By Louis Kaufman
Once known as through 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 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 grew to become 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 at the present time, Kaufman was once principally liable for bringing the once-forgotten song of Antonio Vivaldi to its present recognition around the world between either classical musicians and the final inhabitants of tune lovers.
The ebook 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 info for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
I said, "Look, Mr. " So I did. I sent home one hundred dollars each week. This tour was a prelude to a much longer tour when I was ten. Mademoiselle Rozika (nee Rheingold), a very pretty brunette in her early twenties, aspired to become a classical dancer. Completely devoted I Become a Violinist • to her art, she had a dance studio for children. She wished to tour, and hearing of my "success" with Pelz, thought it would add interest to have me play short solo pieces while she changed costumes. She persuaded my parents to let me audition with her in Seattle, where she had a personal introduction to Alexander Pantages, who directed a considerable vaudeville circuit stretching from the West Coast to Denver and Salt Lake City as well as cities on the Pacific Coast down to San Diego.
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 took it for granted that I could fit in, not fully realizing what a wonderful experience it was to be so closely associated with artists of great stature. I greatly benefited from hearing their remarkable artistry at close range. This deep immersion into supercharged musical activity with New York's musical elite propelled me into a new world whose horizons have never ceased to expand.
We both attended Henry Krehbiel's poetic lectures on the lives and works of Mozart, Beethoven, Schubert, and others. Dick wrote entertaining music for the school's annual musicals; he displayed an extraordinary gift for using available talents and an unerring instinct for pleasing the crowd. I enjoyed his musical Say It with Jazz, a witty spoof based on RimskyKorsakov's The Golden Cockerel. For the Baton, our school newspaper, he conceived a satiric Diary of a Prodigy, which ran serially for several months.