Richard Addinsell With Rubinoff and His Violin. I worked for over 15 years with violin maestro, David Rubinoff. Dave was a man with passion plus. This was not only for music, but for life. Dave was born into extreme poverty in Kiev, Russia. The year was 1897. Violin was his ticket to success. How did his success transpire? Victor Herbert was on sabbatical in Warsaw, Poland. He heard David play a student recital at the Warsaw Conservatory. Paderewski was the headmaster.
Here’s the tie in with the Richard Addinsell: Warsaw was close to Rubinoff’s heart. Dave loved the sentiment and music of the Warsaw Concerto. The music was composed a British film: Dangerous Moonlight. The subject is the Polish struggle against the 1939 invasion by Nazis. One of Dave’s most memorable moments is in the featured picture. He consulted with the Addinsell for his violin/piano arrangement. I will be playing piano from the same Rubinoff score this winter. Management just rebuilt their vintage Steinway grand at the Gasparilla Inn. The finest parts were ordered from Germany. It is situated in the dining room. Hear me play it. I am booked at the Inn by the Jay Goodley Group in Sarasota. My contract is 6 nights weekly from Christmas to Easter.
Herbert Places Rubinoff on the Path to Success that also Led Him to Meet with Richard Addinsell
Victor Herbert declared, “Son, you belong to America.” He brought young David and his entire family to the United States. David apprenticed with Victor Herbert in Pittsburgh. Herbert was the conductor of the Pittsburgh Philharmonic. Rubinoff apprenticed his musical art with his benefactor. Dave told me countless stories about Herbert’s Sunday musical get togethers. Dave, for a while actually resided with Victor Herbert. He was able to socialize with John Phillip Sousa, the great tenor-Carouso, Andrew Carnegie…Sousa told Rubinoff to take good music to the public schools. Years later, Dave and I (Dave Ohrenstein) did this throughout the Sarasota area.
By the way, Rubinoff told me about how Victor Herbert composed while standing by his lectern. I guess conductors are used to standing. Keep checking DSOworks.com for new posts. By the way, a have 1 or 2 openings for piano students in Sarasota.
High Stepping on the Steinway Piano at World Class Gasparilla Inn. I feel like I have a special connection with Steinway grand pianos. My primary teacher on piano was Mischa Kottler. He kept two Steinway grands in his studio. For my lessons, I played on one. He accompanied and demonstrated on the other. What kind of teacher was Mischa? I quote Greg Philliganes in Keyboard Magazine.
High Stepping with Mischa Kottler
From work with Stevie Wonder while still in his teens, to tours and recordings with Quincy Jones, Michael Jackson, Eric Clapton, and Toto, Phillinganes’ massive discography reads like a “Who’s Who” of pop music, encompassing four decades.
From Greg Philliganes’ interview in Keyboard Magazine
“Sensing that I needed discipline more than anything else, my Mom managed to hook me up with a wonderful teacher named Mischa Kottler. He was a no-nonsense Russian Jewish guy who could crack a pane of glass with one finger. He was a complete badass, and he cooled my attitude out immediately. I studied with him well into my teens.
What kinds of things were you studying with him?
I was studying technique and classical repertoire. He taught me a certain way of playing that I still use to this day: a sense of evenness where your wrists aren’t loose or moving up and down. It’s a totally linear way of playing, where there’s even movement in both hands so your wrists stay perfectly still. Mischa would take two fingers and weigh them down on my wrists to keep them from moving. He instilled a sense of dexterity and definition in my playing. If I’m known for my speed and precision, it’s probably due to Mischa more than anything else.
I also have Mischa to thank for instilling in me speed and precision. He also instilled in me the desired to look for the “truth” in music. What is the music really about? How do you convey it? Again, thanks to Mischa, I have year round employment. . Until Dec 18, I will be at the Crab and Fin in Sarasota. See events on DSOworks.com. Then, Gasparilla from Dec. 19- April 1 2018 for six nights weekly. I play on a newly rebuilt Steinway Grand. The parts were special ordered from Germany. In between, my wonderful agent Fitz Otis at Jay Goodley Entertainment Group books me any other time I am available. My advice to students: Work hard. Be serious. And yes, I have a couple of openings for piano lessons in Sarasota.
