Pinchas Zukerman Biography, Age, Net Worth, Concert Schedule, youtube

Last Updated on August 7, 2022 by Administrator

Pinchas Zukerman Biography

Pinchas Zukerman is an Israeli-American world-renowned violinist, violist, and conductor. He is known for his work on Alice (1990), Pacific Heights (1990) and The Prince of Tides (1991).  He was musical director of the St. Paul Chamber Orchestra in Minnesota from 1980 to 1987.

Pinchas Zukerman

Pinchas Zukerman Age

He was born on July 16, 1948 in Tel Aviv, Israel. He is 70 years old as at 2018.

Pinchas Zukerman Photo

Pinchas Zukerman Photo

Pinchas Zukerman Family

He was born to Jewish parents Yehuda Zuckerman and Miriam Lieberman Zukerman.

Pinchas Zukerman Wife|Children|Tuesday Weld

He married Eugenia Rich in 1968 they lived together until they divorced in 1985. They had two daughters together; Arianna Zukerman, opera singer and Natalia Zukerman blues/folk musician. He then married actress Tuesday Weld, from 1985 to 1998. Currently, he is married to Amanda Forsyth since March 2004. They frequently appear as soloists together.

Pinchas Zukerman Career

He began his musical studies on the recorder at the age of four. His father taught him to play the clarinet and then the violin at the age of eight. Isaac Stern and Pablo Casals learned about the violin talent of Zukerman during a visit to Israel in 1962. He subsequently moved to the United States that year to study at the Juilliard School under the tutelage of Stern and Ivan Galamian. In 1963, he made his New York debut. He shared the Leventritt Prize with the Korean violinist Kyung-wha Chung in 1967.

His debut recordings of Tchaikovsky’s concerti in 1969 (under the direction of Antal Dorati with the London Symphony Orchestra) and Mendelssohn (with Leonard Bernstein and the New York Philharmonic) launched a successful recording career that continues to this day and boasts over 110 releases. He began his conducting career with the English Chamber Orchestra in 1970 and served as director of London’s South Bank Festival from 1971 to 1974. Zukerman was music director of the Saint Paul Chamber Orchestra from 1980 to 1987 in the USA.

He later directed the Dallas Symphony Orchestra (1991–1995) and Baltimore Symphony Orchestra (1996–1999) summer festivals. In 1999 he became Music Director of the National Arts Center Orchestra (NACO) in Ottawa, stepping down from the post in 2015. He has served as the Royal Philharmonic Orchestra’s principal guest conductor since 2009.

He is on the faculty at the Manhattan School of Music and is the head and founder of the school’s Zukerman Performance Program. His former students included Koh Gabriel Kameda, Julian Rachlin, and Guy Braunstein. He founded the National Arts Center Young Artists Program in 1999, which counts as alumni young musicians such as Viviane Hagner, Jessica Linnebach, and Antal Szalai. In 2006 he began his involvement in the Rolex Artistic Mentorship program.

Zukerman plays the 1742 “Dushkin” Guarnerius del Gesù violin. His honors include the King Solomon Award, the National Medal of Arts (presented by President Reagan in 1983), the Isaac Stern Award for Artistic Excellence, and an honorary doctorate from Brown University.

