name	Marsha Hunt
birth name	Marcia Virginia Hunt
birth date	October 17, 1917
birth place	Chicago, Illinois, U.S.
yearsactive	1935–2008
spouse	Jerry Hopper (1938–1943) (divorced) Robert Presnell, Jr. (1946–1986) (his death) 1 daughter(died a day old)
website	}}

Marsha Hunt (born Marcia Virginia Hunt October 17, 1917) is an American film, theater, and television actress who was blacklisted by Hollywood movie studio executives in the 1950s.

Career

Marsha Hunt attended the Theodore Irving School of Dramatics during her high school years. She was also a very good singer, and a model, before Paramount Pictures signed her to a contract in 1934. At 18 years of age, she made her film debut in ''The Virginia Judge''.

In 1938, she married film director Jerry Hopper; they were divorced in 1943. Three years later, in 1946, she married television and film writer Robert Presnell, Jr., which lasted until his death in June 1986.

During the late 1930s and into the 1940s, Hunt signed a number of petitions promoting liberal ideals. She was also a member of the Committee for the First Amendment. Because of this association, her name appeared in the pamphlet ''Red Channels''. Although she and her husband, Robert Presnell, were never called before the House Un-American Activities Commission (HUAC), like Charlie Chaplin, their names were put on the blacklist, and they found it extremely difficult to find work. On October 27, 1947, she flew with a group of about 30 actors, directors, writers, and filmmakers (including John Huston, Humphrey Bogart, Lauren Bacall and Danny Kaye), to Washington D.C. to protest the actions of Congress. When she returned to Hollywood three days later, things had changed. She was asked to denounce her activities if she wanted to find more work—but she refused. For her, the issue here was not Communism, but freedom of speech, privacy of opinion, freedom of advocacy, and freedom of democracy. She did keep working until the publication of ''Red Channels'', but afterwards it became very hard.

She had worked steadily from 1935 until 1949, appearing in fifty-two films. After being blacklisted, she appeared in only three films in the next eight years. In 1957, she started getting more work, appearing in six films during the next three years, at which time she semi-retired in 1960. Since then she has appeared only in small roles in five films and numerous television shows, including an episode of the ABC medical drama ''Breaking Point''.

In 1971, she would appear in a movie written by fellow blacklist member, Dalton Trumbo (whom Kirk Douglas had gotten back on the screen with ''Spartacus''), in the movie ''Johnny Got His Gun'', playing the mother of Timothy Bottoms.

Since 1980, she has been the honorary mayor of Sherman Oaks, California. Hunt is still very liberal, and is very concerned with such issues as global pollution, worldwide poverty, peace in third world nations, and population growth.

On 8 February 1988, she appeared in Star Trek: The Next Generation, in the episode Too Short a Season as Anne Jameson, wife of an admiral who took an age reversing drug.

In 1993, her book ''The Way We Wore: Styles of the 1930s and '40s and Our World Since Then'' was published by Fallbrook Publishing.

Hunt played Elizabeth Lyons in a 2005 movie, ''Chloe's Prayer''. She produced the CD ''Tony London: Songs From The Heart with the Page Cavanaugh Trio'' that includes two of the fifty songs that Hunt has composed.

As of 2007, Marsha Hunt has served for many years and continues to serve on the Advisory Board of Directors for the San Fernando Valley Community Mental Health Center, a large non-profit in the San Fernando Valley where she continues to advocate for adults and children affected by homelessness and mental illness.

In January 2008, Hunt appeared in a short film noir, ''The Grand Inquisitor'', as Hazel Reedy, the could-be widow of one of America's most famous unapprehended serial killers. The film premiered at the 6th annual Noir City Film Festival in San Francisco.

Selected filmography

''The Virginia Judge'' (1935)

''The Arizona Raiders'' (1936)

''College Holiday'' (1936)

''Hollywood Boulevard'' (1936)

''Desert Gold'' (1936)

''Born to the West'' - reissued as Hell Town (1937)

''These Glamour Girls'' (1939)

''Irene'' (1940)

''Flight Command'' (1940)

''Pride and Prejudice'' (1940)

''I'll Wait for You'' (1941)

''Blossoms in the Dust'' (1941)

''Unholy Partners'' (1941)

''Kid Glove Killer'' (1942)

''The Affairs of Martha'' (1942)

''Panama Hattie'' (1942)

''Cry 'Havoc''' (1943)

''Lost Angel'' (1943)

''The Human Comedy'' (1943)

''Thousands Cheer'' (1944)

''None Shall Escape'' (1944)

''The Valley of Decision'' (1945)

''Music for Millions'' (1945)

''A Letter for Evie'' (1946)

''Carnegie Hall'' (1947)

''Smash-Up, the Story of a Woman'' (1947)

''Raw Deal'' (1948)

''Mary Ryan, Detective'' (1949)

''The Happy Time'' (1952)

''A Word to the Wives'' (1955)

''Diplomatic Passport'' (1956)

''Back from the Dead'' (1957)

''Blue Denim'' (1959)

Hunt also made guest appearances in TV series such as ''Matlock'', ''Star Trek: The Next Generation'' and ''Murder, She Wrote''.

References

External links

Marsha Hunt documentary film

Interview with Glen Lovell for ''50 YEARS: SAG REMEMBERS THE BLACKLIST''

Interview with Elizabeth Farnsworth on PBS's ''"Newshour"'' about Blacklisting

Attitude Toward Aging with Marsha Hunt, WebMD Live Events Transcript

Category:1917 births Category:Living people Category:American film actors Category:American stage actors Category:American television actors Category:Hollywood blacklist Category:Actors from Chicago, Illinois Category:People from Sherman Oaks, Los Angeles Category:Actors from Illinois

da:Marsha Hunt de:Marsha Hunt fr:Marsha Hunt it:Marsha Hunt nl:Marsha Hunt ru:Хант, Марша sr:Марша Хант fi:Marsha Hunt

Name	Harry James
Birth name	Henry Haag James
Born	March 15, 1916 Albany, Georgia, United States
Died	July 05, 1983Las Vegas, Nevada, United States
Background	non_vocal_instrumentalist
Genre	Jazz, Big band
Occupation	Musician, Bandleader
Years active	1937–1983
Associated acts	Frank SinatraBen PollackBenny Goodman
Spouses	Louise Tobin (1935–1943) 2 children Betty Grable (1943–1965) 2 childrenJoan Boyd (1968–1970)) 1 child

Henry Haag “Harry” James (March 15, 1916 – July 5, 1983) was an American musician and bandleader. James was an instrumentalist of the swing era, employing a bravura playing style that made his trumpet work identifiable. He was one of the most popular bandleaders of the first half of the 1940s, and he continued to lead his band until just before his death, 40 years later.

