|Importance of contrasting characters||00h:05m:58s|
|On developing hand vibrato||00h:07m:15s|
|Demonstration of exercise to improve hand vibrato||00h:07m:43s|
|Playing like a cello in the lower range of the violin||00h:08m:20s|
|Practicing hand vibrato without engaging the arm to create a rich sound||00h:08m:37s|
|Playing in a dance-like manner||00h:10m:52s|
|Slow bow & bowing||00h:11m:36s|
|How body positioning/posture can affect sound and musicality||00h:21m:12s|
Sarah Kim participates in a master class with Christian Tetzlaff, performing Tchaikovsky's Violin Concerto, Opus 35 (first movement)
Pyotr Ilyich Tchaikovsky
VIOLIN CONCERTO IN D MAJOR, OP. 35
An artist known for his musical integrity, technical assurance and intelligent, compelling interpretations, Christian Tetzlaff is internationally recognized as one of the most important violinists performing today.
From the outset of his career, Mr. Tetzlaff has performed and recorded a broad spectrum of the repertoire, ranging from Bach's unaccompanied sonatas and partitas to 19th-century masterworks by Mendelssohn, Beethoven and Brahms; and from 20th-century concertos by Bartók, Berg and Shostakovich to world premieres of contemporary works. Also a dedicated chamber musician, he frequently collaborates with distinguished artists including Leif Ove Andsnes, Lars Vogt and Alexander Lonquich, and is the founder of the Tetzlaff Quartet, which he formed in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister and his sister, cellist Tanja Tetzlaff.
Born in Hamburg in 1966, Mr. Tetzlaff was surrounded by music from an early start and his three siblings are all professional musicians. He began playing the violin and piano at age six, but pursued a regular academic education while continuing his musical studies. He did not begin intensive study of the violin until making his concert debut playing the Beethoven Violin Concerto at the age of 14. He attributes the establishment of his musical outlook to his teacher at the conservatory in Lübeck, Uwe-Martin Haiberg, who placed equal stress on interpretation and technique. Mr. Tetzlaff came to the United States during the 1985-86 academic year to work with Walter Levine at the University of Cincinnati College-Conservatory of Music and also spent two summers at the Marlboro Music Festival in Vermont.
Mr. Tetzlaff has been in demand as a soloist with most of the world's leading orchestras and conductors, establishing close artistic partnerships that are renewed season after season. He has performed with the orchestras of Chicago, Cleveland, Boston, Philadelphia, New York, San Francisco, Los Angeles, St. Louis, Pittsburgh, Montreal, Washington, D.C. and Toronto, among many others in North America, as well as with major European ensembles including the Berlin Philharmonic, London Symphony and London Philharmonic, Bavarian Radio Symphony, Vienna Philharmonic, Rotterdam Philharmonic and the Royal Concertgebouw Orchestra in Amsterdam. He also appears with the world’s most prominent summer music festivals, including Verbier, Salzburg, Tanglewood and New York’s Mostly Mozart.
Highlights of Mr. Tetzlaff’s 2015-16 season included re-engagements with the Philadelphia Orchestra, San Francisco Symphony, Minnesota Orchestra, Orchestra of St. Luke’s at Carnegie Hall, London and Israel Philharmonics and Budapest Festival Orchestra; a tour with the Gewandhaus Orchestra with performances in Leipzig, Vienna, Paris and London; and chamber music tours in North America and Europe with Lars Vogt and Tanja Tetzlaff and with Leif Ove Andsnes, Tabea Zimmermann and Clemens Hagen.
Mr. Tetzlaff was a 2010-11 Carnegie Hall Perspectives Artist, an initiative in which musicians are invited to curate a personal concert series in Carnegie and Zankel Halls through collaborations with other musicians and ensembles. His Perspectives included an appearance with the Boston Symphony during which he played concertos by Mozart, Bartók and the New York premiere of a concerto by Harrison Birtwistle; a play/conduct performance with the Orchestra of St. Luke’s; a performance with the Ensemble ACJW led by Sir Simon Rattle; a concert with the Tetzlaff Quartet; and a duo-recital with violinist Antje Weithaas. He also led a Professional Training Workshop for young violinists and pianists, culminating in a young artist concert.
Mr. Tetzlaff's highly regarded recordings reflect the breadth of his musical interests and include solo works, chamber music and concertos ranging from Haydn to Bartók. His recordings include the complete Bach Sonatas and Partitas for Solo Violin for the Musical Heritage and Haenssler labels; Szymanowski’s Violin Concerto No. 1 with the Vienna Philharmonic/Pierre Boulez for Deutsche Grammophon; the Schumann and Mendelssohn Violin Concertos with Frankfurt Radio Orchestra/Paavo Järvi for Edel Classics; Jorg Widmann’s Violin Concerto, written for Mr. Tetzlaff, with the Swedish Radio Symphony Orchestra/Daniel Harding for Ondine; the two Shostakovich Violin Concertos with the Helsinki Philharmonic/John Storgårds for Ondine; and the Berg Lyric Suite and Mendelssohn Quartet (Op. 13) with the Tetzlaff Quartet for the CAvi label. His most recent recording is the three Brahms Piano Trios with cellist Tanja Tetzlaff and pianist Lars Vogt on the Ondine label. He recorded the three Brahms Sonatas for Violin and Piano with Lars Vogt in summer 2015, also for Ondine.
Mr. Tetzlaff currently performs on a violin modeled after a Guarneri del Gesu made by the German violin maker, Peter Greiner.