Pamela Frank

Pamela Frank is an American violinist and teacher born (in New York City) on June 20, 1967.  She is now best known as a chamber music player and teacher, although she has performed as a soloist with many of the world’s top orchestras and conductors.  In the early 2000s she had to stop performing due to a serious (hand) injury suffered in 2001.  In that regard, she joins (among others) Rodolphe Kreutzer, Jascha Heifetz, Bronislaw Huberman, Fritz Kreisler, Erick Friedman, Maxim Vengerov, Emanuel Vardi, Manuel Quiroga, Kyung Wha Chung, Hilary Hahn, and Jacques Thibaud, each of whom had their career interrupted by hand or arm injuries.  After extensive rehabilitation, she returned to the stage in August of 2012.  She has taught at the Peabody Conservatory in Baltimore (since 2003), the Curtis Institute (since 1996) in Philadelphia, and the State University of New York.  She has also served on several juries of violin competitions around the world and played at various music festivals, including the well-known Verbier, Salzburg, and Ravinia festivals.  Frank has also frequently given masterclasses in Europe, Israel, Canada, and the U.S.  She is fluent in German, French, and (of course) English but is one of the few violinists who does not have a website.  Frank began her studies at age 5, studying violin privately with Shirley Givens for about eleven years.  She then studied further with Szymon Goldberg (1909-1993) and Jaime Laredo.  Her formal (public) debut took place in 1985 at New York's Carnegie Hall with the New York String Orchestra under Alexander Schneider.  She was 18 years old.  She had been a section player with that ensemble since the age of 15.  Frank later debuted a second time in Carnegie Hall playing a recital there in April of 1995.  She graduated from the Curtis Institute in 1989, presenting her graduation recital on February 15, 1989, playing works by Bach, Ysaye, Kreisler, Schubert, and Beethoven.  She first appeared with the New York Philharmonic on October 27, 1994, playing the Dvorak concerto.  Leonard Slatkin was on the podium.  Her second and last appearance with the orchestra was on December 1, 1998.  On that occasion she played Mozart’s third concerto.  Andre Previn conducted.  On September 11, 1996, she appeared with the Berlin Philharmonic alongside cellist Clemens Hagen playing the Double Concerto by Johannes Brahms.  Daniel Harding was on the podium.  She was 29 years old.  Her father, the pianist Claude Frank (1925-2014), often accompanied her in recital.  (Leonid Kogan and his pianist daughter (Nina) often played together too.)  In December of 1997, she and her father presented the entire Beethoven sonata cycle at London's Wigmore Hall.  Frank’s discography is not extensive although it includes the complete Mozart concertos and the complete Beethoven and Brahms Sonatas.  Her playing is featured in the soundtrack to the movie “Immortal Beloved.”  Among other violins, Frank has played a Guarnerius Del Gesu from 1736 known as the Wieniawski.  Here is a YouTube audio file of one of her Beethoven performances.  Photo is courtesy of Nicolas Lieber 

