An Interview with Pinchas Zukerman
Why did you choose David Carpenter as your protégé?
The short of it is that he's extremely talented. More than anything, he's the kind of person who intrigues me. He has tremendous curiosity. He's way ahead of his years. It's not just his ability and coordination with the instrument – plus his beautiful sound – but his curiosity. It's wonderful to teach somebody like that. He's so beguiling and so easy – and a very kind person.
More specifically, what do you have to offer him?
Where I can help him is in understanding some of my experiences in life and in music, to communicate that deep understanding and tradition. He understands everything so fast. He does everything so quickly.
What attracts you to the mentoring process?
I didn't just [recently] become a teacher. I've always been fascinated from my early days, my early 20s, with what makes teaching work I'm still evolving. Patty Kopec [Zukerman's Manhattan School associate] and I evolve as teachers every week. We talk about the kids. We're concerned about their lives, their thinking. She has more patience than I do. She says: `Pink, give it a minute.' I'm very impetuous.
Do you also talk about non-musical matters with your students?
Yes. They talk amongst themselves a lot. I find, though when there's a mentor [present], they hesitate. They get confused. It's hard. It's a long, long journey. Each case has to be handled with kid gloves – and time. I've seen way too many people not make it.
What's the single most important quality you want to convey?
Honesty! At the end of the day, you play that Bach sonata and you have to be honest with that page. If you're not honest – in my book – you're finished. Imitation is good as long as you do it properly. But don't make a copy of yourself. Be true to your own DNA.
It seems that many of your teaching relationships never really end.
They're my friends. They remain my friends.