal himself to be an artist of the highest stature, and more
than once I would marvel at what a great actor, singer, and
elocutionist lived inside of him.
How then to resolve the contradiction between the vibrant
originality of the artist Yankelevich and the fact that he was not
a performer and did not project an artistic nature?
This contradiction disappears when we consider the dialectical
nature of what we are accustomed to label an artistic
personality. The most important qualities intertwined in such a
personality are, on the one hand the ability to creatively
interpret reality in all its facets, and on the other hand, the
capacity for self-expression.
In this case we are speaking of a specific form of
self-expression. The connecting link between Yankelevichs
artistic understanding and the public turned out to be his
students and the aesthetic seeds he planted.
Taking a look at the first aspect of an artistic personality the
accumulation of impressions in life and art we find that the
ability of Yankelevich to immerse himself in life and to absorb it
creatively and emotionally was one of his most striking
qualities. This was already developed from his early years that
were spent in the atmosphere of a very cultured family whose
life encompassed a wide circle of scientific and artistic interests
and also democratic ideas of the time (the latter being the
reason why Yankelevichs father was exiled in 1908 from Tsarist
Russia). Yankelevichs mother, Sima Yuhidovna, was a gifted
pianist, and her sister was a singer. Yankelevichs father was a
passionate music lover who played in an amateur quartet. This
all encouraged the boys interest in music and he was also
fortunate to have met his first teacher, Anisim Berlin, a student
of Leopold Auer.
It is true that when Yankelevich was young, his interests were
not limited to the violin. For example, at the age of thirteen he
became so interested in chemistry that he almost dropped the
instrument. However, his love for music won and after
successfully passing the entrance exams he moved with his
family to St. Petersburg to study at the conservatory.
Little needs to be said about how he devoured the creative
atmosphere of artist life in Leningrad, which was so dynamic in
the 1920s. Nor how much he took from the Leningrad
Conservatory and its glorious traditions as he came into contact
with Glazunov (the former director and soul of the
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conservatory) as well as Shostakovich and many other

wonderful musicians.
Violinists at that time were still under the influence of Auer and
his brilliant students. Yankelevich studied with Nalbandyan,
Auers former assistant and a remarkable personality, as well as
Korguev, a seasoned professor and thoughtful and serious
methodologist who may be considering one of the founders of
the Russian Violin School.
Yankelevich began to assimilate the artistic and pedagogical
traditions of this school stemming from Auer, and this process
was further developed in Moscow.
It is difficult to overestimate the influence that the singer Ivan
Yershov, who was then at the peak of his powers, had on
Yankelevich. Yankelevich loved to speak of Yershov and I would
like to spend a bit more time on his impressions of this
wonderful artist since Yershovs artistry greatly influenced many
of Yankelevichs aesthetic opinions and principles.
Firstly, the unusual power of Yershovs emotion forced the
listener to forget all else and to entirely succumb to the power
of his enormous talent. I remember by chance happening to be
at his concert in the Capella with my mother Yankelevich would
tell. The presenter announced Songs and Dances by
Mussorgsky. An artist unknown to me entered and began to
sing. At first I didnt like his voice very much [Yershovs
so-called main timbre was rather throaty and not very
beautiful in the general sense of the word]. But after only a few
measures I completely forgot about his voice and even ceased
to exist entirely. He would either throw me into turmoil, then
lead me to weep from happiness, cringe from fear or suffer
together with him. I had goose bumps all over and my hair
stood on end. I was crushed. After the concert Yankelevich and
his mother walked for a long while along the Moika, not saying
a word, not yet able to recover. Later Yankelevich attempted to
understand effect of Yershovs power:
Ivan Yershov so entered the character, that he would
forget the other actors and the audience. He never
made one gesture or sound for the audience, he would
dissolve inside the music and inside the character. In
this way he differed from say, Chaliapin, who was an
entirely different kind of genius. Chaliapin would never
forget that he was one stage and that he was standing
in front of the audience. No matter what kind of
emotional characters Chaliapin created they were
always under his rational control. In the most
frightening scene from Boris Godunov Chaliapin would
be backing up and recoiling from the bloody apparition,
crying out in an inhuman whisper and making the
audience numb from fear. At the same time Chaliapin
could then poke his petrified partner in the stomach
and whisper, Hey, move over a bit. In contrast, when
Ivan Yershov sang Carmen there were singers who
were afraid to go on stage in the final act. Each time
Yershov had to get on his knees to promise he would
not actually kill them. Even season singers would not
believe it was theater, so strongly did he embody Jos.
One may readily remember the motto of the genius Paganini:
One must be able to feel intensely, so that others may feel
intensely.
Yankelevich tried to not miss any of Yershovs performances.
With admiration Yankelevich would tell of Yershovs wonderful
acting abilities, of the incredible plasticity of his body that was
always kept in shape and allowed him to play Siegfried at an
advanced age.
Unfortunately I never saw Yershov, but Yankelevich would so
clearly describe to me the scene when Siegfried speaks to the
bird, that I have it right before my eyes: Yershov with his back
to the audience, the movement of his magnificent torso, his
regal head, his unusually expressive arms, uncovering an abyss
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of feelings, thoughts, moods