Ossy Renardy

Ossy Renardy (Oskar Reiss) was an Austrian violinist born (in Vienna) on April 26, 1920.  He had the unenviable distinction of having died at a very young age.  Many critics (and writers) have said he had a very brilliant career ahead of him – one to rival Bronislaw Huberman, Jascha Heifetz, Fritz Kreisler, Ruggiero Ricci, Mischa Elman, and other top violinists of that time.  I don’t know if Paganini ever played his Caprices in public or whether, if he did, he ever played all 24 in a single concert.  Renardy did.  He may have been the very first to do it.  On January 8, 1938, at his Town Hall debut in New York, he played Dvorak’s Sonatina, Lalo’s Symphonie Espagnol, and Pietro Nardini’s e minor concerto (a very popular work at the time – Pinchas Zukerman has recorded it) in the first half of the program.  He then played all 24 Paganini Caprices on the second half.  He was 19 years old.  The following year, he recorded the Caprices (the version with piano accompaniment), becoming the first violinist to record all 24 Caprices on a single disc (actually, they were issued on two discs.)  Seven years later, Ricci put out his first version of all 24 Caprices – without the piano accompaniment – and he later went on to record the Caprices a total of four times – the last version in 1988.  Renardy re-recorded the Caprices which again included the piano accompaniment (with a different accompanist) the year he died.  Renardy studied with a now-forgotten Russian violin teacher, Theodore Pashkus (1905-1970), but at what age he began is something I don’t know.  Pashkus and his wife were successful pedagogues until about 1970.  I don’t know if they ever taught at a conservatory or university.  Their pupils included Yehudi Menuhin and Ivry Gitlis and their instructional books are still in print.  In any case, Renardy is said to have been entirely self-taught (which is possible but hard to believe) prior to meeting Pashkus and made sufficient progress to make his first public appearance at age 11.  In October of 1933, he joined a variety show in Merano, Italy.  (Merano is about 120 miles southwest of Salzburg, Austria, or about 250 miles from Vienna.)  It was then that he changed his name.  Another well-known violinist who changed his name was Mischa Mischakoff – three times.  In Merano, Renardy played Paganini’s first concerto at the Merano Casino and then took off to tour Italy.  He was still only 13 years old.  After that, he played in his native Vienna and toured France, Denmark, Norway, Sweden, the Netherlands, and Italy.  Interestingly, no mention is made in any source I checked about his having toured Germany or Austria.  He left the European mainland for England in 1937.  He came to the U.S. the same year.  He was 17 years old.   First, he embarked on a tour of a few central states and then made his New York debut, described above, in 1938.  As did many other violinists, Renardy played hundreds of concerts for the U.S. armed services during the Second World War (1941-1945.)  As far as I know, he never played in an orchestra.  In 1947, he began touring once again, playing with most major orchestras in the U.S., Europe, and Israel.  He was 27 years old.  In June of 1948, he recorded the Brahms concerto with the Royal Concertgebouw and Charles Munch.  Although he recorded about 35 works altogether, he did not record another concerto after this.  Here is an audio file of Renardy playing a very familiar work by Wieniawski.  His Guarnerius violin - the Carrodus Guarnerius del Gesu of 1743 – is now being played by Richard Tognetti, concertmaster of the Australian Chamber Orchestra.  This violin is not to be confused with other Guarnerius violins bearing the same or a very similar name.  It is said to be one of the best four or five violins (by any maker) in the world.  I do not know how Renardy acquired the violin (in 1949.)  Supposedly, it remained un-played for 54 years - between December, 1953 and January, 2007.  On December 3, 1953, in the afternoon, Renardy died in an automobile accident while traveling with his accompanist, George Robert, to give a concert in Colorado (USA.)  He was 33 years old.  George Robert and the Guarnerius survived.  Hermilo Novelo (pupil of Louis Persinger and concertmaster of the National Symphony of Mexico) also died in an automobile accident and his accompanist (Violina Stoyanova) was with him at the time as well.  His violin survived but went missing after the accident.  Stoyanova did not survive.  

