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 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 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 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 day, Kaufman was once mostly answerable for bringing the once-forgotten track of Antonio Vivaldi to its present acceptance world wide between either classical musicians and the final inhabitants of tune 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 by means of 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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Additional info for A Fiddler's Tale: How Hollywood and Vivaldi Discovered Me
Shortly after, a black man entered Papa's store, holding a pawn ticket, saying, "Mr. 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.
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.
Hearing sounds of a violin again, I thought that it would be a marvelous accomplishment if I could learn to play tunes like "Yankee Doodle" on this enchanting instrument. I pestered my father constantly until he bought me a small violin and took me to Mr. Kreitz for lessons. After six months of study and playing only by ear (I didn't learn to read music until some time later), my progress impressed my family and their friends. One day I noticed at the neighborhood movie house an announcement of an amateur talent contest after the western film.