Biography

He was born in Albany, Georgia, the son of a bandleader of a traveling circus. By the age of 10 he was taking trumpet lessons from his father, who placed him on a strict daily practice schedule. Each day, James was given one page to learn from the Arban's book and was not allowed to pursue any other pastime until he had learned that particular page.

In 1931 the family settled in Beaumont, Texas, where James began playing with local dance bands.

He joined the nationally popular Ben Pollack in 1935 but at the start of 1937, left Pollack to join Benny Goodman's orchestra, where he stayed through 1938.

In February 1939 James debuted his own big band in Philadelphia, Pennsylvania. His hit "You Made Me Love You" was in the Top 10 during the week of December 7, 1941. He toured with the band into the 1980s.

His was the first "name band" to employ vocalist Frank Sinatra, in 1939. He wanted to change Sinatra's name to 'Frankie Satin' but Sinatra refused. His later band included drummer Buddy Rich.

He played trumpet in the 1950 film ''Young Man with a Horn'', dubbing Kirk Douglas. James's recording of "I'm Beginning to See the Light" appears in the motion picture ''My Dog Skip'' (2000). His music is also featured in the Woody Allen film ''Hannah and Her Sisters''. James recorded many popular records and appeared in many Hollywood movies.

He was second only to Glenn Miller as the most successful recording artist of 1942.

James was married three times. On May 4, 1935, he married singer Louise Tobin, with whom he had two children. They divorced in 1943. That same year, he married actress Betty Grable. They had two daughters, Victoria and Jessica, before divorcing in 1965. James married a third time in 1968 to Las Vegas showgirl Joan Boyd, whom he would divorce in March 1970. Contrary to some assertions, he did not marry a fourth time. He had five children (two by Tobin, two by Grable, one by Boyd) and (as of his death) 16 grandchildren.

James owned several thoroughbred racehorses that won races such as the California Breeders' Champion Stakes (1951) and the San Vicente Stakes (1954). He was also a founding investor in the Atlantic City Race Course. His knowledge of horse racing was demonstrated during a 1958 appearance on ''The Lucy-Desi Comedy Hour'' entitled "Lucy Wins A Racehorse."

In 1983, James was diagnosed with lymphatic cancer, but he continued to work, playing his last professional job on June 26, 1983, in Los Angeles, California, just nine days before his death in Las Vegas, Nevada. Frank Sinatra gave the eulogy at the Bunkers Eden Vale Memorial Park in Las Vegas.

In 2007, a personally owned and stage-played custom made trumpet formerly owned by both James and trumpeter Joe Cabot was sold at auction for a mid five-figure amount. It was played by both men while they toured together from 1979–1982 in the musical review The Big Broadcast of 1944.

Filmography

''Hollywood Hotel'' (1937) in Benny Goodman's band

''Bathing Beauty'' (1944)

''Best Foot Forward'' (1943)

''Carnegie Hall'' (1947)

''Do You Love Me'' (1946)

''Greedy''

''If I'm Lucky'' (1946)

''I'll Get By'' (1950)

''Outlaw Queen'' (1957)

''Private Buckaroo'' (1942)

''Riot in Rhythm'' (1957)

''Springtime in the Rockies'' (1942)

''The Benny Goodman Story'' (1956)

''The Sting II'' (1983)

''Two Girls and a Sailor'' (1944)

''The Opposite Sex'' (1956)

1955 De Soto commercial for Chrysler corp.

Singles

"Ain't She Sweet"

"All or Nothing at All" (1939)

"Blues in the Night" (1941)

"Boo-Woo"

"Cheek to Cheek"

"Ciribiribin" (1939)

"Cry Me a River"

"Doncha Go 'Way Mad" (with the Skylarks)

"Flight of the Bumblebee"

"Hernando's Hideaway" (1955)

"Honeysuckle Rose"

"I Cried for You" (1942)

"I Don't Want to Walk Without You" (1942)

"I'll Be Around"

"I'll Get By (As Long as I Have You)" (1940)

"I Need You Now"

"It All Depends on You"

"It's Been a Long, Long Time" (1945)

"I've Heard That Song Before" (1942)

"Life Goes to a Party"

"Manhattan"

"My Buddy" (1939)

"Oh My Pa-Pa (O Mein Papa)"

"One O'Clock Jump"

"Sing, Sing, Sing" (1937)

"Sleepy Lagoon" (1942)

"Somebody Loves Me"

"That Old Feeling"

"The Mole"

"The Nearness of You"

"Too Marvelous for Words" (1943)

"Truly" (with Gilda Malken and The Skylarks)

"Trumpet Blues and Cantabile"

"(Up a) Lazy River"

"Velvet Moon"

"When Your Lover Has Gone" (1944)

"Where or When"

"Woo-Woo"

"You Made Me Love You" (1941)

"You've Changed" (1941)

See also

Al Lerner (composer)

Dick Haymes

Jack Gardner (musician)

References

External links

The Harry James Orchestra – Official Site

Harry James at Find-A-Grave

Harry James and his big band

Solid! – Harry James

– The Man With The Horn – A Biography of Harry James

Harry James Official 10inch (78rpm) Discography (w/ Photo Vinyl & Cat. Numbers)

Category:Big band bandleaders Category:American trumpeters Category:Swing trumpeters Category:American jazz bandleaders Category:American jazz trumpeters Category:American racehorse owners and breeders Category:People from Beaumont, Texas Category:People from Albany, Georgia Category:Deaths from lymphoma Category:Musicians from Georgia (U.S. state) Category:Cancer deaths in Nevada Category:1916 births Category:1983 deaths

ca:Harry James da:Harry James de:Harry James es:Harry James fr:Harry James it:Harry James he:הארי ג'יימס ja:ハリー・ジェイムス pt:Harry James fi:Harry James sv:Harry James

Jascha Heifetz (, – December 10, 1987) was a violinist, born in Vilnius, then Russian Empire, now Lithuania. He is widely regarded as one of the greatest violinists of all time.