Pinchas Zukerman Concert Schedule | Performance Program

Date

Time

Venue

Location

APRIL 2019

1

8:00 PM

Mendelssohn Saal

Dusseldorf

Germany

2

8:00 PM

Stadthalle Braunschweig

Brunswick

Germany

3

8:00 PM

Rudolf Oetker Hall

Bielefeld

Germany

7

3:00 PM

Usher Hall

Edinburgh

Ireland

11

8:00 PM

Sala Verdi – Giuseppe Verdi Conservatory

Milan

Italy

12

8:00 PM

Auditorium S. Domenico Foligno

Foligno

Italy

17

7:30 PM

Festival Hall

Woerth am Rhein

Germany

18

8:00 PM

Festival Hall

Pirmasens

Germany

19

5:00 PM

Schloss Engers

Neuwied

Germany

20

7:30 PM

Kongresshaus Stadthalle

Heidelberg

Germany

21

7:30 PM

Konzerthaus

Karlsruhe

Germany

22

11:00 AM

St. Matthiaskapelle

Kelberg

Germany

25

7:30 PM

Pfalzbau

Ludwigshafen

Germany

26

8:00 PM

Fruchthalle

Kaiserslautern

Germany

27

8:00 PM

Das Wormser Theater

Worms

Germany

28

7:30 PM

Kurfürstliches Schloss

Mainz

Germany

29

8:00 PM

Wickrathberger

Monchengladbach

Germany

JUNE 2019

27

11:30 AM

Adelaide Town Hall

Adelaide

Australia

28

8:00 PM

Adelaide Town Hall

Adelaide

Australia

29

6:30 PM

Adelaide Town Hall

Adelaide

Australia

AUGUST 2019

3

8:00 PM

Koussevitzky Music Shed

Lenox

MA

SEPTEMBER 2019

11

11:00 AM

Chamber Music Hall

Tsinandali

Georgia

14

7:00 PM

Amphiteatre

Tsinandali

Georgia

OCTOBER 2019

31

11:00 AM

Adelaide Town Hall

Adelaide

Australia

NOVEMBER 2019

1

8:00 PM

Adelaide Town Hall

Adelaide

Australia

2

6:30 PM

Adelaide Town Hall

Adelaide

Australia

DECEMBER 2019

7

7:30 PM

Germantown Performing Arts Center

Memphis

TN

8

3:00 PM

Brooks Museum

Memphis

TN

JANUARY 2020

28

8:00 PM

Renée and Henry Segerstrom Concert Hall

Costa Mesa

CA

FEBRUARY 2020

1

7:30 PM

Embassy Theatre

Fort Wayne

IN

Pinchas Zukerman Net Worth

Zukerman’s net worth is under review.

Pinchas Zukerman Mozart | Brahms

Zukerman has chosen two relatively early works for violin and piano from Mozart and Beethoven, followed by an early and a late work by Brahms. Mozart’s Sonata in G Major K. 301 was the first of six violin sonatas from 1778.

Pinchas Zukerman Royal Philharmonic Orchestra

He has served as Principal Guest Conductor of the Royal Philharmonic Orchestra since 2009.

Pinchas Zukerman Youtube

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Pinchas Zukerman Interview

The legendary violinist spoke to us in 2016 about his incredible career and why he’s now turning his hand to conducting

Source: classicfm.com

What’s your earliest musical memory?

I remember my dad playing the accordion or the violin, probably at some kind of wedding or bar mitzvah, where he would be hired to play things like Monti’s Czárdás and background music basically.

How and why did you start playing the violin?

I was given one by my dad when I was seven. He taught me for a few months, especially how to tune and I found that I had a good ear. We went to a teacher just south of Tel Aviv and she said that she couldn’t fit me in. But then she went to tune my instrument and I said “oh no, I can tune” – I could hardly put the bow on the string but I could tune. “And she said, in that case I can start with him tomorrow”.

And now you devote much of your time to conducting, how did that first come about?

The decision to conduct was really about wanting to know more music. The extension into actually conducting without an instrument came about in about 1972 here in London. I was already doing a lot of directing and touring with the English Chamber Orchestra and then the members said to me, “why don’t you try conducting without the fiddle?” And it seemed to work really well. I’ve never done anything in my life in music that I had to do. Everything I’ve done has always somehow been a natural extension to all my performances, my learning of pieces.

What piece of advice would you give to someone training to become a violinist or conductor?

One piece of advice? That’s like asking a doctor for one pill to take care of everything! That’s a very difficult question to answer. First of all you have to love the music itself, you have to be connected to it like water in the desert. If you don’t have music in your being like that, then be a listener. But if you have a need for expression in the musical sense, you have to find out what sort of talent you have, you have to have hand-eye co-ordination, a good ear and you have to have very good teaching. And then to accommodate that you have to find the best training you can possibly afford. Music must be part of your total existence, from the minute you wake up to the minute you go to sleep. Then hopefully, with a little bit of luck, you can achieve high standards for yourself and continue the tradition of music-making.

What was the best piece of advice you were ever given?

Isaac Stern used to say to me “Pinky, be a sponge. You’re in New York, you have the incredible possibility of hearing, seeing and listening to everything that has to do with performance and music, rehearsals and concerts and everything else – just be a sponge, take it all in.” And that’s what I did, and I’m still doing it.

Which recording or project are you proudest of and why?

There are so many – I can’t choose a particular one. A recording is [a snapshot] of a day, that particular day. People have told me all sorts of things over the years, like “I gave birth to your recording of the Beethoven Violin Concerto”. It’s astounding where these things end up.

You’ve recently recorded Vaughan Williams’ The Lark Ascending. What’s it like to play?

It sits so well on the instrument and has a clarity that means the violin solo never gets covered by the orchestration. It’s effective from a virtuosic point of view – you have to go from the bottom all the way to the top of the instrument and back down again. When I first recorded it, I didn’t know what a lark was, never mind this Vaughan Williams piece. Daniel Barenboim called me and he said “What are you doing tomorrow, can you come to Wembley? I’m doing a Vaughan Williams recording of Greensleves etc.” And I said “what do you want me to do?” and he said “Something called The Lark Ascending.” And I said, “what’s a lark?” So he sent me the music the and said ok. I looked at the music, I didn’t think it was that difficult – but then I opened the second page and thought ‘oops’. I was literally still learning it in the car on the way to Wembley.

Finally, which composer, contemporary or from the past would you most like to meet and why?

I would like to meet a whole bunch of them for different reasons. It starts with Bach, I would love to hear Bach play the organ – his music is unbelievable, that’s where it all stems from. I would say, after that, probably Mozart – his output alone is just staggering. How can anyone write over 600 pieces, in less than 33 years? It’s amazing. I would like to meet all the great great ones and have long talks with them.

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