Bronislaw Huberman

Bronisław Huberman was a Polish violinist, teacher, and writer born on December 19, 1882 (Brahms was 49 years old.) He is best known for founding the Israel Philharmonic and for his individualistic style of playing. He is also the only concert violinist who had the same violin stolen from him twice – the 1713 Gibson Stradivarius – in 1919 and again in 1936. As Jacques Thibaud before him, he had to spend a year rebuilding his technique after a plane crash (in 1937.) (Thibaud’s hand injuries were suffered while he served in the armed forces in the First World War. His later plane crash in 1953 was fatal.) He also married an actress, just as Pinchas Zukerman did much later – not the same actress, of course. (Jascha Heifetz and Ivry Gitlis also married actresses.) He also advocated a United Europe, but mostly in his writings and lectures (though he did confer with some high-ranking political leaders.). Later, he had a public disagreement with a German conductor over his refusal to play in Germany after 1932. Violin pedagogue Carl Flesch had an intense dislike for him, though I don’t know why. It may have been because he simply didn't like his style of playing.  Huberman was known in his time for being nervous, intense, and having strong convictions about everything.  Those qualitites were probably reflected in his playing as well.  Huberman first studied with Mieczyslaw Michalowicz and Maurycy Rosen from the Warsaw Conservatory and with Isidor Lotto in Paris (the study with Lotto may have been in Warsaw as well.) He played a Spohr concerto in public at age 7. From age ten, 1892 until about 1896, he studied with Joseph Joachim in Berlin, although his lessons with Joachim were sporadic – Joachim was absent from Berlin quite often. Huberman later said that another teacher – Charles Gregorovitch (student of Wieniawski) - had taught him everything he (Huberman) knew. However, he also studied with Joachim’s assistant (Karl Markees), Hugo Heermann in Frankfurt, and Martin Marsick in Paris. By the time he was 12, he had already toured Holland and Belgium. When he played in London a little later on, he was not as successful as he had been elsewhere. Back in Germany, despite his growing reputation, there were few concerts to play and money became very scarce. He had become the sole provider for his family and things began to take a desperate turn. It has been stated that during this time (1894), in Paris, Count Andrzej Zamoyski presented the Gibson Stradivarius violin to him.  (This particular Count Zamoyski was the son of Count Stanislaw Kostka Andrzej Zamoyski – there are several Counts from this family named Andrzej. Other sources have him receiving the violin from either Count Jan Florian Zamoyski, Count Maurycy Klemens Zamoyski, or the Austrian Emperor in that same year - 1894. However, a respected violin site - Cozio - has him acquiring the violin in 1911, not 1894.  According to the Huberman Archives in Tel Aviv, Huberman himself bought the violin in 1911. Obviously, these discrepancies need to be reconciled and I am therefore pursuing a solution to this seemingly simple riddle.)  In that year also, Adelina Patti, a singer who was well-known back then, invited Huberman to play with her on her farewell tour coming up in 1895. Though he only played at her last concert (January 22, 1895), things went well for Huberman and his family after that - the concert was a huge and critical success for them. He was still only 12 years old. The following January (1896) turned out to be a memorable one, too. Everyone agreed that he was brilliant and unencumbered in his interpretations. At one of his concerts in Vienna (January 29, 1896), he played the Brahms concerto. Brahms was present (among other great musicians), sitting in the balcony, and was incredibly impressed. The critics called him a genius. After 1896, he had no need for further lessons. In November of that year, he toured the U.S., making his debut at Carnegie Hall (New York) with the Mendelssohn concerto on November 21. He was 13 years old. It would be 25 years before he would return (1921). His playing was often described as very original, authoritative, and impetuous, but his tone was said to be somewhat un-beautiful, lacking finesse, sweetness, and warmth. In Europe, he had performed for royalty – including the Austrian Emperor - in the U.S., he played for wealthy patrons. In 1897 and 1898 he toured Russia. After that tour, he took three years off to rest and practice some more – perhaps also to help care for his sick father (who died in 1902.) Though he disliked recording, he did some of that in 1900. He later recorded (among other things, for Columbia Records) the Tchaikovsky concerto (1928-1929), becoming, according to some sources, the first violinist to do so. He toured Italy in 1903 and even played a recital on Paganini’s Cannone Guarnerius – a replica of which luthier Daniel Houck has constructed for me. Up to that time, only Camillo Sivori (Paganini’s pupil) had played the famous violin – Ruggiero Ricci, Eugene Fodor, Salvatore Accardo, Regina Carter, Dmitri Berlinsky, In Mo Yang, Maxim Vengerov, Gerard Poulet, and Leonid Kogan have also played the Cannone since then. He continued to tour extensively and very successfully – including South America - for the rest of his life. After 1932 he did not play in Germany. In 1937, he left Vienna for Switzerland. A year after the airplane accident (1937), he returned to the stage with a concert in Egypt. In 1939, he moved to New York but returned to Switzerland after the end of the Second World War. YouTube has many sound recordings of his on its site. Here is a sample of one of them. Huberman died on June 16, 1947 at age 64. It has been suggested that he died in his sleep. Joshua Bell now plays the twice-stolen Gibson Strad.

