Studying the Violin With Ivan Galamian - The Strad

7/25/2019 Studying the Violin With Ivan Galamian - The Strad

1/15

THE STRAD SHOPSINGLE ISSUES

SUBSCRIBE
http://www.thestrad.com/current-issuehttp://www.thestrad.com/current-issuehttp://www.thestrad.com/current-issuehttp://www.thestrad.com/current-issuehttp://shop.nqsm.com/thestrad/product,the-strad_624.htm?promo=STRADhttp://shop.nqsm.com/thestrad/category,back-issues-the-strad_44.htmhttps://shop.nqsm.com/thestrad/


2/15
http://www.thestrad.com/http://shop.nqsm.com/thestrad/product,the-strad_624.htm?promo=STRADhttp://www.thestrad.com/current-issue


3/15

Search The Strad website

HomeLatest

NewsBlogsDebateFocusWin

TechniquePlayingTeachingPractice

PerformanceSoloChamberOrchestralReviewsCompetitionsObituaries

CareerJobs

HealthPsychologyFitness

InstrumentsFine contemporaryMakingAccessoriesTransport

The Strad DirectoryDegrees & Courses

The Strad Degrees Online HubThe Strad Summerplus

SubscribeAbout

TimelineAdvertiseContact Us

cus:

tudying the violin with Ivan Galamian

nce his death Ivan Galamian has passed into legend as perhaps the greatest teacher the string world willer know. Barbara L. Sand asked some of his ex-pupils whether their former master really lived up tos reputation

ay 1, 2015
http://www.thestrad.com/cpt-latests/studying-the-violin-with-ivan-galamian/http://www.thestrad.com/editorschoicehttp://www.thestrad.com/contact-us/http://www.thestrad.com/advertise/http://www.thestrad.com/timeline/http://www.thestrad.com/contact-us/http://www.thestrad.com/subscribe/http://directories.thestrad.com/servicescourses/summercourses/http://directories.thestrad.com/servicescourses/degreeshubhttp://www.thestrad.com/cpt-latests/studying-the-violin-with-ivan-galamian/#http://directories.thestrad.com/servicescourses/stringservices/http://www.thestrad.com/transport/http://www.thestrad.com/accessories/http://www.thestrad.com/making/http://www.thestrad.com/fine-contemporary/http://www.thestrad.com/instruments/http://www.thestrad.com/fitness/http://www.thestrad.com/psychology/http://www.thestrad.com/health/http://www.thestrad.com/jobs/http://www.thestrad.com/career/http://www.thestrad.com/obituaries/http://www.thestrad.com/competition/http://www.thestrad.com/reviews/http://www.thestrad.com/orchestral/http://www.thestrad.com/chamber/http://www.thestrad.com/solo/http://www.thestrad.com/performance/http://www.thestrad.com/practice/http://www.thestrad.com/teaching/http://www.thestrad.com/playing/http://www.thestrad.com/technique/http://www.thestrad.com/win/http://www.thestrad.com/focus/http://www.thestrad.com/debate/http://www.thestrad.com/blogs/http://www.thestrad.com/news/http://www.thestrad.com/latest/http://www.thestrad.com/


4/15

an Galamian arrived in the US in 1937, having grown up in Russia and subsequently emigrating to Paris. Overe next 40 years, until his death in 1981, Galamian became the most powerful and sought-after violin teacher ine country. Many of his students have certainly been successful: during those years the highly regarded

ventritt Competition was won by no fewer than seven Galamian students: Itzhak Perlman, Pinchas Zukerman,tty Jean Hagen, Sergiu Luca, Arnold Steinhardt, David Nadien and Kyung-Wha Chung. Other students werenners of the Queen Elisabeth, Tchaikovsky, Carl Flesch and Wieniawski competitions in fact all theernational competitions of note. But although such students ensured that his reputation as a great pedagogue

mained unchallenged, Galamian also made his name as a teacher who could produce excellent results froms talented material. Indeed, his teaching methods were envied and emulated throughout his career and, after

s death, were perpetuated through the Meadowmount School of Music.

