The Kennedy Center Honors The classic violinist, who ranks among such beloved elder statesmen of music as earlycrop of Auer pupils, a group that included mischa elman, Efrem Zimbalist http://www.kennedy-center.org/programs/specialevents/honors/history/honoree/mils
Extractions: (violinist, born December 31, 1904, Odessa, Russia; December 21, 1992) As a young child in his native Odessa, Russia, he was forced by his mother to take violin lessons "to keep him out of mischief," a route being taken by a neighbor with her equally "wild" little son. By the time he was 11, his playing had been heard by legendary violinist Leopold Auer who invited him to become one of his pupils at the St. Petersburg Conservatory of Music. The classic violinist, who ranks among such beloved elder statesmen of music as Rudolf Serkin and the late Arthur Rubinstein and Pablo Casels, was the last active member of the great early crop of Auer pupils, a group that included Mischa Elman, Efrem Zimbalist, Jascha Heifetz, and Toscha Seidel, among others. In 1922 when he was doing joint concerts with Vladmir Horowitz in Kiev, a concert manager described his impression of him: "I saw him first in a rather disheveled way. He wore an overcoat obviously borrowed from someone with a sort of lady-like collar, and his hands were wrapped in some rags." He seemed oddly out of place compared to the elegant Horowitz. Yet their difference did not affect their friendship or their join musicianship.
Bio2 Within a few months , Europe was conquered .British press dubbed elman the greatestviolinist in the world . In 1905 mischa elman performed in Buckingham http://www.geocities.com/golden_key_2000/bio2.html
Extractions: As a teacher , Auer possessed a rare ability to inspire his students . Many of them claimed that under the Professor's mesmerizing gaze they played much better than outside the classroom . However , it is necessary to realize that Elman's unique tone and style were well-developed at the time of their first encounter , and Auer's own perception of violin playing was greatly influenced by the young Mischa . Already in 1903 Elman played several concerts in the homes of wealthy patrons of arts and and one of them , The Grand Duke of Meklenburg - Sterlitz presented Mischa with his first Italian violin - an Amati . Finally , in 1904 Auer and Saul decided that the time came for Mischa's Berlin debut . This decision was undoubtedly fascilitated by the appearance of Franz von Vecsey , the Hungarian-born wunderkind , a student of Hubay and Joachim's protege . Elman's Berlin concert on 14 October 1904 created a sensation . Joseph Joachim , for whom he played privately on the day before his debut, could only say : "I am speechless". Within a few months , Europe was conquered .British press dubbed Elman " the greatest violinist in the world ". In 1905 Mischa Elman performed in Buckingham Palace for King Edward VII and King Alfonso of Spain , sharing the program with Nellie Melba and Enrico Caruso . Finally , on December 10th ,1908, Mischa Elman made his historic Carnegie Hall debut , playing the Tchaikovsky Concerto with the Russian Symphony Society of New York , conducted by Modest Altschuler . One might be able to appreciate the magical effect of Elman's playing on the American public by reading the poem
Ruggiero Ricci Oistrakh and whoever else, but he is still a great violinist, due to Even mischa Elmanagreed When asked to pinpoint the single fundamental element of violin http://www.violinist.com/discussion/response.cfm?ID=1546
Extractions: Return to History The Nashua Community Concert Association's first season was in 1931-32. The following list shows the variety of performers and performances we have presented over the years, including some of the finest artists of their times. You will notice that the number of concerts presented in each season has increased over the years. This is a measure of the success of the Nashua Community Concert Association.
Currents--January 27, 1997 At Jascha Heifetz's American debut both the noted romantic violinist mischa Elmanand the pianist Leopold Godowskysometimes known as the pianist's pianist http://www.rochester.edu/pr/Currents/V25/V25N15/story7.html
Extractions: Sanford Segal, chair of the Faculty Senate Executive Committee, spoke to the University's Board of Trustees on May 23. The following is the text of Segal's remarks. This year, the University Faculty Senate has addressed, naturally enough, a variety of faculty concerns, ranging, among others, from computing services to patent policy to the inevitable one of faculty salaries. It has also addressed, equally naturally, issues of deep concern to students, such as the Residential College Commission, or to both students and faculty alike, such as those involving the library, admissions, and sports and recreation. All such discussion, of course, takes place in the context of a changing Rochester, call it re-engineering, Renaissance, initiatives, or strategic plan. I believe such changes were not only desperately needed, but we are repositioning ourselves in a positive way. There is a story, probably apocryphal, about a New York concert given by Sergei Rachmaninoff at the piano with Fritz Kreisler playing the violin. Kreisler, ever the romantic, had a tendency occasionally and briefly to lose his place in the music. This happened at this concert and he whispered to Rachmaninoff, "Where are we?" Rachmaninoff, missing not a beat, whispered, "Carnegie Hall." Perhaps Kreisler should have known that Rachmaninoff was born on April Fool's Day. In the Medical School there has been some agitationperhaps that is the best word. But no changes, especially needed ones, come without disturbance. Nevertheless, while things may be improving in this regard, and the Sen ate has been active in trying to facilitate that improvement, care needs to be taken to prevent unintended consequences.
