By Louis Kaufman
Once referred to as through the New York Times "a violinist's violinist and a musician's musician," Louis Kaufman was once born in 1905 in Portland, Oregon. He studied violin with Franz Kneisl at New York's Institute of Musical artwork. He was once the unique violist of the Musical paintings Quartet (1926-1933) and gained the Naumburg Award in 1928, the yr of his American solo recital debut in New York's city Hall.
During those early years, he performed chamber song with Pablo Casals, Mischa Elman, Jascha Heifetz, Fritz Kreisler, Gregor Piatigorsky, and Efrem Zimbalist, between others. After acting the violin solos for Ernst Lubitsch's 1934 movie The Merry Widow, Kaufman turned the main wanted violin soloist in Hollywood, enjoying in a few 500 movies, together with Casablanca, Gone with the Wind, The Diary of Anne Frank, Wuthering Heights, The Grapes of Wrath, and Spartacus. He labored heavily with Robert Russell Bennett, Bernard Herrmann, Erich Wolfgang Korngold, Alfred Newman, Miklós Rózsa, Max Steiner, Franz Waxman, and Victor younger.
Extraordinary because it turns out this present day, Kaufman was once principally accountable for bringing the once-forgotten song of Antonio Vivaldi to its present reputation all over the world between either classical musicians and the overall inhabitants of tune lovers.
The ebook encompasses a track CD with Kaufman’s performances of Vivaldi’s Concerto 2 of op. 9, Havanaise by means of Camille Saint Saëns, Nocturne for Violin and Piano via Aaron Copland, Much Ado approximately not anything Suite for violin and piano by means of Erich Wolfgang Korngold, and Smoke will get on your Eyes via Jerome Kern, between different favorites.
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Additional resources for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
Ernesto Camillo Sivori, Paganini's only pupil, recounted to the Scottish violin collector David Laurie one of his master's tricks of showmanship. When Paganini played the "Moses Fantasy on the G String" based on Rossini's opera, Mose in Egitto (a fiendishly difficult piece), he used a three-quarter-sized Amati violin, putting the low G string in the middle of the violin (displacing the D string), which made the performance child's play. " It was difficult to attract a public for violin concerts during Paganini's life (as it is now).
They premiered all the chamber works of Brahms and Dvorak in America, as well as the Debussy quartet, although it took Kneisel many years to persuade his colleagues to perform that French masterpiece. They also premiered Arnold Schoenberg's Verkliirte Nacht string sextet and works of Charles Martin Loeffler, who sat on the first stand with Kneisel when he was concertmaster in Boston. They premiered many contemporary composers. Chamber music was his battlefield. Kneisel was mainly concerned with transmitting the inner spirit and nobility of the music of Haydn, Mozart, Beethoven, Schubert, and Brahms.
In 1895, Mr. and Mrs. Jack Gardner purchased a Stradivarius violin in Paris, which Mrs. Gardner presented to Loeffler in 1918. When my turn to perform arrived, I was asked to play my accursed Vieuxtemps concerto. Luckily, to my surprise, it went off well with all the rapid passages in tempo. Kneisel listened quietly, turning pages but making no comment, which was highly unusual. Mr. Loeffler seemed pleased by my efforts and spoke kindly and encouragingly to me. " In the mid 1930S, the great Jascha Heifetz confirmed the traditional Russian solution of staccato velocity.