By Louis Kaufman
Once referred to 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 paintings. He used to be 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 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 mostly answerable for bringing the once-forgotten song of Antonio Vivaldi to its present recognition around the globe between either classical musicians and the final inhabitants of track lovers.
The e-book features a song 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 through Jerome Kern, between different favorites.
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Extra info for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
The audience was impressed with the primal force of his attractive personality. He was even engaged as head bandmaster in San Francisco for the 1915 World's Fair. As to the medals, which he claimed were conducting awards from the Czar of Russia and other royal families of Europe, skeptics claimed that those glittering honors came from pawn shops. I confess I belonged to the group that did not mind this innocent fraud. He had an earthy sense of humor; Papa found his company enchanting as a poker-playing partner, a colorful musician, and inspired inventor of high jinks.
All our expenses were paid and we lived in deluxe hotels, eating whatever we chose. This was an unusual chance to savor new cities and foods on a large scale. I had learned a few publicity tricks from Pelz, so whenever Rozika and I arrived in a new town, we visited the local newspaper and proclaimed I was ready for a violinistic "duel" with anyone of any age. This resulted in press coverage with pictures of us both. No one ever took up this challenge, which was most fortunate; for if any trial of skill had occurred with a repertoire beyond Massenet's "Meditation" from Thais and my Brahms Hungarian Dance, I would have had a most humiliating experience.
I took the record into a listening booth and was overwhelmed by the elegance, artistry, dash, and verve of his interpretation. I handed back the record, mumbling, "Sorry, I didn't like it," as I could not afford to buy it. I rushed home to attempt to profit by this revelation. At my next lesson, for the first time Kneisel let me play the entire piece without a single interruption, politely turning pages for me, as he continued to puff on his inevitable cigar. " He must have been very amused by my sponge-like absorption of Ys aye 's refined style, certainly a great distance from my usual provincial approach.
A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me by Louis Kaufman