By Louis Kaufman
Once referred to as via 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 used to be the unique violist of the Musical artwork Quartet (1926-1933) and received the Naumburg Award in 1928, the 12 months of his American solo recital debut in New York's city Hall.
During those early years, he performed chamber track with Pablo Casals, Mischa Elman, Jascha Heifetz, Fritz Kreisler, Gregor Piatigorsky, and Efrem Zimbalist, between others. After appearing 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 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 day, Kaufman used to be principally chargeable for bringing the once-forgotten tune of Antonio Vivaldi to its present acceptance world wide between either classical musicians and the final inhabitants of track lovers.
The e-book incorporates 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 by way of 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 means of Jerome Kern, between different favorites.
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Extra resources for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
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. This was a great opportunity for me to absorb at first hand the special interpretative gifts of these preeminent artists while in my teens. I was taking the place of older musicians as a sort of pinch-hitter for the regulars, who were vastly more skillful and experienced than I was.
I was never sure he could actually read music but that did not deter him from conducting orchestras and bands with considerable flair and effectiveness. I saw him in action several times, when grandiose movie houses used to maintain quite large orchestras. He inaugurated in Portland special Sunday morning concerts with middlebrow musical fare that pleased customers until the early afternoon cinema got under way. It was quite a sight to see Philip Pelz in a dazzling white uniform with a row of medals across his ample chest, giving energetic guidance to his colleagues, with Louis at age seven, Portland, Oregon, 1912.
Later at his store, he spoke kindly to the black man, asking, "Tell me the truth, where did you get that violin? " The grateful man replied, "I never saw that fiddle in my life. " New York and Kneisel n early fall of I9I8, Father and I set off on the long cross-country train journey to New York, sitting up five days and nights on coach seats. We made our way to the Bronx, where we stayed with Papa's Romanian cousins, the Boyumescus. The husband, wife, and her aged mother were happy to welcome a young, ambitious student and were not bothered by my practicing during the day.