Early life

Heifetz was born into a Jewish family in Vilnius, Lithuania, then part of the Russian Empire. His father, Reuven Heifetz, son of Elie, was a local violin teacher and served as the concertmaster of the Vilnius Theatre Orchestra for one season before the theatre closed down. Jascha took up the violin when he was three years old and his father was his first teacher. At five he started lessons with Ilya D. Malkin, a former pupil of Leopold Auer. He was a child prodigy, making his public debut at seven, in Kovno (now Kaunas, Lithuania) playing the Violin Concerto in E minor by Felix Mendelssohn. In 1910 he entered the Saint Petersburg Conservatory to study under Leopold Auer himself.

He played in Germany and Scandinavia, and met Fritz Kreisler for the first time in a Berlin private house together with other noted violinists in attendance. Kreisler, after accompanying the 12-year-old Heifetz at the piano in a performance of the Mendelssohn concerto, said to all present, "We may as well break our fiddles across our knees." Heifetz visited much of Europe while still in his teens. In April 1911, Heifetz performed in an outdoor concert in St. Petersburg before 25,000 spectators; there was such a sensational reaction that police officers needed to protect the young violinist after the concert. In 1914, Heifetz performed with the Berlin Philharmonic conducted by Arthur Nikisch. The conductor was very impressed, saying he had never heard such an excellent violinist.

Career

Heifetz and his family left Russia in 1917, traveling by rail to the Russian far east and thence by ship to the United States, arriving in San Francisco.

On October 27, 1917, Heifetz played for the first time in the United States, at Carnegie Hall in New York, and became an immediate sensation. Fellow violinist Mischa Elman in the audience asked "Do you think it's hot in here?", whereupon Leopold Godowsky, in the next seat, imperturbably replied, "Not for pianists." The reviews by the New York critics were rapturous.

In 1917, Heifetz was elected as an honorary member of Phi Mu Alpha Sinfonia, the national fraternity for men in music, by the fraternity's Alpha chapter at the New England Conservatory of Music in Boston. As he was aged 16 at the time, he was perhaps the youngest person ever elected to membership in the organization. Heifetz remained in the country and became an American citizen in 1925. When he told admirer Groucho Marx he had been earning his living as a musician since the age of seven, Groucho answered, "And I suppose before that you were just a bum."

Technique and timbre

Heifetz is considered to be one of the finest violinists of all time. Heifetz's technical command of his instrument -- his physical ability to play the violin with stunning precision -- is regarded by many critics as unequaled. That physical control enabled Heifetz to produce a distinctive tone quality, intense and shimmering, that came to be regarded as his trademark. Yet, from time to time his near-perfect technique and conservative stage demeanor caused some critics to accuse him of being overly mechanical, even cold. Virgil Thomson called Heifetz's style of playing "silk underwear music", a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composers' intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempos, and superb bow control coalesced to create a highly distinctive sound that make Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity. Perlman also said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance as opposed to a recording.

In creating his sound, Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut g-string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound.

Early recordings

Heifetz made his first recordings in Russia during 1910–11, while still a student of Leopold Auer. The existence of these recordings was not widely known until after Heifetz's death, when several sides (most notably Franz Schubert's ''L'Abeille'') were reissued on an LP included as a supplement to The Strad magazine.

Shortly after his Carnegie Hall debut on November 7, 1917, Heifetz made his first recordings for the Victor Talking Machine Company; he would remain with Victor and its successor, RCA Victor, for most of his career. For several years, in the 1930s, Heifetz recorded primarily for HMV in the UK because RCA cut back on classical recordings during the Great Depression; these discs were issued in the US by RCA Victor. Heifetz often enjoyed playing chamber music. Various critics have blamed his limited success in chamber ensembles to the fact that his artistic personality tended to overwhelm his colleagues. Some notable collaborations include his 1941 recordings of piano trios by Beethoven, Schubert, and Brahms with cellist Emanuel Feuermann and pianist Arthur Rubinstein as well as a later collaboration with Rubinstein and cellist Gregor Piatigorsky, with whom he recorded trios by Maurice Ravel, Tchaikovsky, and Felix Mendelssohn. Both formations were sometimes referred to as the ''Million Dollar Trio''.

He recorded the Beethoven Violin Concerto in 1940 with the NBC Symphony Orchestra conducted by Arturo Toscanini, and again in stereo in 1955 with the Boston Symphony Orchestra conducted by Charles Munch. A live performance from April 9, 1944, of Heifetz playing the Mendelssohn Violin Concerto, again with Toscanini and the NBC Symphony, has also been released.

He performed and recorded Erich Wolfgang Korngold's Violin Concerto, at a time when many classical musicians avoided Korngold's music because they did not consider him a "serious" composer after he wrote many film scores for Warner Brothers.

Wartime

Heifetz commissioned a number of pieces, perhaps most notably the Violin Concerto by William Walton. He also arranged a number of pieces, such as ''Hora Staccato'' by Grigoraş Dinicu, a Romanian whom Heifetz is rumoured to have called the greatest violinist he had ever heard. Heifetz also played and composed for the piano; he performed mess hall jazz for soldiers at Allied camps across Europe during the Second World War, and under the alias Jim Hoyl he wrote a hit song, "When You Make Love to Me (Don't Make Believe)", which was sung by Bing Crosby.