Erick Friedman

Erick Friedman (Eric Friedman) was an American violinist and teacher born on August 16, 1939 (Heifetz was 38 years old.) He is mostly remembered for being Jascha Heifetz' favorite pupil. He began to study violin at age 6 with his father, an amateur violinist. A little later on, he studied with Samuel Applebaum. At age 10, he enrolled at the Juilliard School of Music (New York) where he studied with Ivan Galamian for six years. From age 14, he also studied with Nathan Milstein. It was also at age 14 that he made his New York debut. In 1959 (some sources say 1957), against the advice of his concert manager (Arthur Judson), he interrupted his concertizing career to study with Jascha Heifetz at the University of Southern California. After three years with Heifetz, he successfully re-started his world-wide concert career. By then, he had already made his most famous recording - the Bach Double Violin Concerto, with Heifetz as collaborator (1961.) It has been said that this is the only recording Heifetz ever shared with any other violinist. Some say that he developed a sound very similar to Heifetz' sound. You can judge for yourself here.  It is a recording of the Mendelssohn concerto.  Without any real need to boost his career and against the advice of Heifetz (but with plenty of prompting from David Oistrakh), Friedman entered the 1966 Tchaikovsky Competition in Moscow. Although he came in SIXTH place, his career did not seem to suffer from this apparently orchestrated setback - Friedman continued to concertize and record for the next 20 years or so. It has been said that Oistrakh engineered Friedman's low placement so as to embarrass Heifetz (who was still considered a defector from Russia), and to advance his own son's career - Igor Oistrakh's concert career, that is. Due to an auto accident in the late 1980s, which injured his left arm, Friedman gave up playing in public. After a long five-year recuperation, he returned to the stage five years later.  He took a permanent teaching position at Yale University in 1989, although he had also taught at the Manhattan School of Music, at Southern Methodist University, and at the North Carolina School of the Arts prior to this. Among many other works, he recorded the Tchaikovsky concerto three times - 1962, 1978, and 1997. He also regularly conducted various chamber groups and adjudicated at several international violin competitions. Among other violins, he played the Ludwig Stradivarius (1724.) Friedman taught at Yale up until one week before he died, March 30, 2004, at age 64.

Jacques Thibaud

Jacques Thibaud was a French violinist born on September 27, 1880 (Brahms was 47 years old.) After studying with his father, he entered the Paris Conservatory at the age of 13, studying with Martin Marsick, among others. Upon graduation in 1896, he shared first prize in violin with Pierre Monteux (who later dedicated his life to conducting.) At first, in order to just make a living, he played in the Cafe Rouge in Paris. The French conductor, Edouard Colonne, heard him playing there and offered Thibaud a position in his orchestra. In 1898, he made his debut with this orchestra and subsequently enjoyed great success as a soloist in Europe and everywhere else. This episode mirrors that of another famous violinist who was discovered playing in an Italian Cafe by Toscanini – Vasa Prihoda. (Albert Sammons was also discovered in similar fashion by Thomas Beecham.) In any case, Thibaud made his first tour of the U.S. in 1903 and thereafter came often. He was in the French armed forces during World War One (1914) and suffered injuries which required him to rebuild his technique. With his two brothers (a pianist and a cellist), he also formed a piano trio. Later, he disbanded the brothers’ trio in order to join Pablo Casals and Alfred Cortot in another trio (1930-1935.) Eugene Ysaye dedicated his second unaccompanied violin sonata to him. In 1943, with pianist Marguerite Long, he established the Marguerite Long-Jacques Thibaud International Competition for violinists and pianists. His recordings are (understandably) few but they are now collectors’ items. He had a habit of holding his violin pointing downward although that did not detract from the technique or the sound. There are even a few videos of him playing on YouTube – from filming done in the 1930s. Here is one of them. Thibaud died on September 1, 1953 in an airplane crash in the French Alps. He was 72. His fellow French concert violinist, Ginette Neveu, had earlier died in a plane crash as well (1949 - at age 30.) Thibaud owned the 1716 Colossus Stradivarius violin which was stolen in 1998. It has been missing ever since.