pon arriving in the US, Galamians Manhattan studio almost immediately became a mecca for gifted students.ord of mouth via both parents and and teachers produced a constant stream of young hopefuls, and even after

alamian was appointed to the faculties of both the Juilliard School and the Curtis Institute in the mid 1940s,ost of his teaching continued to take place in his studio, In 1941 Galamian married Judith Johnson and in 1944ey established the Meadowmount School of Music in the Adirondack mountains, which was to becomemous worldwide for its high standards.

avid Nadien was one of a handful of violinists who lived with the Galamians while studying with the master.e later became concertmaster of the New York Philharmonic and held that post for some years before decidingwork as a freelance musician and teacher.

he apartment [the Galamians permanent home on West 73rd Street in Manhattan] had great long hallwaysd a lot of rooms, recalls Nadien. Galamian had his studio in the front, and we Helen Kwalwasser, Yuramolovsy and I had rooms in the back where we practised three or four hours a day. It was a relaxed

mosphere and all of us had fun. Galamian had two beautiful boxer dogs that he was devoted to, and they werebig part of the household. At one time it seemed that somebody was stealing food from the fridge. Galamianyed up in the dark in the kitchen one night to catch the guilty party. One of the boxers had actually figured outw to manipulate the handle and open the fridge door!


5/15

alamian was a good musician with excellent musical taste. The students who played best did not always dohat he suggested, but if they sounded well he was wise enough to leave them alone. He taught bymonstration, and one had to use a grain of salt with some of the things he said. However, he gave me aneral musical approach to understanding the repertoire, which I had not received from my previous teacherdolfo Betti. Galamian stressed warmth and good sound and unquestionably deserves a major place in thestory of violin teaching.

any of Galamians students seem to have found him a more intimidating character than Nadien, perhapscause they did not live at such close quarters.

is teaching method was Scare You to Death, says Itzhak Perlman, You had better play it perfectly or else hises would glare down on you and make you feel like Thats It! There was almost no room for give and takecause he had a particular system that he applied to everybody. Some of his greatness lies in the fact that heuld teach anybody, no matter how talented or untalented they were, to play the violin very well. Some wouldmore inspired, some would be better, obviously, but they would all be proficient at what they did when they

udied with him.

was nervous around Galamian when I was his student, confirms Arnold Steinhardt, first violinist of theuarneri Quartet. He didnt speak a lot during a lesson and hardly ever smiled. He never threatened or cajoledhe had enormous presence. His basic feeling was that anybody could become a fine violinist. The stage was

eady set in his studio, with photographs of Vieuxtemps and Corelli looking at you, He taught from 8am tom seven days a week, and every lesson would last precisely 59 minutes never more, never less. Allalamians students were given two basic principles, which he delivered in a heavy Russian accent. One was

More bow! and the other was Play so that the last person in the last row of the hall can hear you. Bothcellent pieces of advice.

ater after I had graduated, I came to know Galamian socially and found he could be both kind and funny.metimes we would play chess together at Meadowmount and he would like to have a glass of vodka with theme, One glass is good, he would say; two is better; three is not enough. When I was no longer a studentwas very friendly.

mes Buswell, who teaches at the New England Conservatory of Music, is another artist who studied withalamian. Not a day goes by that I dont talk about him as a teacher, says Buswell. Once you have been undermaster, it pervades all your own teaching.

uswell describes Galamian as a man with an analytical mind who tried to instill in students his profoundilosophy of order. Galamian had a revolutionary technique for the bow arm, which was based on hisowledge of the laws of physics and anatomy, he says, referring to the critical ability to project the violinund. Galamians burden was the acoustic survival of the stringed instrument. He taught his students how toake the violin soar over an orchestra. Buswell adds: He had incredible patience. If he had confidence in youd felt you were on the right path, he was ready to repeat the same thing over and over. He was a man of quiet

termination who had a constant work ethic.