Decca recordings

From 1944 to 1946, largely a result of the American Federation of Musicians recording ban (which actually began in 1942), Heifetz went to American Decca Records to make recordings because Decca settled with the union in 1943, well before RCA Victor resolved their dispute with the musicians. He recorded primarily short pieces, including his own arrangements of music by George Gershwin and Stephen Foster; these were pieces he often played as encores in his recitals. He was accompanied on the piano by Emanuel Bay or Milton Kaye. Among the more uncommon discs featured one of Decca's most popular artists, Bing Crosby, in the "Lullaby" from Benjamin Godard's opera ''Jocelyn'' and ''Where My Caravan Has Rested'' (arranged by Heifetz and Crosby) by Hermann Lohr (1872–1943); Decca's studio orchestra was conducted by Victor Young in the July 27, 1946, session. Recorded mostly in small studios, the digitally remastered performances (issued by MCA) have remarkably clear, high fidelity sound. However, Heifetz soon returned to RCA Victor, where he continued to make recordings until the early 1970s.

Later recordings

Returning to RCA in 1946, Heifetz continued to make a number of 78-rpm discs for the company, including solo, chamber, and orchestral recordings.

RCA began releasing long-playing recordings in 1950, including concertos taken from 78-rpm masters. The company began to make new high fidelity recordings with Heifetz, primarily with the Boston Symphony Orchestra under Charles Munch and the Chicago Symphony Orchestra under Fritz Reiner. Beginning in early 1954, most of RCA's classical sessions were also taped on triple track stereophonic tape recorders. These were eventually issued in the "Living Stereo" series, which began in 1958. RCA later reissued the recordings on a series of CDs. While many earlier Heifetz recordings used close miking, which led to a dry sound, the post 1954 RCA concerto recordings have somewhat more distant and effective miking, creating a more effective concert ambience that shows Heifetz's tone to excellent advantage.

A 2000 two-CD RCA compilation titled ''Jascha Heifetz – The Supreme'' gives a sampling of Heifetz's major recordings, including the 1955 recording of Brahms's Violin Concerto with Reiner and the Chicago Symphony Orchestra; the 1957 recording of Tchaikovsky's Violin Concerto (with the same forces); the 1959 recording of Sibelius's Violin Concerto with Walter Hendl and the Chicago Symphony Orchestra; the 1961 recording of Max Bruch's ''Scottish Fantasy'' with Sir Malcolm Sargent and the New Symphony Orchestra of London; the 1963 recording of Glazunov's A minor Concerto with Walter Hendl and the RCA Victor Symphony Orchestra (drawn from New York musicians); the 1965 recording of George Gershwin's ''Three Preludes'' (transcribed by Heifetz) with pianist Brooks Smith; and the 1970 recording of Bach's unaccompanied ''Chaconne'' from the Partita No. 2 in D minor.

Third Israel tour

On his third tour to Israel in 1953, Heifetz included in his recitals the Violin Sonata by Richard Strauss. At the time, Strauss was considered by many to be a Nazi composer, and his works were unofficially banned in Israel along with those of Richard Wagner. Despite the fact that the Holocaust had occurred less than ten years earlier and a last-minute plea from the Israeli Minister of Education, the defiant Heifetz argued, "The music is above these factors ... I will not change my program. I have the right to decide on my repertoire." Throughout his tour the performance of the Strauss sonata was followed by dead silence.

Heifetz was attacked after his recital in Jerusalem outside his hotel by a young man who struck Heifetz's violin case, Heifetz resorting to using his right hand to protect his priceless violins from the crowbar. As the attacker started to flee, Heifetz alerted his companions, who were armed, "Shoot that man, he tried to kill me." The attacker escaped and was never found. The attack has since been attributed to the Kingdom of Israel terrorist group. The incident made headlines in the press and Heifetz defiantly announced that he would not stop playing the Strauss. Threats continued to come, however, and he omitted the Strauss from his next recital without explanation. His last concert was cancelled after his swollen right hand began to hurt. He left Israel and did not return until 1970.

Russian defector

Soviet musicians considered Heifetz and his teacher Leopold Auer as traitors to their home country for emigrating to the US, and Heifetz especially because of his very young age. Meanwhile, musicians who remained, such as David Oistrakh, were seen as patriots. Heifetz greatly criticized the Soviet regime; he condemned the International Tchaikovsky Competition for being biased against Western competitors. During the Carl Flesch Competition in London, Oistrakh tried to persuade Erick Friedman, Heifetz's star student, to enter the Tchaikovsky Competition, of which he was the principal juror. Hearing of this, Heifetz strongly advised against it, warning Friedman, "You will see what will happen there." Consequently, the competition received international outrage after Friedman, already a seasoned performer and recording artist for RCA, who had performed with the Chicago Symphony Orchestra, London Symphony Orchestra, and the Boston Symphony Orchestra, among many others, placed sixth behind players who had yet to establish their potent careers. Joseph Szigeti later informed Heifetz himself that he had given his student top scores.

Later life

After an only partially successful operation on his right shoulder in 1972, Heifetz ceased giving concerts and making records. Although his prowess as a performer remained intact and he continued to play privately until the end, his bow arm was affected and he could never again hold the bow as high as before.

Heifetz taught the violin extensively, holding masterclasses first at UCLA, then at the University of Southern California, where the faculty included renowned cellist Gregor Piatigorsky and violist William Primrose. For a few years in the 1980s he also held classes in his private studio at home in Beverly Hills. His teaching studio can be seen today in the main building of the Colburn School, where it is now used for masterclasses and serves as an inspiration to the students there. During his teaching career Heifetz taught, among others, Erick Friedman, Pierre Amoyal, Rudolf Koelman, Endre Granat,Eugene Fodor, Paul Rosenthal, and Ayke Agus.

It was rumored that Heifetz was such a strict discipline observer that the main gate of his Beverly Hills home was closed sharp at the appointment time of his classes to shut out students who arrived late. Heifetz died at Cedars-Sinai Medical Center in Los Angeles, California in December 1987.

