Each chapter contains a brief history of how that particular orchestra got started, and then discusses each of its concertmasters, along with fabulous pictures of some of the early orchestras and of many concertmasters.
This book will reveal that "while there are probably relatively few good ways to approach the business of leading a violin section, there are myriad personalities among America's concertmasters" (p.
They would ask if there was anything written up about so-and-so or who's who, concertmasters they had either worked with at summer festivals, or had been inspired by their recordings, or knew their reputations.
These concertmasters enjoy playing chamber music, coaching, teaching, giving master classes, and some even aspire to conducting.
Did you receive any special training to be a concertmaster?
* What personal traits do you think distinguish a concertmaster?
Do you have favorites among the concertmaster solos?
* What are the social perks of the concertmaster position and do you enjoy them?
It is hard to imagine how he would have been more successful, but Mischakoff was modest about his abilities and preferred the supporting role of the concertmaster to the spotlight of the soloist even then.
After winning the competition, Mischakoff played several recitals, and it was after hearing one of these that Walter Damrosch hired him as concertmaster of the New York Symphony Orchestra (which later merged with the New York Philharmonic).
After taking a solo engagement with the Chicago Symphony in 1930, Mischakoff was hired as their concertmaster. It was in Chicago that Mischakoff had his first interactions with James Petrillo, head of the American Federated Musicians.
During the summer seasons at Chautauqua, just as he did during the regular season, he maintained a teaching studio and led the Mischakoff String Quartet in addition to his duties as concertmaster. Mischakoff was a dedicated teacher and maintained a studio at Juilliard for twelve years.