eople always said Galamian could make a violinist out of a table, says Peter Oundjian, ex-first violinist of thekyo Quartet and now a conductor, who studied with both Galamian and Dorothy DeLay. I think he could

ake anyone have a sound because he really had a method of position for the bow arm. But I remember onerticular lesson in which I was having trouble with a passage in the Lalo Concerto. I played through the fourudes and the Bach I had been assigned and the whole Lalo, Galamian did not say anything, so I said to him:

Mr Galamian, in this passage in the last movement of the Lalo I am really having difficulty. Can you tell mew I can make it better? Galamians response was to say, soberly, When you have played it 2,000 times itll be much easier. Unfortunately, its not true. Now I am older I think it is more important to find out what

u are doing wrong than to play a piece 2,000 times and see if it gets easier.

orothy DeLay, who subsequently wore the mantle of the worlds most famous violin teacher, was herself audent of Galamian and later became his chief assistant. The two had a longstanding dispute over teachingethods in the early 1970s, but Delay continued to speak of Galamian with great respect. He came fromuthern Russia, from an Armenian family, and in those families the fathers word is law, she said. If anyone ine family disobeys, it is a powerful insult to the father. Galamians background meant that he was a person for


6/15

hom dignity was very important, and he felt that formalities, even with children, must be adhered to. So thereas that cultural difference between us. He preferred to work in straightforward ways on technique. His area ofpertise was the bow and he was excellent with it. His students all had big, healthy sounds and they wereautifully organised.

alamians teaching method has been summed up by Robin Stowell, editor of The Cambridge Companion toe Violin, as follows: [It] embraces the best traditions of the Russian and French violin schools. For him, they to technical proficiency is mental control over physical movement, but his is a flexible method with no rigides. More important is that the teacher promotes the maximum musical and technical development in each

dividual.

his article was first published in The Strads September 1997 issue.Subscribeto The Straddownloadour digital edition as part of a 30-day free trial. To purchase single issues click here.

ELATED LINKS

Violinist Eugene Fodor on studying with Jascha HeifetzHow violinist Pinchas Zukerman helped me develop my musical voice5 views on teaching and performance by cellist William Pleeth

ATEST

Comments Sort by

Facebook Comments Plugin

Oldest

Add a comment...
https://www.facebook.com/plugins/feedback.php?api_key=621557341234116&channel_url=http%3A%2F%2Fstaticxx.facebook.com%2Fconnect%2Fxd_arbiter.php%3Fversion%3D42%23cb%3Df20b5ebe78%26domain%3Dwww.thestrad.com%26origin%3Dhttp%253A%252F%252Fwww.thestrad.com%252Ff2143a300%26relation%3Dparent.parent&colorscheme=light&href=http%3A%2F%2Fwww.thestrad.com%2Fcpt-latests%2Fstudying-the-violin-with-ivan-galamian%2F&locale=en_US&numposts=6&sdk=joey&skin=light&version=v2.0&width=100%25#https://developers.facebook.com/docs/plugins/comments/https://www.facebook.com/plugins/feedback.php?api_key=621557341234116&channel_url=http%3A%2F%2Fstaticxx.facebook.com%2Fconnect%2Fxd_arbiter.php%3Fversion%3D42%23cb%3Df20b5ebe78%26domain%3Dwww.thestrad.com%26origin%3Dhttp%253A%252F%252Fwww.thestrad.com%252Ff2143a300%26relation%3Dparent.parent&colorscheme=light&href=http%3A%2F%2Fwww.thestrad.com%2Fcpt-latests%2Fstudying-the-violin-with-ivan-galamian%2F&locale=en_US&numposts=6&sdk=joey&skin=light&version=v2.0&width=100%25http://www.facebook.com/share.php?u=http://www.thestrad.com/cpt-latests/studying-the-violin-with-ivan-galamian/http://www.thestrad.com/cpt-latests/5-views-on-teaching-and-performance-by-cellist-william-pleethhttp://www.thestrad.com/cpt-latests/how-violinist-pinchas-zukerman-helped-me-develop-my-musical-voicehttp://www.thestrad.com/cpt-latests/violinist-eugene-fodor-on-studying-with-jascha-heifetzhttp://shop.nqsm.com/thestrad/category,back-issues-the-strad_44.htmhttp://www.thestrad.com/digital-magazine/http://shop.nqsm.com/thestrad/product,the-strad_624.htm?promo=aug15wahttps://www.escosubs.co.uk/newsquest/backissue.asp?title=334http://www.pocketmags.com/viewmagazine.aspx?titleid=933&title=The+Stradhttps://www.escosubs.co.uk/newsquest/promotion.asp?code=STWSUB14https://www.addtoany.com/share#url=http%3A%2F%2Fwww.thestrad.com%2Fcpt-latests%2Fstudying-the-violin-with-ivan-galamian%2F&title=Studying%20the%20violin%20with%20Ivan%20Galamian&description=http://www.thestrad.com/#twitterhttp://www.thestrad.com/#google_plus


