By Louis Kaufman
Once known as by way of 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 artwork. He was once the unique violist of the Musical artwork 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 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, 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 this day, Kaufman was once mostly liable for bringing the once-forgotten track of Antonio Vivaldi to its present acceptance around the globe between either classical musicians and the overall inhabitants of song lovers.
The e-book incorporates a tune CD with Kaufman’s performances of Vivaldi’s Concerto 2 of op. 9, Havanaise by means of Camille Saint Saëns, Nocturne for Violin and Piano through 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 by means of Jerome Kern, between different favorites.
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Additional info for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
He invited me to play chamber music at his summer home in Balboa, California. Seeing his arrangement New York and Kneisel 35 of Dinicu's "Hora Staccato" on the piano stand, I asked if he would explain to Annette and me the rapidity and perfection of his bowing in this piece that always dazzled audiences. He answered that he had to get into training weeks ahead of his tours, like an athlete. It involved strengthening the right forearm muscles systematically, until the controlled tremor permitted the required speed.
The Boyumescus found a doctor who instantly diagnosed the malady, which can cause blindness and even death. I was bedridden for a month and in constant pain. Imagine my surprise one day when, after a knock on the door, Dr. Franz Kneisel entered! His portly figure had climbed the six flights of stairs to the Boyumescus' flat to see how the "stocky lad from Portland" was getting on. He spoke kindly and cheered me by saying he hoped to see me back in class soon. I practiced as much as I could, for I was well aware of my shortcomings and was inspired to work harder when I listened to more advanced students who were younger than me.
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.