By Louis Kaufman
Once referred to as via 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 paintings. He used to be the unique violist of the Musical paintings Quartet (1926-1933) and gained 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 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 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 used to be mostly chargeable for bringing the once-forgotten tune of Antonio Vivaldi to its present reputation all over the world between either classical musicians and the overall inhabitants of tune lovers.
The e-book encompasses a song 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 via Jerome Kern, between different favorites.
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Extra resources for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
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. 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 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.
To my surprise, after a few hours each day of this painful process, I could feel this impulse but then had some trouble coordinating both hands in very fast passages. Occasionally someone would knock on my door to inquire if anything was wrong with me that I should be making such an awful racket. The fateful morning of my next lesson dawned and I walked to the Institute with some anxiety and foreboding. On entering the classroom, I saw a tall, elegant visitor with a mustache and goatee. Kneisel presented me to his colleague and friend from Boston, the violinist and composer Charles Martin Loeffler.
A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me by Louis Kaufman