Throughout his career, Jascha Heifetz was known for many wise, amusing, and occasionally perplexing statements that were reported in the press, or shared with family members, audiences, and students.
Here are some of the most memorable ones.
Guide a youngster’s fingers over a piano keyboard, and let him pick out Yankee Doodle. From that moment onward, he will have a heightened appreciation of music.
I feel strongly that every child – not just the musically gifted – should receive some musical instruction. With rare exceptions, children have an instinct for music, are to a certain extent musical, and should be musically developed. For the child’s own future enjoyment and his own satisfaction, he should learn to play an instrument. These days, when we are trying to make things easier for our children, we may be too timid about the process of their learning an instrument. Children should be forced to learn an instrument, gently but firmly.
Criticism does not disturb me, for I am my own severest critic. Always in my playing I strive to surpass myself, and it is this constant struggle that makes music fascinating to me.
Music has a lot in common with mathematics. But in music, two and two need not make four: they add up to whatever you wish.
Instinctively we recognize good music, and somehow or other, we know the real thing. When I have played in country schools where the children had never heard a flesh-and-blood musician in their lives, they listened attentively when I played first-rate pieces. When I played second-rate pieces – as an experiment only – they wriggled and stared out the window.
I have discovered three things that know no geographical borders – classical music, American jazz, and applause as the sign of the public’s favor.
The discipline of practice every day is essential. When I skip a day, I notice a difference in my playing. After two days, the critics notice, and after three days, so does the audience.
You can “just listen” to the Brahms violin concerto and enjoy it keenly. But if you read about Brahms’ life, you appreciate it more. And, if you’ve listened to recordings of it, you will appreciate it ten times as much.
There’s not a living human being who doesn’t need luck. You need luck every time you give a concert. You worry about weather and transportation. Trains and planes are sometimes late; taxis have been known to break down. Then, at the hall, you worry that a string might snap or the lights fail, or that a page-turner might flip over two pages at once.
You must preserve your enthusiasm for playing. Loss of that enthusiasm is deadly to musicianship.