By Louis Kaufman
Once known as via 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 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 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 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 present day, Kaufman used to be mostly accountable for bringing the once-forgotten song of Antonio Vivaldi to its present attractiveness around the world between either classical musicians and the overall inhabitants of track lovers.
The booklet encompasses a track CD with Kaufman’s performances of Vivaldi’s Concerto 2 of op. 9, Havanaise via Camille Saint Saëns, Nocturne for Violin and Piano by means of Aaron Copland, Much Ado approximately not anything Suite for violin and piano via Erich Wolfgang Korngold, and Smoke will get on your Eyes by means of Jerome Kern, between different favorites.
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Additional resources for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
After a few such discussions, I dismissed him and read more vigorously: history, novels, and New York and Kneisel • 27 general literature about music and the arts, which were and still are my primary interests. I decided to cut down my commute by renting a room from a reliable family in an apartment near the Institute. I ate in automats and cafeterias. I had a naturally friendly attitude to life and people due to my loving family, vaudeville colleagues, and friends, so Kneisel's ogre-like behavior did not faze me.
Kaufman, I heard your son plays violin. I have a fine fiddle but need money badly, so I had to pawn it. " Papa decided to visit the nearby pawn shop with this man, when Pelz appeared, asked what was going on, and decided to join them. At the pawn shop, Pelz waxed enthusiastically about the rather battered instrument, exclaiming, "It's probably a Stradivarius. " Knowing well Pelz's tricks, Papa said he'd think it over. Later at his store, he spoke kindly to the black man, asking, "Tell me the truth, where did you get that violin?
We swam in the cold bracing water of the bay and cleaned up once or twice a week in the "old swimming hole" creek. By mutual agreement, boys and girls had their own appointed days. The tuition costs were very modest. We had violin lessons twice a week with Dr. Kneisel, and he donated his time for nightly chamber music. M. M. every evening in Kneisel Hall, students played string quartets with two or more on a part. We would work through almost all the Haydn, Mozart, Beethoven, Schumann, Schubert, and other repertoires.
A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me by Louis Kaufman