Heifetz owned the 1714 ''Dolphin Stradivarius'', the 1731 "Piel" Stradivarius, the 1736 Carlo Tononi, and the 1742 ''ex David'' Guarneri del Gesù, the last of which he preferred and kept until his death. The Dolphin Strad is currently owned by the Nippon Music Foundation. The Heifetz Tononi violin used at his 1917 Carnegie Hall debut was left in his will to Sherry Kloss, Master-Teaching Assistant to Heifetz, with "one of my four good bows" (Violinist/author Kloss wrote "Jascha Heifetz Through My Eyes" and is a co-founder of the Jascha Heifetz Society). The famed Guarneri is now in the San Francisco Legion of Honor Museum, as instructed by Heifetz in his will, and may only be taken out and played "on special occasions" by deserving players. The instrument has recently been on loan to San Francisco Symphony's concertmaster Alexander Barantschik, who featured it in concertos with Andrei Gorbatenko and the San Francisco Academy Orchestra in 2006. In 1989, Heifetz received a posthumous Grammy Lifetime Achievement Award.

Family life

Heifetz was married in 1928 to the silent motion picture actress Florence Vidor, ex-wife of King Vidor, whose seven year old daughter, Suzanne, Heifetz adopted. The couple had two more children, Josefa (born 1930) and Robert (1932–2001) before divorcing in 1945. In 1947, Heifetz took a sabbatical during which he married Frances Spiegelberg, with whom he had another son, Joseph. The second marriage ended in divorce in 1962.

Heifetz's son Jay is a professional photographer. He was formerly head of marketing for the Los Angeles Philharmonic and Hollywood Bowl, and the Chief Financial Officer of Paramount Pictures' Worldwide Video Division. He lives and works in Fremantle, Western Australia. Heifetz's daughter, Josefa Heifetz Byrne, is a lexicographer, the author of the ''Dictionary of Unusual, Obscure and Preposterous Words''.

Heifetz's grandson Danny Heifetz is an accomplished drummer/percussionist and has played with Mr. Bungle, Dieselhed, Secret Chiefs 3 and Link Wray.

His extended family was active in Los Angeles progressive political circles in addition to music. His niece Frances Heifetz was an artist who married Kalman Bloch, the first chair clarinetist of the L.A. Philharmonic for over 40 years. Their daughter Michele Zukovsky is the current co-principal clarinetist for the L.A. Philharmonic. Their son Gregory Bloch (d.1987) was a noted violinist and member of the Italian rock group PFM as well as the American progressive rock groups It's a Beautiful Day and String Cheese.

Jascha Heifetz's great nephew, Stefano Bloch, is a music geographer at the University of Minnesota and lives in Los Angeles.

Heifetz had a difficult personality, and has even been described as "misanthropic". He tended to drive away the very people who could have been his most trusted allies. His own childhood had been difficult; his father was an extremely stern man who, even after Jascha had become the family's sole breadwinner, would still roundly criticise every performance.

Notable Instruments

''Dolphin'' 1714 Stradivarius

''Heifetz-Piel'' 1731 Stradivarius

Antonio Stradivari 1734

Carlo Tononi 1736

''ex-David'' 1742 Guarneri

Filmography

Heifetz played a featured role in the movie ''They Shall Have Music'' (1939) directed by Archie Mayo and written by John Howard Lawson and Irmgard von Cube. He played himself, stepping in to save a music school for poor children from foreclosure. He later appeared in the 1947 film, ''Carnegie Hall'', performing an abridged version of the first movement of Tchaikovsky's violin concerto, with the orchestra led by Fritz Reiner, and consoling the star of the picture, who had watched his performance. Heifetz later recorded the complete Tchaikovsky concerto with Reiner and the Chicago Symphony Orchestra as one of RCA Victor's "Living Stereo" discs. In 1951, he appeared in the film ''Of Men and Music''. In 1962. he appeared in a televised series of his master classes, and, in 1971, ''Heifetz on Television'' aired, an hour-long color special that featured the violinist performing a series of short works, the "Scottish Fantasy" by Max Bruch, and the Chaconne from the Partita No. 2 by Bach. Heifetz even conducted the orchestra, as the surviving video recording documents.

The most recent film featuring Heifetz, ''Jascha Heifetz: God's Fiddler'', premiered on April 16th, 2011 at the Colburn School of Music. It is "The only film biography of the world's most renowned violinist, featuring family home movies in Los Angeles and all over the world."

Bibliography

In popular culture

Heifetz was often mentioned by Jack Benny in his long-running radio program. Benny often cited his violin playing as being on par with Heifetz.

Heifetz is referenced in ''The Muppet Show'' (1977) where Rowlf the Dog opposite George Burns mentions "Oh listen, I can play any key. I'm another Jascha Heifetz", to which George replies, "Jascha Heifetz played the violin." Rowlf then replies, "Nobody will know the difference, George".

Heifetz is later mentioned in ''The Muppet Movie'' (1979) when Rowlf the Dog, after being praised by Kermit the Frog for playing an impressive piece of music on the piano, shrugged modestly and replied, "I'm no Heifetz, but I get by."

Heifetz is mentioned by Woody Allen in ''Broadway Danny Rose'' (1984). As one of Danny Rose's clients plays a glass harmonica Danny remarks "She's the Jascha Heifetz of her instrument!"

In Season 3, Episode 5 of ''The Golden Girls'', "Nothing Left To Fear But Fear Itself" (1987), Sophia Petrillo (played by Estelle Getty) makes reference to Jascha Heifetz in sarcastic retort, when her daughter Dorothy (Bea Arthur) asks an obvious question: "Ma, are you going to tell a story?" Sophia: "Please! Does Heifetz rosin a bow?"

He was mentioned by the character, Data, on the ''Star Trek: The Next Generation'' episode "The Ensigns of Command" (1989) as one of the violinists he studied prior to his concert in Ten-Forward aboard the ''USS Enterprise''.

From Woody Allen's ''Hollywood Ending'' (2002): "If there's a brownout, Heifetz will still be on key, but your guitarist won't be."

The character of Yasha the violinist in Marc Blitzstein's ''The Cradle Will Rock'' is a reference to Jascha Heifetz.

See also

Lithuanian Jews

Strauss and the Nazis

References

External links

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Jascha Heifetz official website

Jascha Heifetz fan website

Prominent People – Jascha Heifetz

Jascha Heifetz at Sony BMG Masterworks

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Lily Pons (April 12, 1898 – February 13, 1976) was a French-American coloratura soprano.

