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.
Melodies Linger and Last Like all Good Things. A pleasant memory always stays with you. So does a beautiful melody. Beautiful melodies give rise to whistling or even humming. The whistler feels the need to outwardly express the tune within. Now I ask my reader: When is the last time you heard someone whistling. When I grew up in the 1950’s everyone seemingly whistled. This was true at a bus stop, in a drugstore or just by random pedestrians. I would go so far as to even say that whistling is a sign of a happy civilization.
Rubinoff Fell in Love With Beautiful Melodies
The violinist I worked with, Rubinoff, (featured picture) was good friends with Irving Berlin. He met Irving Berlin at soirees given on Sunday evenings by Victor Herbert, then conductor of the Pittsburg Symphony. At the time, beautiful melodies captured the imagination of the American public (circa 1910). So did the new fad, ragtime. Comparing the two styles he told Rubinoff: “Ruby, melodic music goes from your head straight to your heart. Ragtime goes straight from your head to your feet”. Berlin and Rubinoff loved both typres of music. Rubinoff said time and time again about countless melodies: “That’s the most beautiful melody I ever heard.” When he saw a beautiful girl, he would say the same. Here is an excerpt of lyrics from a song by Irving Berlin that also expresses this dual love relationship. It is Berlin’s A PRETTY GIRL IS LIKE A MELODY
A pretty girl is like a melody
That haunts you night and day
Just like the strain of a haunting refrain
She’ll start upon a marathon
And run around your brain
You can’t escape, she’s in your memory
By morning, night and noon
She will leave you and then come back again
A pretty girl is just like a pretty tune
I was also told a quatrain on Oquaga Lake. It is from my poetry book, The Oquaga Spirit Speaks. The American Indians loved the lake. It is all about how in difficult and challenging times, melody gives a feeling of solidity.
Time is just like music Do not play too fast. Speed burns too quickly, While melodies linger and last.
Taking Stock of What You Have. Are these words familiar? They come from Irving Berlin’s musical, Annie Get Your Gun. The song iis “I Got the Sun in the Morning.” The sentiment is you have everything when you have the Sun in the morning and the Moon at night. In the song Annie Oakley assess her life. She lists what she lacks. Then she takes stock of what she has. The conclusion:She has ” A healthy balance on the credit side.” The song on youtube with the Broadway star, Ethel Merman, will make you happy.
TAKING STOCK OF RUBINOFF’S IRVING BERLIN STORY THAT HE TELLS ON OUR CONCERT NOW ON YOUTUBE
The lost concert by this grand master lasts about 45 minutes. It is filled with previously untold stories about musical personalities. My daughter recently took the time and trouble and posted it. Enjoy!
Victor Herbert brought Rubinoff to America in 1911. I worked with Rubinoff for some 20 years as his arranger and accompanist. “Ruby” lived with Victor Herbert. At the time Victor Herbert was the conductor of the Pittsburgh Symphony. Every Sunday, Herbert had soirees at this home in Pittsburgh. Famous people from all over the country would come to these parties. There, Rubinoff met Irving Berlin. Berlin told Rubinoff, Americans love the new sound of jazz. They love music because it goes from the heart to the feet. The long haired music goes from the heart to the head. That Sunday night Rubinoff could not fall asleep. He kept saying to himself; “Americans like jazz”. He stayed up all night and wrote “Fiddling the Fiddle.” First thing the next morning he calls Irving Berlin up. He immediately wanted to see him. Berlin told him over the phone, not today, Ruby. I’m too busy. Rubinoff said, then I’ll play it over the phone for you. Berlin said, “Okay.” Berlin published it. Fiddlin’ the Fiddle sold over a million copies. Enjoy us playing it on youtube with the other exciting selections. We played it live at Scott’s Oquaga Lake House in the Catskills in 1984. You can hear a tremendous thunderstorm in the background. By the way, my lyricist, bookwriter wife, Sharon Lesley escorts him and his 2 million dollar Stradivarius violin on and off the stage. Also, check out our original and unique musicals and the products page. They finally fit the tempo of the times. We are looking for a producer. Thank you-David.
