By Louis Kaufman
Once referred to as by way 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 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 appearing 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 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 at the present time, Kaufman used to be principally answerable for bringing the once-forgotten song of Antonio Vivaldi to its present attractiveness all over the world between either classical musicians and the overall inhabitants of song lovers.
The ebook encompasses a track 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 by means 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
With hardly perceptible vibrato, he played with a most subtle rubato and delicate tonal gradations that made an indelible impression on me. In a flash I realized what infinite possibilities there were in this inspired music. This deepened my sense ofloss at not having heard his quartet in its heyday. " I responded that it did, and he quickly said, "Stop Paganini! Be careful! Never strain your hand. " Then, in an expansive mood, he continued, "When I was a young student in Vienna, I encountered an old gentleman who clearly remembered hearing Paganini in concert.
This was the first violin of fine quality I had found in my price range. Its remarkably fine condition and intact orange-amber varnish were infinitely more attractive than my factory fiddle. I handed the Gagliano to Elman, urging him to play first violin, then commandeered the second fiddler's violin and played his part. What a revelation! With a strange violin and bow, Elman played with the most ravishingly beautiful, rich tone. I was convinced the Neapolitan Gagliano was one of the greatest violins, equal to any Cremona master, even Stradivarius or Guarnerius.
At one lesson, I played the last movement of the G Minor Partita, where Joachim indicated practical patterns over the urtext, which had indicated separate notes. I followed a few bars of the Bach line. " In retrospect, I think we were both right, for the eighteenthcentury composers left much to the interpreter's discretion. Kneisel rarely played at lessons but one morning, he picked up his violin to play an entire grave movement of Bach's D Minor Partita. With hardly perceptible vibrato, he played with a most subtle rubato and delicate tonal gradations that made an indelible impression on me.