Biography

Born as Alice Joséphine Pons in Draguignan near Cannes, Pons first studied piano at the Paris Conservatory, winning the First Prize at the age of 15. At the onset of World War I in 1914, she moved with her mother and younger sister Juliette (born 22 December 1902) to Cannes, where she played piano and sang for soldiers at receptions given in support of the French troops and at the famous Hotel Carlton that had been transformed into a hospital, and where her mother, Marie Pons, worked as a volunteer nurse orderly. In 1925, encouraged by soprano Dyna Beumer, she started taking singing lessons from Alberto de Gorostiaga in Paris.

She successfully made her operatic debut in the title role of Léo Delibes' ''Lakmé'' at Mulhouse in 1928 and went on to sing several coloratura roles in French provincial opera houses.

Career

She was discovered by the dramatic tenor/impresario Giovanni Zenatello, who took her to New York where she auditioned for Giulio Gatti-Casazza, the general manager of the Metropolitan Opera.The Met needed a star coloratura after the retirement of Amelita Galli-Curci in January 1930. On January 3, 1931, Pons, unknown in the U.S., made an unheralded Met debut as Lucia in Donizetti's ''Lucia di Lammermoor'' and on that occasion the spelling of her first name was changed to "Lily". Against all odds, her performance received tremendous acclaim. She became a star overnight and inherited most of Galli-Curci's important coloratura roles. She also signed a recording contract with RCA Victor Records.

Pons was a principal soprano at the Met for thirty years, appearing 300 times in ten roles from 1931 until 1960. Her most frequent performances were as Lucia (93 performances), Lakmé (50 performances), Gilda in Verdi's ''Rigoletto'' (49 performances), and Rosina in Rossini's ''The Barber of Seville'' (33 performances).

Pons drew a record crowd of over 300,000 to Chicago's Grant Park Music Festival in 1939 for a free concert.

In 1944 during World War II, Pons canceled her fall and winter season in New York and instead toured with the USO, entertaining troops with her singing. Her husband Andre Kostelanetz directed a band composed of American soldiers as accompaniment to her voice. The pair performed at military bases in North Africa, Italy, the Middle East, the Persian Gulf, India and Burma in 1944. In places, the heat of the sun at the outdoor performances was so overbearing that Pons, always wearing a strapless evening gown, held wet towels to her head between numbers. In 1945, the tour continued through China, Belgium, France and Germany—a performance near the front lines. Returning home, she toured the U.S., breaking attendance records in cities such as Milwaukee at which 30,000 attended her performance on July 20, 1945. Pons also played Mexico City in July, directed by Gaetano Merola.

Other roles in her repertoire included Olympia in Offenbach's ''The Tales of Hoffman'', Philine in Ambroise Thomas's ''Mignon'', Amina in Bellini's ''La Sonnambula'', Marie in Donizetti's ''The Daughter of the Regiment'', the title role in Delibes' ''Lakmé'', the Queen in Rimsky-Korsakov's ''The Golden Cockerel'', and the title role in Donizetti's ''Linda di Chamounix'', (a role she sang in the opera's Met premiere on March 1, 1934). The last major new role Lily Pons performed (she had actually learned the role during her first season at The Met) was Violetta in Traviata, which she sang at the San Francisco Opera. Another role Pons learned, but decided not to sing despite the fact she was French, was Melisande in Debussy's opera "Pelleas et Melisande"; the reason, as she confided in a later interview, was twofold: first, because she felt the soprano, Bidu Sayao, owned the role; and second, because the tessitura lay mainly in the middle register of the soprano voice rather than in the higher register. In her last performance at the Met, on December 14, 1960, she sang "''Caro nome''" from ''Rigoletto'' as part of a gala performance.

She also made guest appearances at the Opéra Garnier in Paris, Covent Garden in London, La Monnaie in Brussels, Teatro Colón in Buenos Aires, the Chicago Opera and the San Francisco Opera. After her Met farewell, she continued to sing concerts until 1973.

On February 11, 1960, Pons appeared on NBC's ''The Ford Show, Starring Tennessee Ernie Ford''.

Films

She starred in three RKO films: ''I Dream Too Much'' (1935) with Henry Fonda, ''That Girl From Paris'' (1936) and ''Hitting a New High'' (1937).

Personal life

Pons' first husband was August Mesritz, a man some twenty years her senior who she married in October 1921. Mesritz encouraged and funded her singing career. From 1938 to 1958, she was married to the conductor André Kostelanetz. In 1940, she became a naturalized citizen of the United States. Her country of birth awarded her the Croix de Lorraine and the Légion d'honneur.

Death

She died of pancreatic cancer in Dallas, Texas, aged 77. Her remains were brought back to her birthplace to be interred in the Cimetière du Grand Jas in Cannes on the French Riviera. Her nephew, John de Bry (son of her sister Juliette), an archaeologist living in Florida, was her sole surviving relative in the United States.

Legacies

A village in Frederick County, Maryland, 10 miles south of Frederick, Maryland is called "Lilypons" in her honor. The town is known for its commercial tropical fish ponds.

George Gershwin was in the process of writing a piece of music dedicated to her when he died in 1937. The incomplete sketch was found among Gershwin's papers after his death and was eventually revived and completed by Michael Tilson Thomas and given the simple title, ''For Lily Pons''.

Boston and Maine Railroad was buying a new class of locomotives in the 1930s. The railroad had a contest for school kids to name the new engines. The winning suggestion for engine 4108 was "Lily Pons".

Recordings

In the late 1930s she made three movies for RKO; there is a large legacy of recordings, mostly on the RCA Victor and Columbia labels, many of which are available on CD.

References

Bibliography

External links

Pons bio from BassoCantante.com

Category:1898 births Category:1976 deaths Category:Deaths from pancreatic cancer Category:French emigrants to the United States Category:French opera singers Category:French people of Italian descent Category:Naturalized citizens of the United States Category:Operatic sopranos Category:Chevaliers of the Légion d'honneur Category:Soubrettes Category:Cancer deaths in Texas Category:Burials at the Cimetière du Grand Jas

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Arthur Rubinstein KBE (January 28, 1887 – December 20, 1982) was a Polish-American classical pianist who received international acclaim for his performances of the music of a variety of composers; many regard him as the greatest Chopin interpreter of the century. He is widely considered one of the greatest classical pianists of the twentieth century.