7/15

ews:

Armenian-American violinist Anahid Ajemian has died

ged 92
http://www.thestrad.com/cpt-latests/armenian-american-violinist-anahid-ajemian-has-died-aged-92/http://www.thestrad.com/news


8/15

ocus:

How to teach note reading to beginner violin students

ideo:
http://www.thestrad.com/cpt-latests/violinist-maxim-vengerov-performs-komitas-for-armenian-memorial-concert/http://www.thestrad.com/cpt-latests/how-to-teach-note-reading-to-beginner-violin-students/http://www.thestrad.com/editorschoice


9/15

Violinist Maxim Vengerov performs Komitas for Armenian

memorial concert

ideo:

Violinist Midori performs Brahms Violin Concerto
http://www.thestrad.com/cpt-latests/violinist-midori-performs-brahms-violin-concerto/http://www.thestrad.com/cpt-latests/violinist-midori-performs-brahms-violin-concerto/http://www.thestrad.com/cpt-latests/violinist-maxim-vengerov-performs-komitas-for-armenian-memorial-concert/


10/15

ideo:

Violinist Anne-Sophie Mutter performs Schindlers List

heme

ews:
http://www.thestrad.com/newshttp://www.thestrad.com/cpt-latests/violinist-anne-sophie-mutter-performs-schindlers-list-theme/http://www.thestrad.com/cpt-latests/violinist-anne-sophie-mutter-performs-schindlers-list-theme/


11/15

New York court drops violinist Stefan Arzbergers

ttempted murder charge

eave a comment

ur email address will not be published.

ame *

mail *

ebsite

omment

ost Comment
http://survey.thestrad.com/586545/lang-enhttp://www.thestrad.com/cpt-latests/new-york-court-drops-violinist-stefan-arzbergers-attempted-murder-charge/


12/15

URRENT ISSUE

he Strad Directory 2016arch our listings online

dvertise

oduct of the Week
https://shop.nqsm.com/thestrad/product,SL305--Trade-Secrets-3_842.htmhttp://www.thestrad.com/advertisehttp://directories.thestrad.com/servicescourses/stringserviceshttp://directories.thestrad.com/servicescourses/stringserviceshttp://www.thestrad.com/current-issue


13/15

he Best Of Trade Secrets 3
https://shop.nqsm.com/thestrad/product,SL305--Trade-Secrets-3_842.htm