It is difficult to say today whether it was Yershovs influence or
other factors that instilled in Yankelevich such a great love for
singing but Yankelevichs love for the voice clarifies a lot in his
work as a violinist pedagogue.
Although Yankelevich was unable to sing professionally due to
the fragility of his vocal chords, he would greatly help his
students by singing musical phrases. Quite often this would
help more than a verbal explanation and demonstration. He was
in masterful command of a full vocal palette, and even though
his baritone voice was not very big, it had an extremely
pleasant timbre. Yankelevich also understood vocal technique
very well and was considered an authority in the field. Few are
aware that Yankelevich was on the jury of a few vocal
competitions and his opinions were highly respected in the
profession.
Upon completing the Leningrad Conservatory Yankelevich
headed to Moscow for graduate studies. There is no need to list
the conglomeration of talents associated with the Moscow
Conservatory in the golden age of the 1920s and 30s. These
included the wonderful orchestra Persimfans, with which
Yankelevich worked closely, the professors of the conservatory,
the leading cultural figures, and many touring artists with whom
Yankelevich became colleagues for years to come. And Im not
even speaking of the influence of such a great pedagogue and
musician as Abraham Yampolsky, in whose class Yankelevich
was initially a graduate student, and later an assistant. Thus
Yankelevichs thirst for world culture in all its forms found new
ground in Moscow.
In those years Yankelevichs greatest passions were the theatre,
literature and poetry, all of which enriched him musically. Artists
such as Ostuzhev, Monakhov, and Leonidov were his gods
whom he worshipped his entire life. And these actors did not
just enthrall him through their art. When Yankelevich would
speak of Ostuzhev his voice would ring from admiration for the
artistry and humanity of this artist, who, like Beethoven was
able to conquer the insurmountable his deafness.
In order to remain on stage, Ostuzhev had to not only
memorize all the other parts, but also set all his speech
to music so as not to step out of rhythm. In the green
room before the performance he had to observe who of
his colleagues happened to be more excited that
evening, and who was feeling more lethargic. He was
forced to consider and retain in his truly enormous
memory a thousand details, nuances, moods, down to
the way in which each person walked -- basically all
that an actor with a normal sense of hearing never
needed to consider. And it was absolutely incredible
(and to the audience who didnt know of his deafness,
entirely natural) how remarkably accurately, without
looking at anyone, he would place his speech, always in
the nerve of the action. What an artist he was, he
would turn over ones soul with his Othello, Acosta! [ii]
I dont know if Yankelevich became as keenly interested in the
theatre as he did for a while with singing, but I must say that
he could have made an outstanding actor himself.
Those who knew him well were often struck by how brilliantly
he would act out entire scenes from plays, or recite his favorite
poets such as Lermontov, Alexei Tolstoy, and Apukhtin.
Yankelevich felt the power of the word just as deeply as a
musical phrase or image, and this too would later be reflected
in his musicianship.
Yankelevichs imagination was deeply impressed by visual and
colorful perceptions of the world: travels through Russia and
oversea, visits of architectural monuments and historic artifacts,
the sculptures of Weimar, the Louvre, museums of
contemporary art, the striking color palette of Japan the
antipode to the West.
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Following his travels he would speak intoxicatingly about the