Nietzsche Loved Carmen by Bizet Over Wagner. Alfred Einstein, in his Music in the Romantic Era, gives the following quote by Nietzsche about Bizet’s Carmen: “It is rich. It is precise. It builds, organizes, gets finished: therein it establishes a contrast to the excrescence in music, the “infinite melody.” Nietzsche stated that Bizet was in fact refreshing and southern music, that allows a person to take leave of the damp North (referring to Wagner’ s music). He further declared that Bizet, who he loved, was the antithesis of Wagner. Whereas Bizet in Carmen used a closed form, Wagner went on and on with his motifs, seemingly forever. I personally find this amusing because so many have bound Nietzsche’s philosophy with Wagner’s music which often presents musical motifs on a seemingly endless scale. .
Publicity shots for the Carmen revival at the Metropolitan Opera, New York, in January 1915, with Enrico Caruso and Geraldine Farrar. Caruso is centre in the upper row, Farrar top left and bottom right.
MY INDIRECT CONNECTION WITH CARUSO THROUGH RUBINOFF
I had the honor of arranging and accompanying”David Rubinoff and His Violin”. He told me the following story involving the great tenor, Caruso (picture above) and Mme. Schumann-Heink, “the greatest contra-alto singer”, possibly of all time: Victor Herbert brought Rubinoff and his family to America in 1911. Herbert heard Rubinoff playing a recital at the Warsaw Conservatory, then under the leadership of Paderewski. He said to Rubinoff, who was 13 years of age at the time, “son, you belong to America.” Rubinoff told me the story of how Victor Herbert, then conductor of the Pittsburgh Symphony, had Sunday soirees at his residence in Pittsburgh. Caruso and Mme. Schumann-Heink were among the famous regular guests. They would sing opera duets while Herbert played the cello and Rubinoff played the violin. They would often sing and play selections from Carmen. Herbert, by the way, loved to both compose and orchestrate his own music while standing up byusing a tall dresser that he used for writing.
JOHANNES BRAHMS LOVED CARMEN
In conclusion, I believe that George Bizet knew that he had a super hit on his hands with Carmen. Even the great Johannes Brahms told his publisher, Simrock in June of 1882, to please send him the score to Carmen. He declared he loved it more than any other of the works in Simrock’s catalogue, including, wrote Brahms, his own. Unfortunately, as happens with so many composers, Bizet never lived to see its ultimate triumph. He died of illness three months after its opening at age 36. May I suggest getting a recording of the great piano virtuoso, V. Horowitz playing it. He made an amazing arrangement of hit songs from the score.
Unearthing a Lost Concert of “Rubinoff and His Violin”
Unearthing a Lost Concert of “Rubinoff and His Violin”After 30 Years. The year 1984 is not so far past; but the man playing the Stradivarius violin, David Rubinoff, was born in 1897. How I came to be his arranger and accompanist is quite a story.
In begins in 1911 when Victor Herbert, famed conductor of the Pittsburgh Symphony and writer of operettas, was on a Sabbatical and touring Europe. It was at the Warsaw Conservatory of Music that Herbert heard a young Rubinoff playing his composition: Dance of the Russian Peasant. Without hesitation Herbert said: “Son, you belong to America.” And so, Victor Herbert brought him and his entire family back to the United States. Rubinoff lived with Herbert who then placed him in the center of American cultural life. He was introduced to such notables as John Phillip Sousa, the great tenor, Caruso, and others at the Sunday brunches held in his home. I have had the honor of working with the Maestro Rubinoff since 1970.
RUBINOFF AND I PERFORMED AT SCOTT’S OQUAGA LAKEHO– USE
To transition to this concert given at Scott’s Hotel in Deposit, New York; my wife, Sharon Lesley, and I have had quite a history concert touring together. We have been at Scotts during the summer months since 1983. I asked Ray Scott if I could invite Rubinoff and his wife to the hotel, and he jumped at the chance. Some 30 years later the Scotts have just now found the recording of our concert. Now you can hear, through youtube, why Victor Herbert insisted that Rubinoff belonged to America. At an actual performance at age 86 he will play the Dance of the Russian Peasant and also with me, a beautiful approximately 45 minute concert of some of our arrangements. If you feel about the music as I do, you will believe you are witnessing a miracle.Continue reading