Early life

Rubinstein was born in Łódź, Poland on January 28, 1887, to a family of assimilated Jews. He was the youngest of eight children. His father was a wealthy factory owner.

His birth name was Artur Rubinstein, although in English-speaking countries, he preferred to be known as Arthur Rubinstein. However, his United States impresario Sol Hurok insisted he be billed as ''Artur'', and records were released in the West under both versions of his name.

At the age of two, he demonstrated perfect pitch and a fascination with the piano, watching his elder sister's piano lessons. By the age of four, he was recognised as a child prodigy. The Hungarian violinist Joseph Joachim, on hearing the four-year-old child play, was greatly impressed, and began to mentor the young prodigy. Rubinstein first studied piano in Warsaw. At the age of ten, he moved to Berlin to continue his studies. In 1900, at age thirteen, he made his debut with the Berlin Philharmonic, followed by appearances in Germany and Poland and further study with Karl Heinrich Barth (an associate of Liszt, von Bülow, Joachim and Brahms; Barth also taught Wilhelm Kempff). As a student of Barth, Rubinstein inherited a renowned pedagogical lineage: Barth was himself a pupil of Liszt, who had been taught by Czerny, who had in turn been a pupil of Beethoven.

Career

In 1904, Rubinstein moved to Paris to launch his career in earnest, where he met the composers Maurice Ravel and Paul Dukas and the violinist Jacques Thibaud. He also played Camille Saint-Saëns' Piano Concerto No. 2 in the presence of the composer. Through the family of Juliusz Wertheim (to whose understanding of Chopin's genius Rubinstein attributed his own inspiration in the works of that composer) he formed friendships with the violinist Paul Kochanski and composer Karol Szymanowski. Rubinstein made his New York debut at Carnegie Hall in 1906, and thereafter toured the United States, Austria, Italy, and Russia. According to his own testimony and that of his son in François Reichenbach's film ''L'Amour de la vie'' (1969), however, he was not well received in the United States. By 1908, Rubinstein, destitute and desperate, hounded by creditors, and threatened with being evicted from his Berlin hotel room, made a failed attempt to hang himself. Subsequently he said that he felt "reborn" and endowed with an unconditional love of life. In 1912, he made his London debut, and found a home there in the Edith Grove, Chelsea, musical salon of Paul and Muriel Draper, in company with Kochanski, Igor Stravinsky, Jacques Thibaud, Pablo Casals, Pierre Monteux and others.

Rubinstein stayed in London during World War I, giving recitals and accompanying the violinist Eugène Ysaÿe. In 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed a lifelong enthusiasm for the music of Enrique Granados, Isaac Albéniz, Manuel de Falla, and Heitor Villa-Lobos. He was the dedicatee of Villa-Lobos's ''Rudepoêma'' and Stravinsky's ''Trois mouvements de Petrouchka''.

Rubinstein was disgusted by Germany's conduct during the war, and never played there again. His last performance in Germany was in 1914.

In the fall of 1919 Rubinstein toured the English Provinces with soprano Emma Calvé and tenor Vladimir Rosing.

In 1921 he gave two American tours, travelling to New York with Karol Szymanowski and his close friend Paul Kochanski, who died in 1934. The autumn voyage was the occasion of Kochanski's permanent migration to the USA.

In 1932, the pianist, who stated he neglected his technique in his early years, relying instead on natural talent, withdrew from concert life for several months of intensive study and practice.

During World War II, Rubinstein's career became centered in the United States. He became a naturalized United States citizen in 1946.

Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries as Henryk Szeryng, Jascha Heifetz, Pablo Casals, Gregor Piatigorsky, and the Guarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of the Romantic composers. At the time of his death, the New York Times in describing him wrote, "Chopin was his specialty . . . it was [as] a Chopinist that he was considered by many without peer". With the exception of the Études, he recorded most of the works of Chopin.  He was one of the earliest champions of the Spanish and South American composers and of French composers who, in the early twentieth century, were still considered "modern" such as Debussy and Ravel. In addition, Rubinstein was the first champion of the music of his compatriot Karol Szymanowski. Rubinstein, in conversation with Alexander Scriabin, named Brahms as his favorite composer, a response that enraged Scriabin.

Rubinstein, who was fluent in eight languages, held much of the repertoire, not simply that of the piano, in his formidable memory. According to his memoirs, he learned César Franck’s ''Symphonic Variations'' while on a train en route to the concert, without the benefit of a piano, practicing passages in his lap. Rubinstein described his memory as photographic, to the extent that he would visualize an errant coffee stain while recalling a score.

Rubinstein also had exceptionally developed aural abilities, which allowed him to play whole symphonies in his mind. "At breakfast, I might pass a Brahms symphony in my head" he said. "Then I am called to the phone, and half an hour later I find it's been going on all the time and I'm in the third movement." This ability was often tested by Rubinstein's friends, who would randomly pick extracts from opera and symphonic scores, and ask him to play them from memory.

By the mid-1970s, Rubinstein's eyesight had begun to deteriorate. He retired from the stage at age eighty-nine in May 1976, giving his last concert at London's Wigmore Hall, where he had first played nearly seventy years before.

Personal life

Family

Of his youth, Rubinstein once said: "It is said of me that when I was young I divided my time impartially among wine, women and song. I deny this categorically. Ninety percent of my interests were women." At the age of forty-five, in 1932, Rubinstein married Nela Młynarska, a twenty-four-year-old Polish ballerina (who had studied with Mary Wigman). Nela was the daughter of the Polish conductor Emil Młynarski and his wife Anna Hrynewicz, who was from a Lithuanian aristocratic family. Nela had first fallen in love with Rubinstein when she was eighteen, but when Rubinstein began an affair with an Italian princess she married Mieczysław Munz. Nela subsequently divorced Munz and three years later married Rubinstein. They had five children (one died in infancy), including daughter Eva, who married William Sloane Coffin, and son John Rubinstein, a Tony Award-winning actor and father of actor Michael Weston. Nela subsequently authored ''Nela's Cookbook'', which included the dishes she prepared for the couple's legendary parties.