works of the Impressionists. He could talk for hours about
Leonardo da Vinci, Raphael, Rubens, about the crossroads
between the old masters and contemporary trends in art.
Already in the early 1950s, when Yankelevich had earned his
long overdue recognition, he was a well-formed, mature artist.
He was constantly continuing to develop and absorb new
trends, ready to solve not only the specific problems facing a
violin professor, but also, more importantly, the nurturing of
artists.
Unfortunately, in Yankelevichs published works we do not find
specific observations concerning aesthetics. Yet, when speaking
of any problem in violin playing or teaching Yankelevich always
saw it only as a tool serving the larger artistic understanding of
a composition.
It is for this reason that I take upon myself to attempt to clarify
certain artistic-aesthetic views of Yankelevich, which he never
presented as a system, but which guided him throughout his
pedagogical practice.
Yankelevichs creative motto was the following phrase of A.
Yampolsky: One must constantly, all ones life, continue to
deepen ones understanding of music.
When starting to study a new work, be it a concerto or etude,
Yankelevich required a preliminary detailed analysis. He
considered the following details to be particularly important:
1. The historical period of the composer and its artistic and
stylistic characteristics.
2. The individual personality of the composer and general
creative direction of his or her works.
3. The most important works of the composer.
4. The stylistic particularities of the specific composer.
5. The place of the composition in relation to other works by
the composer.
6. The particular qualities of the piece, both in terms of
content and in terms of artistic and expressive devices.
7. Performance traditions of the piece
8. The different editions of the piece and the similarities and
differences between them.
However Yankelevich did not just limit himself to an analysis of
the piece; he insisted on instilling the habit of listening to the
composers other works and music of the same era and in a
similar style.
A student starting to learn say, a Mozart concerto, was obliged
to listen to Mozarts piano concerti, sonatas, chamber works.
Constantly stressing the vocal nature of the violin, Yankelevich
drew special importance to listing to operas, romances, and
songs. He generously shared with his students rare recordings
from his wonderful library that was carefully selected over the
years. He himself adored listening to singers, pianists,
narrators, and even bird song.
Yankelevich did not simply organize listening sances. He
taught students how to hear and how to listen. He taught them
how to treat the performance legacy of the past with respect
and love, how to develop an historical approach taking into
account the fact that performance styles periodically change. He
strongly derided young musicians who were prone to mock the
great performances of the past, those who were unable to
differentiate stylistic gestures they found to be old-fashioned
from the depth of an interpretation. He was also against blind
mimicry, and, as with any type of plagiarism shifts la
Kreisler or accents la Heifetz were considered
unacceptable.
Yankelevich wanted one to be inspired by the spirit of the
interpretation, and not the technical details. I would like to
emphasize that Yankelevich especially valued such performers
whose interpretation managed to maintain an objective
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approach to form and the composers intent, while at the same

