Yes, I mean like you know, having studied with Yehudi Menuhin that is like some direct route into Bach, because he was one of the foremost interpreters of Bach for the violin.
From Nigel Kennedy
If you're not pushing your own technique to its own limits with the risk that it might just crumble at any moment, then you're not really doing your job.
Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time.
Maybe it's egocentric or whatever, but when I'm playing Beethoven, Bach, Hendrix, or whoever it is, in the end, it just feels like my own music and I'm making it up as I'm going along.
I've learnt new scales through playing different types of music, like Indian raga scales, gipsy scales and harmonically-based jazz scales.
I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer.
The Four Seasons was making me popular in Britain, but EMI America had no interest in making that happen in the States, so I just had a classical career there.
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