Both before and during his marriage, Rubinstein carried on a series of affairs with women, including Irene Curzon. In 1977, at age 90, he left his wife for the young Annabelle Whitestone, though he and Nela never divorced. Rubinstein also fathered a daughter with a South American woman, and he may have been the father of Muriel Draper's son, Sanders, who perished in World War II.

Jewish affiliation

While he identified himself as an agnostic, Rubinstein was nevertheless proud of his Jewish heritage. He was a great friend of Israel, which he visited several times with his wife and children, giving concerts with the Israel Philharmonic Orchestra, recitals, and master classes at the Jerusalem Music Centre.

Polish affinity

Throughout his life, Rubinstein was deeply attached to Poland. At the inauguration of the UN in 1945, Rubinstein showed his Polish patriotism at a concert for the delegates. He began the concert by stating his deep disappointment that the conference did not have a delegation from Poland. Rubinstein later described becoming overwhelmed by a blind fury and angrily pointing out to the public the absence of the Polish flag. He then sat down to the piano and played the Polish national anthem loudly and slowly, repeating the final part in a great thunderous ''forte''. When he had finished, the public rose to their feet and gave him a great ovation.

On practice

Rubinstein believed that a foremost danger for young pianists is to practice too much. Rubinstein regularly advised that young pianists should practice no more than three hours a day. "I was born very, very lazy and I don't always practice very long. But I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of 'Oh, I know this,' you play without that little drop of fresh blood that is necessary – and the audience feels it." Of his own practice methods, he said, "At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different."

Pupils

Rubinstein was reluctant to teach in his earlier life, refusing to accept William Kapell's request for lessons. It was not until the late 1950s that he accepted his first student Dubravka Tomšič Srebotnjak. Other students of Rubinstein include François-René Duchâble, Avi Schönfeld, Ann Schein Carlyss, Eugen Indjic, Dean Kramer, and Marc Laforêt. Rubinstein also gave master classes towards the end of his life.

Death and legacy

{|class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#white; color:black; width:30em; max-width: 40%;" cellspacing="5" |style="text-align: left;"| "I have found that if you love life, life will love you back..." "People are always setting conditions for happiness... I love life without condition." |- |style="text-align: left;" |— Arthur Rubinstein |} Rubinstein died in his sleep at his home in Geneva, Switzerland, on 20 December 1982, at the age of ninety-five, and his body was cremated. On the first anniversary of his death, an urn holding his ashes was buried in Jerusalem — as specified in his will — in a dedicated plot now dubbed "Rubinstein Forest" overlooking the Jerusalem Forest. This was arranged with the rabbis so that the main forest wouldn't fall under religious laws governing cemeteries. Israel now has an Arthur Rubinstein International Music Society which holds the triennial Arthur Rubinstein International Piano Master Competition.

In October 2007, his family donated to the Juilliard School an extensive collection of original manuscripts, manuscript copies and published editions that had been seized by the Germans during World War II from his Paris residence. Seventy-one items were returned to his four children, marking the first time that Jewish property kept in the Berlin State Library was returned to the legal heirs.

Recordings

In 1910, Rubinstein recorded Franz Liszt’s Hungarian Rhapsody No. 10 for the Polish Favorit label. The pianist was displeased with the acoustic recording process, saying it made the piano sound "like a banjo" and did not record again until the advent of electrical recording. However, Rubinstein made numerous player piano music rolls for the Aeolian Duo-Art system and the American Piano Company (AMPICO) in the 1920s.

Beginning in 1928, Rubinstein began to record extensively for RCA Victor, making a large number of solo, concerto and chamber music recordings until his retirement in 1976. As recording technology improved, from 78rpm discs, to LPs, and stereophonic recordings, Rubinstein re-recorded much of his repertoire. All of his RCA recordings have been released on compact disc and amount to about 107 hours of music.

Rubinstein preferred to record in the studio, and during his lifetime only approved for release of about three hours of live recordings. However, since the pianist’s death, several labels have issued live recordings taken from radio broadcasts.

Honors

Sonning Award (1971; Denmark)

On April 1, 1976, Arthur Rubinstein was presented with the Presidential Medal of Freedom by President Gerald Ford.

In 1977, he was made an honorary Knight Commander of the Order of the British Empire (KBE).

Grand Officier of the Legion of Honour.

Kennedy Center Honors (1978)

Officer's Cross (Krzyż Oficerski) of the Order of Polonia Restituta.

Commendatore of the Order of Merit of the Italian Republic.

Member of the Order of Alfonso X the Wise.

Officier of the Order of Leopold of Belgium.

Grammy Award for Best Chamber Music Performance:

Pierre Fournier, Arthur Rubinstein & Henryk Szeryng for ''Schubert: Trios Nos. 1 in B-flat, Op. 99 and 2 in E-flat, Op. 100 (Piano Trios)'' (Grammy Awards of 1976)

Pierre Fournier, Arthur Rubinstein & Henryk Szeryng for ''Brahms: Trios (Complete)/Schumann: Trio No. 1 in D Minor'' (Grammy Awards of 1975)

Arthur Rubinstein for ''Beethoven: Sonatas No. 21 in C (Waldstein) and No. 18 in E-flat'' (Grammy Awards of 1960)

Grammy Award for Best Instrumental Soloist Performance (without orchestra):

Arthur Rubinstein for 'Beethoven: Piano Sonata No. 18 in E-flat/Schumann: ''Fantasiestücke'', Op. 12'' (Grammy Awards of 1978)

Arthur Rubinstein for ''Beethoven: Sonatas No. 21 in C (Waldstein) and No. 18 in E-flat'' (Grammy Awards of 1960)

Grammy Lifetime Achievement Award (1994)

Bibliography

See also

List of Polish people (music)

Arthur Rubinstein – The Love of Life

References

External links

Arthur Rubinstein profile at PBS American Masters

Arthur Rubinstein Musical Association – Italy

Homage to Arthur Rubinstein (Fansite)

The Arthur Rubinstein International Competition

The Presidency Project – ''Remarks Upon Presenting the Presidential Medal of Freedom to Arthur Rubinstein.''

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