time was also able to convey a deeply personal and subjective
experience that spiritually served the music.
When explaining the artistic aspects of a work (especially in the
larger forms) Yankelevich always strove to work with purely
musical ideas and avoided constantly running to the aid of
imagery borrowed from life or other arts. And although he did
not specifically talk about this subject, his ideas stemmed from
the fact that musical language is quite specific, and in contrast
to the other arts is not made up of objectively concrete content.
Even in so-called programmatic music Yankelevich was very
careful with his verbal descriptions, wary of programmatic
vulgarity interfering with the composers intent.
And yet, at the same time, the art of music allows one to
incorporate the broadest philosophical, aesthetic and ethical
subjects. By unfolding in time and space and synthesizing the
basic laws of dramaturgy and architectonics, music has
unlimited possibilities of emotionally and intellectually engaging
the listener.
Without fear of sounding too pompous, I would say that
Yankelevich the interpreter combined the qualities of both a
dramaturge and an architect (for as Le Corbusier would say
architecture is not a profession, but a state of mind). This
synthesis allowed Yankelevich to resolve the complex
philosophical problems involved in the interpretation of a
musical work.
Similar to an architect, Yankelevich constructed a musical piece
using the elements of musical form. He gave each individual
element (and naturally also the entire form) a unique quality by
emotionally coloring the details of the entire construction. And
in the dramaturgical sense, he marked a clear juxtaposition of
contrasting characters and emphasized the imagery in the
work. Dialectically this was synthesized into a homogenous
whole through continuous development and unified tempo and
rhythm.
Yuri Yankelevich was an artist who was constantly searching
and developing. Not one of his interpretations was similar to
another even during one period of time, for the students
individuality always left its own imprint in the interpretation of
the work. Even Yankelevich himself in different periods would
interpret the same work differently (this was undoubtedly
influenced, especially in later years, by the emergence of Soviet
violinists to the international stage and contact with a wider
circle of musicians). And if Yankelevich in the beginning often
worked his way from the details to the whole, then in later
years he shaped the piece in larger strokes, similar to a
fresco.
I will now make an attempt to shed some light on Yankelevichs
views on the interpretation of some key classical violin
repertoire.
In Yankelevichs class it was common to play a lot of the older
Italian composers; sonatas by Tartini, Veraccini, Locatelli,
Geminiani, Nardini, pieces and concertos by Vivaldi. Yankelevich
found this music to cultivate fine taste and the ability to create
distinct moods. In order to play well, one must sing well,
Corelli would say. This served as a guide for many violinistcomposers in the 17th Century, and Yankelevich took this as a
call for a true bel canto. The Sonata form of that time differed
from the Sonata form of the Viennese school and in this music
Yankelevich required contrasts between movements rather than
contrasts within the different parts a sonata or concerto.
In many ways this principle also applied to the interpretation of
Bachs works. In the partitas Yankelevich required clear metric
and rhythmic characterization of each dance. In the sonatas he
considered the anchor of the work to be the fugue. Approaching
the fugue historically he took into account the organ-like nature
of Bachs works and was very demanding in terms of form and
an emotionally charged interpretation. Since the fugue consists
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foremost of repeated statements of the main theme,

Yankelevich insisted on a consistent character for each
statement, regardless of the register, dynamic or number of
voices. When working on chords Yankelevich reminded us that
in Bachs time these were played with a curved bow that could
easily change its tension, which allowed even four-note chords
to be played without arpeggiation.
Speaking of general interpretation, Yankelevich believed Bach
should be distinguished by an internal robustness and
wholeness rather than a commonly accepted frail and fractured
interpretation. One shouldnt play this music dryly and
mechanically for Bach was a lively, full-blooded composer.
Possibly, the main problem in interpreting Bach consists of the
relationship between the improvisational element and a strict
reading of this music. Bowings and fingerings play an important
role. In this respect Yankelevich was constantly searching and
frustrated in the lack of authentic sources. In examining old
editions and manuscripts he tried to find a rational compromise
between stylistic requirements and contemporary instrumental
possibilities.
Yankelevich traced two tendencies in the historical performance
of Bach: the tradition of the German school (in our time
represented by Flesch, Szeryng) which is more objective and
strict than emotional, and a Romantic, improvisational way of
approaching Bach usually played with faster tempi and
unlimited metric freedom. Judging from the way he worked on
Bach with his students Yankelevich sought to find an intelligent
balance between these two traditions. He held Glenn Gould in
high regard as an interpreter of Bach.
I find it appropriate to include here Yankelevichs thoughts on
Bach noted by the Belorussian pedagogue M. Minster:
In interpreting the works of J.S. Bach we are
confronted with a very important question: Should we
try to achieve a sound that corresponds to a sound
during Bachs time, or should we allow for certain
deviations and differences in interpretation that take
into account developments in violin technique and
performance practice.
Attempting to perform Bach in the spirit of his time
encounters great difficulties. We are deprived of a
continuous tradition of performing Bachs works (in
contrast to certain other composers). The majority of
Bachs works were not printed in his lifetime and were
therefore not widely known. For an entire century they
were completely forgotten, with only Schuman and
Mendelssohn discovering them anew. Subsequently
Joachim and Moser edited and printed his sonatas and
concerti for violin. If we try to adhere to the strict rules
of performance of Bachs time we find ourselves at odds
with contemporary requirements in playing string
instruments. We are unable to return to a sound
without vibrato or confined to the first five positions, for
it sounds primitive to contemporary ears (though not
devoid of a certain beauty). We are unable to return to
thin strings and the bow of that era, which largely
facilitated the playing of chords. We are unable to limit
ourselves in todays interpretation to only the bow
strokes of that time.
Today we will not limit ourselves to the technical
possibilities of violin playing available in the 18th
Century. We have access to performance techniques
that reflect the developments of a latter period and are
able to correspond more closely to the spirit of the
music.
Of the many editions of the 6 Solo Sonatas and Partitas,
Yankelevich preferred the one edited by Mostras.[iii] In many
editions the original text is deformed beyond recognition, as for
example in the editions by G. Rose and L. Capet. Even in
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Fleschs edition there are many deviations from the original and
too many dynamic additions that limit the performers
imagination. Mostrass edition is more consistent and closer to
the original and illustrates the possibility of using various
contemporary bowings. Yankelevich would note, The performer
should be given the possibility to chose fingers and bowings.
But these need to be justified, and therefore one should be
familiar with all the editions, and understand the rationale
behind each choice.
In Bach we find no notations of crescendo or diminuendo, there
are no f f or pp markings. Only in one place in the Chaconne do
we find a marking of pp and leggiero.
Example 1: J.S. Bach: Chaconne