Classical CD Review Andrea Bocelli's 'Sentimento' Early in the last century, tenor Enrico Caruso made several bestselling 78s withviolinist mischa elman; Irish tenor John McCormack recorded even more duets http://www.startribune.com/stories/1646/3637888.html
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All Things Strings: Reviews of the clones can make even the most unsentimental listener miss slurpy old MischaElman. selling point of Bell's new recording is that the violinist wrote his http://www.stringsmagazine.com/issues/strings104/reviews.html
Extractions: In its concise description of violinist Gidon Kremer, The Concise Grove Dictionary of Music quips that the 54-year-old Latvian violinist shows "a rare command of the concerto repertory and a sympathetic approach in chamber music." You have to love the Grove's command of understatement. Eight Seasons (which alternated each of Vivaldi's famous Four Seasons concertos with movements from Argentinean tango master Astor Piazzolla's Four Seasons of Buenos Aires suite) and continued with last year's Grammy-winning After Mozart , which brings together the music of Wolfgang Amadeus Mozart (and his father Leopold) and works by 20th-century composers inspired by Mozart. Mendelssohn: Violin Concerto in E minor; Beethoven: Violin Concerto in D major.
Hilary Hahn Who is your favorite violinist, and why That group includes Fritz Kreisler, MischaElman, Jascha Heifetz, Nathan Milstein, and Arthur Grumiaux and, of course http://www.sonyclassical.com/music/60584/journals/qa_1noah.html
Extractions: The closest I have had to a role model was probably my teacher of seven years, Jascha Brodsky. He was born in Latvia in 1907, and in the 1920s he studied with the legendary Belgian violinist Eugene Ysaye, in Paris. Ysaye himself was born in the middle of the 1850s, which means that through Mr. Brodsky I have a pretty direct connection back to the middle of the 19th century. Mr. Brodsky began to teach me when I was ten and he was 83. He was a wonderful person and teacher (warm and affectionate yet demanding, with very high standards), and a great violinist. I studied with him twice a week, and after my lessons he used to tell me stories about his contemporaries, all the violinists of his generation, as well as his experiences as the first violinist of the Curtis String Quartet, a position that he held for over fifty years. I have some of his recordings, both in that quartet and in recital, and I love his playing, his impeccable sense of taste, his tone, and his style. So I admire him as a human being, as a musician and as a teacher. He died a couple of years ago at the age of 89; I only hope I can live as productive and influential a life as he did.
DECEMBER 10 CLASSICALmanac 'today In Classical Music' 1908 FP of Scriabin's Poem of Ecstacy by Russian Sym Orch. violinist MischaElman makes his debut playing Tchaikovsky Violin Concerto, in NYC. http://www.angelfire.com/ab/day/dec10.html
Extractions: Descriptive Summary Title: Musicians Collection Dates: 1727-1981 (bulk 1900-1940) Abstract: The Musicians Collection consists of materials that are primarily visual in nature and portray approximately 1700 musicians and musical groups. Quantity: Ca. 4,900 items in 4 standard size file drawers, 1 oversize file drawer (11.5 linear feet), 2 flat file drawers Identification: Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Composite portraits are located at the end of the alphabet, followed by Unidentified and Miscellaneous items. A very small number of items pertain to non-musical subjects (painters, actors, etc.). Several items are in Yiddish or Polish. Open for research Correspondents Anka, Paul Burns, Annelu, 1889-1942 Dupont, Aime Kesslere, G. Maillard (George Maillard) Sarony, Napoleon, 1821-1896 Van Vechten, Carl, 1880-1964
Extractions: TARO Descriptive Summary Scope and Contents Restrictions Index Terms ... Musicians CollectionCross References Descriptive Summary Title: Musicians Collection Dates: 1727-1981 (bulk 1900-1940) Abstract: The Musicians Collection consists of materials that are primarily visual in nature and portray approximately 1700 musicians and musical groups. Quantity: Ca. 4,900 items in 4 standard size file drawers, 1 oversize file drawer (11.5 linear feet), 2 flat file drawers Identification: Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Composite portraits are located at the end of the alphabet, followed by Unidentified and Miscellaneous items. A very small number of items pertain to non-musical subjects (painters, actors, etc.). Several items are in Yiddish or Polish. Return to the Table of Contents Open for research Return to the Table of Contents Correspondents Anka, Paul
