By Louis Kaufman
Once known as by means of the New York Times "a violinist's violinist and a musician's musician," Louis Kaufman used to be 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 received 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 grew to become the main wanted violin soloist in Hollywood, taking part in in a few 500 motion pictures, 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 chargeable for bringing the once-forgotten track of Antonio Vivaldi to its present acceptance around the world between either classical musicians and the overall inhabitants of track lovers.
The ebook features a track CD with Kaufman’s performances of Vivaldi’s Concerto 2 of op. 9, Havanaise via Camille Saint Saëns, Nocturne for Violin and Piano through 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 by way of Jerome Kern, between different favorites.
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Additional info for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
I was on a tight budget - one dollar or less for concertos - so I asked if they had another Vieuxtemps in that range. The salesman found a slightly battered copy of the First Concerto for one dollar, which seemed a good switch to me. This proved to be almost my undoing. I had no idea it was a fiendishly difficult work, bristling with high-velocity staccato passages at break-neck speeds and consequently avoided by most violinists. I began struggling with this violinistic monster, and although I had a reasonably good command of bowing at slow or normal tempi, I simply could not manage to speed up my staccato.
His magnetic charm - the incredible tonal beauty that directly transmitted human sentiment- bewitched me, and I was in a sort of mystical nirvana. I could not associate what I studied in New York and Kneisel • 33 class with the compelling rhythmic vitality and radiant sound this supreme artist displayed. Kneisel demanded a thorough analysis of this musical Apollo, who inspired his and my generation. There were postmortems on recitals of Jacques Thibaud, Mischa Elman, Paul Kochanski, Jascha Heifetz, Carl Flesch, Franz von Vecsey, and innumerable others.
Some students could not survive such harsh analysis and fled to seek gentler lessons with Auer, Flesch, or SevCik. Kneisel never permitted us to turn a page of the music we were playing, for he expected us to know what followed. My lesson to play the Rondino was strikingly different. I returned to the music store and asked if they had a recording of the Rondino. It happened they did. I asked if! might hear it (years ago one was allowed to listen to records before purchase). The salesman handed me a disc recorded by the legendary Eugene Y saye.