The principal dynamics in Bach are forte with a full, normal
sound, and piano is used merely as an echo.
One must be guided by strict rhythm when performing Bach. If
slight retards are to be made they should be interpreted more
as pesante and should occur naturally, usually in the final
measures. However, in the solo sonatas and partitas, one
should not even slow down at the end (as for example at the
end of the G minor presto, the B minor courante, the A minor
allegro, etc.). As an exception a very slight accelerando may
occur in the long sequence from the G minor fugue:
Example 2: J.S. Bach: Fugue in G minor

Bachs dtach has a very specific quality. Compared to dtach
in Mozart it is much more pesante. For example, the first three
notes of the E major violin concerto should be played slightly
marcato with an energetic beginning to each note and then
slowing down the bow speed without stopping the bow:
Example 3: J.S. Bach: Concerto in E major

The eighth notes that follow should be played similarly and the
sixteenth notes should be played with a broad stroke.
The Adagio in G minor closely resembles an improvisation due
to its asymmetry (and just as easily may be considered a
Prelude):
Example 4: J.S. Bach: Adagio in G minor

In the E Major Prelude the bar lines lose their meaning:
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Example 5: J.S. Bach: Prelude in E major

Elements of improvisation are also to be found in the first
sonata for violin and harpsichord.
Despite the similarities between the Viennese Classical
composers, Yankelevich noted the large differences when
interpreting Haydn, Mozart, Beethoven, and Schubert. These
echo similar thoughts noted by Chicherin in his book about
Mozart: The eighteenth century was a century of intense
music-making in a short span of time composers were imbued
with an abundance of musical information. The nineteenth
century saw the flourishing of Romanticism and brought along
extensive musical development. When performing Mozart
Yankelevich required foremost flexibility in character and the
ability to quickly change moods. At the same time he accorded
a lot of attention to maintaining strict rhythm and a sensible
tempo, and not letting the second theme disrupt the general
form. The sound was to be full-bodied, sincere, and bright.
Yankelevich particularly disliked, as he would call it, a
perfumed interpretation of Mozart.
Example 6: W.A. Mozart: Concerto in D major, mvt. 1

The aforementioned Minster writes: A good interpretation of
Mozart demands a certain maturity from the performer, and Im
not afraid to say, more mastery in comparison to other
composers. This particularly applies to bow technique, elasticity
and economy of movement.
Many performers make a big mistake by playing Mozart only
mezzo voce. A good interpretation of Mozart requires not only
the natural sound of the instrument but also the correct
articulation that determines the character of the movements,
which will in turn determine the dynamic.
Dtach in Mozart requires even and precise movement. Some
players are prone to accelerate the short notes:

This usually occurs because the contact of the bow with the
string is too weak, and there is not enough resistance for the
bow arm. This causes the right arm to move too quickly. It is
possible to avoid the undesirable accelerando by consciously
increasing the movement in the bow and by strengthening the
contact between the bow and the string.
The following bars of the concerto should be played analogously
to the celebrated Minuet in D major, even though the score
shows two slurred eight notes:
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Example 9: W.A. Mozart: Minuet in D major