14/15

ollow Us

UBSCRIBE TO THE STRAD

HE STRAD

HOMELATEST

NEWSBLOGSDEBATEFOCUS

PERFORMANCESOLOCHAMBERORCHESTRAL
https://adclick.g.doubleclick.net/pcs/click?xai=AKAOjst_oHX23VpUKr9K4egaxS_cO0Pi9RmvA-dTNEisyoRZsy5E22CIprtS9ajo_C_q5LCISQsO49s5qwSfZhDUOhWUACpcYm1nHMqMcpYvCaBPxZTi4S6oqhTdSgcD7x6pfnvei24j3uxjZS1kH01G6F5QFschB6_TyPUzGJSzySrRtQl9Q19_gc35BR71tftdyvyNhGsqe8mE8PiJobdtBTdEmUiM3kGfiQ-e&sai=AMfl-YQN9DPBz0D_1hDPbR0SKXVvoFogcE1ahQfPIxjDYv6OQDUmzoUgS2xAWor4zyM7LFnYCridr4TMIg&sig=Cg0ArKJSzGZDRcSqnrPXEAE&urlfix=1&adurl=http://directories.thestrad.com/servicescourses/degreeshub/http://www.thestrad.com/orchestralhttp://www.thestrad.com/chamberhttp://www.thestrad.com/solohttp://www.thestrad.com/performancehttp://www.thestrad.com/focushttp://www.thestrad.com/debatehttp://www.thestrad.com/blogshttp://www.thestrad.com/newshttp://www.thestrad.com/latesthttp://www.thestrad.com/http://shop.nqsm.com/thestrad/product,the-strad_624.htmhttp://www.thestrad.com/digital-magazinehttp://www.thestrad.com/privacyhttp://plus.google.com/107595296110047070718?prsrc=3http://www.youtube.com/user/Stradmagazinehttps://twitter.com/TheStradMaghttp://www.facebook.com/pages/The-Strad/261337077226434


15/15

REVIEWSOBITUARIES

TECHNIQUEPLAYINGTEACHINGPRACTICE

CAREERJOBSHEALTH

PSYCHOLOGYFITNESS

INSTRUMENTSFINE-CONTEMPORARYMAKINGACCESSORIESTRANSPORTSTRING DIRECTORIES

DEGREES & COURSESDEGREESSUMMER COURSESCOMPETITIONS

MAGAZINECONTACT

bout

ADVERTISECONTACTPRIVACY POLICYTERMS OF USE

ubscribe to THE STRAD

Current IssueGet The Strad Print EditionGet The Strad Digital Edition

oin us

NewsletterFacebookTwitterYouTube

opyright 2016 Newsquest Specialist Media. The Strad. Terms & Conditions apply.

UBSCRIBE TO THE STRAD AND RECEIVE A GREAT FREE GIFT

ew
https://shop.nqsm.com/thestrad/product,the-strad_624.htm?promo=CAL16WBhttp://www.youtube.com/user/Stradmagazinehttps://twitter.com/TheStradMaghttp://www.facebook.com/pages/The-Strad/261337077226434http://survey.thestrad.com/586545/lang-enhttp://www.thestrad.com/digital-magazinehttp://shop.nqsm.com/thestrad/product,the-strad_624.htmhttp://www.thestrad.com/current-issuehttp://www.thestrad.com/terms-of-usehttp://www.thestrad.com/privacy-policyhttp://www.thestrad.com/contacthttp://www.thestrad.com/advertisehttp://www.thestrad.com/contacthttp://www.thestrad.com/print-magazinehttp://www.thestrad.com/competitionhttp://directories.thestrad.com/servicescourses/summercourses/http://directories.thestrad.com/servicescourses/degrees/http://directories.thestrad.com/servicescourses/http://directories.thestrad.com/servicescourses/stringservices/http://www.thestrad.com/transporthttp://www.thestrad.com/accessorieshttp://www.thestrad.com/makinghttp://www.thestrad.com/fine-contemporaryhttp://www.thestrad.com/instrumentshttp://www.thestrad.com/fitnesshttp://www.thestrad.com/psychologyhttp://www.thestrad.com/healthhttp://www.thestrad.com/jobshttp://www.thestrad.com/careerhttp://www.thestrad.com/practicehttp://www.thestrad.com/teachinghttp://www.thestrad.com/playinghttp://www.thestrad.com/techniquehttp://www.thestrad.com/obituarieshttp://www.thestrad.com/reviews

Documents

Studying the Violin With Ivan Galamian - The Strad