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.
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.
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.
We continue learning every day of our life. But for some of us, too much formal education can result in getting nowhere by degrees.
We do not need to be educated musically. We simply need to guard against musical miseducation. Our own ears, unless they have grown so used to mediocrity that they have lost their keenness, will do the rest of the job for us.
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.
You always hear of the “delicate, sensitive artist.” I assure you that it takes the nerves of a bullfighter, the digestion of a peasant, the vitality of a nightclub hostess, the tact of a diplomat, and the concentration of a Tibetan monk to lead the strenuous life of a virtuoso. The great compensation, of course, is the human one. In the course of giving concerts, I have been around the world many times. I know literally thousands of people in all parts of the globe. I don’t suppose there’s a place in the world where I haven’t friends. If that’s not a reward for service, what is?
Can you appreciate music without playing it? Of course you can, in the same way that people who are not athletes get enjoyment from attending a game to enjoy the crowd, the excitement, and the experience.
I have discovered three things that know no geographical borders – classical music, American jazz, and applause as the sign of the public’s favor.
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.