This is a characteristic interpretation for slurred eighths in
Mozart.
Tempi in Mozart differ from tempi in Bach. The fast movements
are generally livelier and a presto by Mozart should be played
quicker than a presto by Bach. However, the slow movements
(Adagio and Andante), just as with Bach, should not be played
too slowly. One could easily add the marking Moderato. The
lyrical themes in the D major Concerto may be slightly held
back:

Dynamic markings in Mozart reflect the moderation of the
Classical composers, and only in his later period did Mozart
incorporate markings of crescendo and diminuendo. We already
find marking such as sf and sfp quite often in Mozart, although
the dynamic range does not extend to ff or pp, as we find in
Beethoven. While Bach only marked dynamics as an echo in
repetitions, Mozart used piano when it suited the mood and
character of the music. Mozarts music does not require
exaggerated dynamics it remains refined, though
simultaneously full-bodied. In any forte one must retain
elasticity in the hands, and in any piano one must retain contact
with the bow.
Yankelevich viewed Schubert foremost as a composer of song,
which explains the melodic nature of Schuberts ideas.
Yankelevich would spend a lot of time working on the
modulatory passages.
Yankelevich delved very deeply into the music of Beethoven. He
considered him to be amongst the most epic and grandest in
the philosophical sense of composers. Over the years his
interpretation of Beethovens compositions would change; if in
the 1950s when working on Beethovens Romances and Sonatas
Yankelevich strove for elegant bow strokes and purely violinistic
contrasts, then in later years he interpreted Beethoven more
simply and strictly, much closer to the original text. The big
picture became grander and the details larger. In chamber
works, Yankelevich considered the violin a part of the general
musical fabric, and took care not to disrupt the balance
between the solo and accompanying instruments.
In Brahms, Yankelevich valued the philosophical aspect
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juxtaposed with a dramatic element. A certain tension and

intensity found in Brahms requires expressive and spiritual
liberty, while still maintaining strict attention to the form and
the text. Brahms, like Beethoven, very clearly notated the
shades of emotional dynamics (in his articulations, remarks,
tempo markings, etc.). Yankelevich highly regarded Szigeti,
Stern, and Menuhin as interpreters of Brahms. In the Sonatas
Yankelevich also worked with the pianists, searching for an
expressive and melodic sound in the piano.
Yankelevich decidedly frowned upon aesthetic snobs who
considered the works of the virtuoso Romantics to be
old-fashioned and irrelevant.
Aside from the purely instrumental benefits that come from
working on compositions by Spohr, Viotti, Ernst, Wieniawski,
Vieuxtemps, this music reveals lively and open emotion,
romantic poignancy, distinct and contrasting characters, and
infinite melodic charm.
Yankelevich considered music of these composers, and
particularly Paganini, to be the violinists bread and butter and
he would remark that even for a player blessed with great
musical gifts, a lack of work on such music will stunt the growth
of their instrumental mastery. In Yankelevichs opinion the
virtuoso techniques and effects of these composers were not a
goal into itself, but a means of self-expression. Romantic art is
open-minded, addressing a wide public, democratic by nature
and requires a corresponding approach in its realization.
And it was quite something to see Yankelevich light up when he
was working on virtuoso pieces. He would require the student
to give his or her all, and he could generate captivating
imagery. At the same time he would require a proper
understanding of technique, with all the technical problems
subordinate to musical goals. For this is a virtuoso in the truest
sense of the word (we should remember that the word
virtuoso stems from virtue) and not that type of hallway
virtuoso who just plays fast, meaningless passages.
Yankelevich worked on Paganinis Caprices with all his students.
He considered them an encyclopedia of violin mastery and he
required each caprice to convey a specific musical idea.
Yankelevich also liked to work on La Campanella, Le Streghe, I
Palpiti, La Molinara, and the sonatas with guitar. He considered
the D Major Concerto to project fireworks of instrumental
brilliance, a romantic pathos, a sense of drama and lyricism,
and an authentic national spirit.
His work on the French composers of the second half of the 19th
Century was characterized by special attention to tone color, a
supple and elegant style, and refined details. Yankelevich
emphasized the necessity of becoming familiar with all of
French culture, including the rich literature, the variety of art
and architecture, certain historical contradictions, and important
philosophical tendencies.
In Lalos Symphonie Espagnole, he required not just
instrumental mastery, but also brilliance, temperament, and
clearly defined ideas. The folk rhythms and colors are the
backbone of this masterwork.
Chaussons Pome was distinguished by the finest of nuances,
dynamics on the verge of explosion, and very rich expression.
In Saint-Saens Introduction and Rondo Capriccioso Yankelevich
asked the student to first carefully consider the composers
indication malinconico and then try to create the appropriate
atmosphere. In the Rondo he worked on supple and singing
bow strokes and finding a refined and capricious character.
The coda was not to be played too fast, in keeping with the old
French tradition.
The aesthetics of impressionist composers he found in many
ways to parallel that of the impressionist painters capturing a
moment in time, an elusive, fleeting mood, a colorful
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outpouring of emotion. Yankelevich was very fond of