Musical Transcriptions Were One of Bach’s Priorities. However, he often transcribed his own works. Most think of transcription by people other than the original composer. For example, Franz Liszt transcribed some of Bach’s organ works for the piano. In fact, Liszt wrote transcriptions for piano of a wide variety of music. Indeed, about half of his composing work (approximately 400 out of 800 items) are arrangements of music by other composers.
During the period 1730-1733 Bach wrote seven concertos for harpsichord and strings. Most were musical transcriptions from his own violin concertos. Bach had a passion for transcriptions. He seemed to be never satisfied with any definitive version of his musical output. I quote Wanda Landowski in her book, On Music: “His versatile and restless spirit refused to be limited to the use of any one particular instrument or even to instruments in general.”
Reason for Musical Transcriptions
What other reason can there be for writing a composition for different instruments? Perhaps business. It allows you to sell more copies.Instead of selling to only violinists, you can , also sell music to other instrumentalists. Also transcriptions makes a person popular with the public. If they enjoy a particular work, they can also hear it played by a piano player. Liszt became rich enough to help many composers of his time. Yes he was a great pianist. However, I feel his transcriptions propelled him to the top and gave him the reputation of being the greatest.
For years I worked as a transcriber for Rubinoff and His Violin. He too made a fortune. He called me his best arranger in his lifetime of performing. Enjoy our concert at Scott’s Oquaga Lake House. We gave it in 1984. Witness the audience going wild over a violinist at age 87. I am playing the piano. Also, see for yourself what a difference arrangements can make. Also I have one or two openings for piano lessons in Sarasota.
Lost Concert “Rubinoff and His Violin” on Oquaga Lake, 1984
Scorpio Musicians Perform with Profound Emotions. This blog is an excerpt from my upcoming book: Music Under the Zodiac. I also composed a ballet and modern dance opus number on the 12 zodiac signs. It also has an introduction and finale. The title Dance of the Zodiac. The work is haunting me to be staged again. Al Smith, a comedian who once toured the Catskills said, “It’s like a collector’s item- It sits around collecting dust.” Any suggestions or contacts out there?
Scorpio Musicians as We Approach the Astrological Month of Scorpio 10/23-11/21
Wheel of the zodiac: This 6th century mosaic pavement in a synagogue incorporates Greek-Byzantine elements, Beit Alpha, Israel.
For this blog we will consider Scorpio as a listener and a performer.
Scorpio listen with an ear that is tuned to the mystical. For most, music must touch the mind and body. For Scorpio it is about touching the soul. This listener favors complex chords and rhythms. They enjoy “tempo rubato”. Even “dervish” accelerando rhythms are on the listening list. In the classical realm, music from the Baroque era is favored. Counterpoint is enjoyable: Life is complex. Anything with intense mood is enjoyable. Baroque dance suites are on the list. Each dance keeps its own character throughout.
Scorpio musicians enjoy varied percussion instruments. These include timpani, triangle, marimba, xylophone or celesta. They favor the cello among stringed instruments. Cellos express depth of feeling in the “baritone” area. Scorpio has natural charisma. That makes people of this sign great conductors or section leaders. Scorpio will instruments not commonly played. These could include the lute or hurdy gurdy. Enjoy an excerpt from my blog about this rare instrument!
Hurdy Gurdy Suddenly Came into Vogue. Why am I writing this blog? To prove that no how popular something is, changing style can make it obsolete. For example, once upon a time no one ever doubted the popularity and supremacy of the lute. The first lutes were brought to Spain by the Moors. Others may have been brought to Europe from Arabic lands. The lute is one of the ancestors of the classical guitar. Sunddenly, among the French royalty and other European courts, the lute was totally shunned. The hurdy gurdy took its place. Styles change! Go ahead Scorpio. Follow the lead of French royalty! Oh yes, I have one or two openings for giving piano lessons in Sarasota.
