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The Russian violin school is largely misunderstood

Russian violinist, teacher and conductor Igor Bezrodnyi gave his thoughts on the Russian method of
string playing before his death in 1997
November 4, 2014

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What is most characteristic of the Russian school? Firstly, the maximum naturalness of the handwork I
mean the violinists motor process. I think the best Russian violin teachers were trying to instill in the
violinist an exact realisation of the fact that each hand had to be extremely productive which part,
which muscle or group of muscles to use. Thats the way to achieve naturalness. I remember one
of Abram Yampolskys phrases: Remember that the muscle which works when you play must be elastic.
The second feature is that a great deal of attention is paid to the violinists feeling for acoustics and its
possibilities. I mean the sound of the violin. Yampolsky and several other great Russian teachers made
great demands on the sound, on its purity, richness and colourfulness.
Another feature which is unusual and I think important, is the Russian schools full freedom of execution.
In my opinion, all variations of interpretation are possible, apart from tasteless ones.
The typical Russian school is perceived in an inexact way. It was distorted by representatives of the
school now teaching in the West. Todays representatives use individual superficial devices of the Russian
school and assert them dogmatically. I have to listen to people saying that what is characteristic of the
Russian violin school is that it dictates. That is, it makes categorical demands on how to play, how to
move ones arms, how to interpret music. And the violin must be played only like that, not in any other
way, they say. The Russian violin school is also accused of playing very fast and loudly to the point of
aggressiveness.
You need to know where all this stems from. This gives rise to the question of international competitions,
which I have experienced both as a participant and a juror. A competition jury is made up of various
musicians of different schools with different views as to how the violin should ideally be played. Marks
are awarded. I can give the highest mark to a violinist with a vivid individuality who fascinates me, but
next to me another professor will not accept this and gives a low mark. Our marks are added together, and
as a result the interesting, promising violinist ends up with a lower mark than someone who corresponds
to all the criteria, but who did not move or enthral anyone. Say for instance a very young violinist who is
still studying learns about the results of the competition. He says to himself, I don t really like that
violinist, but he won the first prize so thats probably how I have to play at competitions, to achieve
recognition and get on to the stage via these competitions and give concerts.
So thats how one layer goes on top of the other (there are a lot of competitions) and gradually an urgent
style develops, which, unfortunately, has often justified itself by receiving the first prize. The style of
playing has been standardised and an upbeat, penetrating style has developed. And its just that style
which is now often perceived as containing the main chalacteristics of the Russian violin school. It is an
annoying misunderstanding.

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I would like my pupils to understand that the violin is an aristocratic instrument. I sometimes say to them:
If you want to mess around and make impressive sounds which will shock the listener go for a
different instrument, dont touch the violin. I think the violin is basically a singing instrument. We all
know what has been happening to the violin lately: it sounds like a saw, a percussion instrument. I dont
think that is native to the violin.
Naturally, there are works or sections of works which demand a genuinely virtuoso violinist. I often use
the example of two remarkable violinists who have gone down in history: Heifetz and Kreisler. Listen to
Heifetz and Kreisler play the finale of the Mendelssohn Concerto. Both are virtuosos, with just one
difference: Kreisler plays the finale of the Mendelssohn Concerto about twice as slowly as Heifetz. And
they are both virtuoso players! This means that it is not simply a matter of speed, but the masterly manner
in which they play. We see that nowadays many young violinists are fascinated by speed alone. I dont
think this is necessary.
Nowadays everyone is worried about the environment. They are afraid of perishing. But what about
perishing spiritually? I would compare the current situation in Russian art with a poisoned ocean. There
are still small islands of sincerity and truth, but these islands are getting smaller. My musician friends tell
me that the attention-seeking performances of today are a result of peoples needs. But if music is a gift
from God, can you imagine a minister in a church before beginning his sermon, which is going to be on
something lofty and eternal, saying to the worshippers, What would you like to hear today? What would
you like me to talk about? I think that would be an unnatural situation.
This interview, conducted by Bezrodnyis pupil Aciel Bekova, first appeared in The Strads March
1998 issue as part of a larger tribute to the Russian pedagogue. Subscribe to The Strad
or download our digital edition as part of a 30-day free trial. To purchase single issues click here.

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