compositions by Debussy and Ravel. In LAprs Midi dun Faune
he would paint a feeling of bliss, repose, drowsy sensuality. In
Claire de Lune he sought the subtlest rippling of shades rather
than actual colors, tenuous and barely-detectable wafts of
sound.
In order to achieve improvisational freedom and a capricious
character in Ravels Tzigane, Yankelevich required one to first
work on this piece very strictly by fine-combing the score and
scrupulously adhering to the length of each note and rest. But
afterwards what a rich and fanciful picture and what
mischievous and riotous characters he would unravel!
Cesar Franck is one of the more complex composers in French
music, Yankelevich would note. He incorporated both the
Romantic traditions of the 19th Century and also the realistic
tendencies of his time, accepting the ideas of the
impressionists. One must also not forget that his serving his
entire life as a church organist left an imprint of religious and
ecstatic loftiness on his music. Yankelevich found all these
distinct aspects of Franck reflected in the A Major sonata.
Naturally Yankelevich was a remarkable interpreter of Russian
violin repertoire. He especially liked the Glazunov concerto and
considered Glazunov one of the more original national
composers. Glazunovs concerto moved him by the breadth of
its melodic line, a very Russian sweep and power to its ideas,
and a life-affirming and optimistic character. Glazunov himself
heard his concerto performed by the young Yankelevich and
warmly endorsed his interpretation. When working on this piece
with his students Yankelevich was particularly inspired. As Irina
Bochkova would remember, he would be able to sing the entire
concerto a few times through from beginning to end. From his
students he required a continuous development, intense
emotions on a grand scale, and at the same time he focused a
lot of attention on the nobility and softness of tone.
Yankelevichs interpretation of the Tchaikovsky concerto
received worldwide recognition thanks to his students I.
Bochkova, V. Tretyakov, V. Spivakov, P. Kogan and many others
performing it in international competitions. Yankelevichs
reading of Tchaikovsky was fundamentally quite strict, as he did
not permit Romantic liberties and exaggerated emotions. He
called for simplicity in the lyrical themes, a gentle and
meditative mood, and a warm, full-bodied, operatic piano. He
asked that the second movement be played as a simple tender
song. In the third movement he emphasized the genre of the
movement and required clear and bright accentuation in the
different episodes. Yankelevich found the cuts in Auers version
to disrupt the form of the finale and required students to use
the original edition. He viewed the cadenza as the
dramaturgical center of the first movement and carefully
worked out every detail.
Yankelevich worked scrupulously on refining bow strokes and
accents. In the shorter pieces he would insist that the reflected
mood correspond to the title. Thereby, with his help Meditation
would come across broad, lyrical, and pensive and the ValseScherzo would both reflect the movement of a waltz and retain
qualities of a scherzo.
One of Yankelevichs favorite composers was Sergei Prokofiev.
He believed that Prokofiev, just like the poet Mayakovsky, was
able grasp all that was new in the 20th Century and to embody
this in an entirely innovative way. In the concerti, sonatas, and
pieces, authentic Russian lyricism is contrasted with sharp and
grotesque imagery, which Yankelevich believed should be
played with brio and exaggeration. At the same time
Yankelevich emphasized that even the most unaesthetic
imagery needs to be expressed through aesthetic means and he
didnt permit his students to play roughly and scratch the
sound. He would carefully work on the character of the strokes,
achieving particular Prokofiev-like accents and marcato. In the
lyrical folk themes he stove for declamatory expression, a lush
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sound that is natural to Russian folk song. In Winter Fairy, he