Hurdy Gurdy Suddenly Came into Vogue. Why am I writing this blog? To prove that no how popular something is, changing style can make it obsolete. For example, once upon a time no one ever doubted the popularity and supremacy of the lute. The first lutes were brought to Spain by the Moors. Others may have been brought to Europe from Arabic lands. The lute is one of the ancestors of the classical guitar.During the Baroque music era, the lute was used as one of the instruments which played the basso continuoaccompaniment parts. It is also an accompanying instrument in vocal works. The lute player either improvises (“realizes”) a chordal accompaniment based on the figured bass part, or plays a written-out accompaniment (both music notation and tabulature(“tab”) are used for lute). As a small instrument, the lute produces a relatively quiet sound
How the Hurdy Gurdy Came to Replace the Lute
The book Le Parnasse Français is from 1736. Its author is Titon du Tillet. He writes that he had met a great lute amateur, M. Falco. The lute player assured Tion du Tillet that there are only 3 or 4 accomplished old time lute players left in Paris. Now I quote du Tillet: “M. Falco invited me to go up to his apartment. After having seated me in an antique armchair, he played 5 or 6 pieces on the lute. He looked at me all the while with tender expression. From time to time he shedding tears on his lute. I could not help mingling a few tears with his. And thus we parted.”
Wanda Landowska on Music writes: By the end of the 17th century, the best lutes were sought after. However, they were transformed into the theorboes. Somewhat later, the hurdy gurdy totally replaced the lute in popularity. Shockingly, at onetime the hurdy gurdy was mainly used by beggars and village peddlers. As it happens, Marchionesses from the court of Louis XV called the few remaining lutes “gothic and despicable instruments.” The hurdy gurdy became the aristocratic rage.
Conclusion: Don’t bank on anything being popular for too long. Check out my blogs. Musical style will soon change. By the way. Stay in style. Using this knowledge, I am having my busiest season ever. To this end I offer piano lessons in Sarasota.
Music Transforms Especially in Difficult Times. This blog is about a great man that I worked with: David Rubinoff. To the public he was known as Rubinoff and his Violin. Rubinoff had the Midas Touch on the violin. The most famous King Midas is popularly remembered in Greek mythology for his ability to turn everything he touched into gold. The Maestro made as much as $500,000.00 a year in the 1930’s. That is a lot of money, even now. He played concerts. Also he conducted the orchestra at the Paramount Theater in New York and for Paramount Pictures in Hollywood. David autographed his picture for my wife Sharon, and myself.
This letter, written during the height of the Vietnam war, is quoted here. The Dance of the Russian Peasant was written about him by his wife, Darlene. She interviewed and recorded Rubinoff’s words for this book. Darlene was a true friend. I think this letter amply illustrates the keywords: Music Transforms.
A Testimony to How Music Transforms
Dear Maestro Rubinoff: “Mother told me you were a Prophet of Music. You were blessed directly by God to carry out a special purpose. She said you were commissioned to bring down divine harmony to earth and give it to the common man…No more would music be for royalty and the very rich. Thus, the wonderful music you took into the battlefield after your allotted threescore and ten years. Knowing you has made me a better wife, a better mother and better citizen of the world. I cannot willingly drop below the height to which your heavenly music has taken me.”
Now you too can enjoy the Heavenly Music of Rubinoff. I, David Ohrenstein, am the pianist on this Oquaga Lake concert. Enjoy his stories. They date all the way back to the year 1911. Victor Herbert brought him to America. He lived with Herbert and met Caruso, John Phillip Sousa… At the time he was age 86.
Changing Music Indicates Changing Times. Welsh music, as recorded in the Welsh Triads, adjusted its music to changing times. Here’s how. In ancient England, changes were foreshadowed by “perpetual choirs.”
How did I discover this? My source is City of Revelaton by the Reverend John Michell. The Welsh Triads are verses of great antiquity. They were written by “prehistoric bardic historians.” Unique choirs are mentioned:
One at the now existing site of Glastonbury Abbey.
Another operated at the site at which Stonehenge now exists.
A third was at Llantwit Major at Glamzorgan.
2,400 saints worked each site. Each kept a perpetual chant going. Each of the 24 hours of the day, at each site, occupied 100 saints with singing.
As the Times Varied, Changing Music Marked Their Song
The character of time changes with the seasons. As light can change by the hour, so could their song. Another aspect of song was planetary. The school of Pythagoras believed that each planet had its own pitch. As their distances from each other changed, so did the music.
