By Louis Kaufman
Once known as by way of 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, 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 day, Kaufman used to be principally accountable for bringing the once-forgotten tune of Antonio Vivaldi to its present acceptance around the world between either classical musicians and the final inhabitants of song lovers.
The ebook features a tune CD with Kaufman’s performances of Vivaldi’s Concerto 2 of op. 9, Havanaise by way of Camille Saint Saëns, Nocturne for Violin and Piano via Aaron Copland, Much Ado approximately not anything Suite for violin and piano by way of Erich Wolfgang Korngold, and Smoke will get on your Eyes by means of Jerome Kern, between different favorites.
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Additional info for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
He was pleased, as violists were scarce in Blue Hill. " This trick worked and I had an easy method to read viola parts if they were not too complicated. I was sometimes confused by accidentals (sharps and flats), until I began to read the clef and knew definitely what the notes were, as well as the true sonority of the instrument. Being able to play viola led to my being invited to many interesting chamber music parties in New York. I had the privilege to fill in at quartet sessions with violinists Mischa Elman, Efrem Zimbalist, Jascha Heifetz, Fritz Kreisler, Carl Flesch, Bronislaw Huberman, and Paul Kochanski; cellists such as Pablo Casals, Gregor Piatigorsky, and Felix Salmond; and pianists Josef Hofmann, Mischa Levitzki, Nadia Reisenberg, Frank Sheridan, and many others.
I never met another teacher or colleague remotely in his category, both for his subtle concept of style and the solid musicianship and vitality of his interpretations. He premiered the Brahms and Paganini concertos in America when he was concertmaster of the Boston Symphony. He was a close friend of Brahms and spent summer holidays with him at Bad 1schl, Austria. His Kneisel Qtartet was the first outstanding string quartet to tour widely in America and was unchallenged in its preeminence. 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.
He replied, "We made some tests, but I was very disappointed in the results. " We fortunate students benefited from his dedication to passing on his love and mastery of this remarkable literature, as well as his unstinting gift of his time. Each Sunday morning at his home in the West Eighties of Manhattan, there were obligatory chamber music classes, where we students were expected to play every part. " There were always school concerts to prepare, ranging from eighteenth-, nineteenth-, and twentieth-century composers-solo works, 32 A Fiddler's Tale chamber works, and small orchestral compositions.