sought out whimsical and fleeting imagery, combining
impressionist colors and fantastical characters.
Yankelevich was an enthusiastic advocate of contemporary
Soviet composers and personally collaborated with many of
them. The music of Shostakovich, Khrennikov, Kabalevsky,
Khachaturian, Golubev, and Rakov amongst others was
constantly played in his classroom. He would also cover
interesting works of younger less-established composers. For
example in his studio one could hear first performances of the
concertos of A. Chugaev and Golubev, the sonatas of M. Kuss
and I. Zhvanetskaya, and the Moscow premiere of Y. Faliks
concerto.
It is difficult to cover all the details in his interpretations of
contemporary works, but as an example one may examine
Khachaturians concerto and the Preludes of Shostakovich
(arranged by Tsyganov).
Yankelevich considered the dramatic focal point of the
Khachaturian concerto to be the middle movement, which he
interpreted as a continuously flowing, improvisatory melody.
The charm of the folkloric coloring, the emotional dramatic
narrative, the sobbing episode the entire richness of the
movement required the player to search for very specific hues
and timbres. In the Shostakovich Preludes he worked in great
detail on the bow strokes, trying to achieve variety while
maintaining a unified character in the gradual shifts from one
idea to another. He taught his students how to master
extremely subtle changes in mood and emotion.
Of the 20th Century foreign composers Yankelevich highly
regarded Stravinsky, Bartok, Hindemith, Britten, and Enescu.
He also covered the Berg concerto and pieces by Webern in his
class (though primarily with more mature students).
We were all astounded how in entirely unfamiliar, complex
works (such as the five-movement Hindemith sonata)
Yankelevich was immediately able to grasp the principal ideas
and form. With only two or three remarks he could make the
performance sound more harmonious and expressive and he
was able to immediately envisage how it would sound on stage.
He had an infinite supply of fantasy and creativity in shorter
pieces and was always able to find the right character for each
one. He found the pieces by Kreisler, Sarasate, the Hungarian
Dances of Brahms and the Slavonic Dance of Dvorak to be very
useful in developing artistry and awakening the students
imagination.
One must also add that Yankelevich was a master at
constructing concert programs and he believed this to be an
important and complex component of artistic activity. When
advising younger players Yankelevich took into account many
factors: the artistic value of the composition, the stylistic
juxtaposition of the composers, the popularity of the pieces
amongst the different layers of the public, and the location of
the concert. Especially in the case of debuting violinists,
Yankelevich recommended that the program be constructed so
that the listener has a chance to emotionally switch states. For
example, a work that made heavy intellectual demands should
be programmed with more popular music that creates a certain
joy in recognition. But naturally all these pieces should still
comprise good music and not consist of over-played crowdpleasers.
Yankelevich required his students to constantly develop their
personalities and enrich themselves emotionally and
intellectually. In many ways, he provided the perfect example
as he was constantly developing himself.
Yankelevich adhered to high moral standards when dealing with
people. Nothing would upset him more than a show of jealousy,
unhealthy competition, envy, or careerism. He would not stand
any sort of immoral or unethical behavior. In his class one
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always felt an atmosphere of goodwill, honesty, true friendship,

and gentle humor that was able to provide comfort even in the
most trying times. How he lifted the spirits of all who came in
contact with him!
Style is personality. At the end of the day, it is precisely
personality that fuels a person in his or her art. This also
applies to instrumental playing.
These were words that Yankelevich liked to repeat, and we, his
students, remembered tham.
[i] This essay was included in the original Russian edition of this
book and is translated into English by Masha Lankovsky.
[ii] The philosopher Uriel Acosta or Uriel da Costa dramatized in
a play by Karl Gutzkow (1811 1878).
[iii] The edition by Mostras is printed on a double staff with
each edited line printed directly above the original text.
translators note
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Essay "Some Aesthetic Principles of Yuri Yankelevich" by Gregory Zhislin

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