We are currently living through times of great change. Music that heralds beautiful melody will lead the way. In all aspects, people will buy what is beautiful. I was taught to play with beautiful tone. Play well-formed two-note phrases are key. Also, how to emphasize the note that is tied over the measure. My instructor was Mischa Kottler.
In looking to this beautiful past, I am helping to lead the way to the future. We all need beautiful things in our lives. When times are difficult, all need the beautiful in art, poetry and music. To this end, I am working full time this year. I will be playing piano from Christmas to Easter. This will be six days weekly. The location is at the Gasparilla Inn on Boca Grande.
Until Christmas, I am working to bring musical beauty back at the Crab and Fin Restaurant on Saint Armand’s Circle. I play three days weekly. Call for specifics. Wear something comfortable, but beautiful. Enjoy a tasty and well-presented meal while dining outdoors to my piano music.
Musical Orphanage Outlet in Venice for Vivaldi. Antonio Lucio Vivaldi ( 4 March 1678 – 28 July 1741) was an ItalianBaroque composer, virtuoso violinist, teacher and cleric. Four orphanages for girls existed in Venice, Italy. They taught females the art of music. Antonio Vivaldi worked at the Ospedale (orphanage) della Pieta. He was employed there for more than 30 years. He duties included composer, violin maestro, and orchestral conductor.
When musical styles later changed during his employment, he lost his job. He went to Vienna, impoverished. After he died, no one even knew where he was buried until 1938. My main source of reference is Landowska On Music. Wanda Landowska quotes Italian President, De Brosses. The points made come in part from his: Lettres familieres ecrites d’Italie (1739 – 1740). De Brosses lived during Vivaldi’s time. He gives a glimpse into the musical life of Italy.
Musical Orphanage Outlet Description
Why were there four female orphanages needed in Venice? Girls were left in orphanages for three reasons (1) They were illegitimate. (2) They were orphaned. (3) They were placed there by parents who could not afford to keep them. Poor families often orphaned their girls. Hence the key words of this blog:
How were they brought up? The State paid their expenses. They were trained exclusively to excel at music. De Brosses stated: “They sing like angels and play the violin, the cello. the bassoon; in short, there was no big instrument that could terrify them.” Hence the key words of this blog: Musical Orphanage Outlet.
De Brosses stated about Vivaldi: “I heard him claim that he could compose a concerto faster than a copyist could write them down.”
Alas, Vivaldi’s music went out of fashion. His death was not even noticed. In 1938 it was learned that he died in 1741 and was buried in Vienna. That’s some 200 years in passing. Vivaldi would be rich on royalties if he were alive today:
Walter Kolneder in Antonio Vivaldi: His Life and Work states: A unofficial survey of diners in Greenwich Ct. in the 1990’s claims: Today Vivaldi’s popularity has taken on such dimensions that it almost threatens that of other music.”
P.G. Goulding states in Classical Music: The 50 Greatest Composers and Their 1000 Greatest Works: “The 4 violin concertos that make up the Four Seasons are most popular on many classical radio stations.”
Immediately below in Spring from Vivaldi’s Four Seasons. Solo violin is played and the orchestra conducted by Itzhak Perlman.
The Four Seasons: Winter http://www.youtube.com/watch?v=ve2rqERbeWo Itzhak Perlman plays and
What conclusions might we draw from this blog? To make a living, one must know what is on the horizon and be able to respond, appropriately. Genius does not guarantee a living. Also, everyone has their day in the Sun. That means it is necessary to put aside resources for a rainy day. As a musician, I greatly sympathize with the plight and challenges of all serious musicians- men and women. Even a genius like Vivaldi greatly suffered.
Will Rogers Plays Had a Place in My Life Through Rubinoff. For years I worked with “Rubinoff and His Violin.” He always would praise Will Rogers. Rubinoff stated in his autbiography: “Will used to give me advice. He was a happy fellow and a pleasure to be near. Will advised me on timing, how to time my gestures, how to get the audience to do my bidding, and how to talk to provoke the appropriate responses.” This quote is from Rubinoff’s book, Dance of the Russian Peasant. His wife, Dame Darlene Rubinoff, co-authored the book with her husband. Maestro Rubinoff always paid homage to Will Rogers at his concerts.
Will Rogers Plays:
William Penn Adair Rogers was born on November 4, 1879, in present-day Oologah, Oklahoma—then part of Indian territory. … Himself part Cherokee, Rogers socialized with both indigenous people. Interest in Will Rogers plays found its way into a hit Broadway show: The Will Rogers Follies is a musical with a book by Peter Stone, lyrics by Betty Comden and Adolph Green, and music by Cy Coleman.
It focuses on the life and career of famed humorist and performer Will Rogers, using as a backdrop the Ziegfeld Follies, which he often headlined, and describes every episode in his life in the form of a big production number.
He gave Rubinoff a gigantic pocket watch. Will had the poem below engraved on its back. Will also included his picture with Dave with the following inscription: “To the greatest fiddler in the world. Your Pal, Will Rogers 1932.” Rubinoff recited it at every single concert. Audiences loved it. Here are some paraphrases::
The clock of life is wound but once,
And no man has the power
To tell just when the hands will stop
At late or early hour.
Now is the only time we own,
So live, love, toil with a will,
Place no faith in “Tomorrow,”
For the Clock may then be still.
Conclusion: So many were jealous of Rubinoff. Musicians frequently were contemptuous about how he pandered to the public. However, they were really jealous of his income. In the 1930’s he made as much as $500,000/year. Now I offer a present to all my readers. Here is a free youtube link to Rubinoff and I, performing at our last concert in 1984. And yes, he’ll show off his Will Rogers pocket watch. You can hear the thunderstorm at Scott’s Oquaga Lake House during the concert. Oh yes, please share. This is happy and entertaining!
Travel Golden Roads With Our New Musical. The featured picture is a reference to Sharon and myself. We are called “The Ohs.” This is short for Ohrenstein. Famed artist, Harold Weiner, drew this for us as a thank you for a charity event that we did for the Sarasota Music Archives.
Meir’s GOLDEN ROADS: A One Woman Musical About Golda Meir. This original musical was written by the performers: Sharon Lesley Ohrenstein, singer, actor, librettist; and David Ohrenstein, pianist- composer. Broadway director, Carlo Thomas, gave the one woman show a wonderful, big time, New York, aura. From Golda’s dream to its realization, Sharon plays multiple characters. Her characters include:
Blume (Golda’s mother).
Morris (her husband)
Her sister, Sheyna
Zion (a spirit character)
Numerous other male and female characters
OUR MUSICAL OFFERS THE FOLLOWING
The musical will work in any sized theater.
It can also be booked for a limited run or as a special event. For example, for a fund raiser, luncheon or after dinner show.
The musical has several length options
The set is simple and basic. L & O have both portable Yamaha piano and sound.
For more information or price quote: email – email@example.com
We are all on a pilgramage as we travel the Golden Roads. We all seek the precious jewels of happiness, peace and plenty found on this road. Learn about this one woman born into poverty and persecution. Through her own will power and hard work she overcame these hardships.
Travel Golden Roads With Golda Meir
Our Golden Roads symbolizes the journey some must take to find a better future. Golda’s was quite dramatic:
As a child, Golda was nearly trampled to death by stampeding Cossacks riding horses. Her passion became having a safe home.
Be entertained by the beautiful voice of Sharon Lesley and piano artistry of David. Enjoy the beautiful melodies that punctuate the show. Be enthralled about with the story how one woman’s courage and determination helped to rebuild a nation for millions.
Our New York veteran director is Carlo Thomas. He has received positive reviews from Hal Prince, Irving Lowens of the Washington Star, and Werner Vollmann of the Associated Press in Vienna. As a bass, he has appeared in many operas, including Rigoletto, La Traviata, and The Queen of Spades. He has sung on opera stages in Italy. He personally worked with Broadway composers Timothy Gray and Hugh Martin. Carlo has helped to shape our show and provided exciting projections.
Travel Golden Roads and Make Money
This one woman show, featuring Sharon, is a money maker. Call or contact DSOworks@gmail.com today to arrange for your special afternoon or evening with Golden Roads. It was SRO as Golda opened the 2017 Sarasolo Festival held at Sarasota’s Crocker Memorial Church. Don’t be shy! Please share with friends.