Description

MISCHA WEISBORD: THE “NEW PAGANINI” — A FORGOTTEN VIOLIN LEGEND

 

 

 

 

Mischa Weisbord (Kremenchuk, Russian Empire, 1907 – Brooklyn, New York, USA, 1991) was a Russian-born Jewish violinist who, in the early 20th century, was celebrated as a prodigy and internationally acclaimed performer — but whose later life faded into obscurity. His story is extraordinary not just for its early brilliance but also for the dramatic reversal that followed.

Early Life and Rise to Fame

Born in 1907, Weisbord grew up in a musical family. His father, Alexander Weisbord, was himself a violinist and first teacher, recognizing his son’s talent almost from infancy.

Mischa began playing the violin at just three years old and was soon sent to study with the legendary violin pedagogue Leopold Auer in St. Petersburg, a teacher whose students included some of the greatest players of the era.

When the Russian Revolution of 1917 forced the family to flee, they moved through China and ultimately to Brussels. There, Weisbord continued his studies with the famed violinist Eugène Ysaÿe.

Throughout the 1910s and 1920s, he was acclaimed as a child prodigy, performing across Europe and winning admiration for his technique and expressive playing.

In 1926, before he was even twenty, Weisbord made his first appearance at Carnegie Hall in New York — a milestone that cemented his reputation. Critics and audiences hailed him as “the New Paganini”, a reference to the legendary 19th-century violin virtuoso Niccolò Paganini.

Sudden Turning Point

Weisbord’s career seemed poised for great heights in 1927, with a second Carnegie Hall engagement and a planned U.S. tour. Yet on the evening of his concert, he refused to go on stage and abruptly canceled the tour. The reasons for this remain unclear and have become part of the mystery surrounding his life.

Though he continued to perform in Europe and visited Palestine several times, and even made a recording contract (he recorded only three works in his lifetime), his career never regained its early momentum.

Later Life and Obscurity

Despite his international fame in youth, Weisbord’s public performances dwindled, and he eventually stopped performing for decades.

He spent his later years living quietly in Brooklyn, New York, far removed from the concert stages where he once dazzled audiences. When he died in 1991, his body was not discovered for several days, a stark indication of how deeply he had receded from public life.

Documentary and Posthumous Recognition

The documentary film Mischa (1996), produced by the National Film Board of Canada and directed by Weisbord’s nephew David Vaisbord, explores his life story, seeking to understand both his brilliance and his withdrawal from the spotlight. The film traces his path from Russia through Europe and Israel to New York, using conversations with friends, family members, and admirers to piece together the narrative of his life.

Archival Legacy

The estate of Mischa Weisbord contains an extraordinary archive of his life and work:

Over 1,000 personal items, including letters, posters, photographs, and diaries spanning several decades.

Photographs of Weisbord as a child and as a celebrated performer.

Recording contracts and 78 rpm master records — representing the rare commercial traces of his playing.

Performance posters and programs from his tours in Europe, the United States, and Palestine.

Handwritten diaries and correspondence that provide insight into his thoughts and experiences throughout his career.

 

 

 

LEOPOLD LICHTENBERG (SAN FRANCISCO, CALIFORNIA, NOVEMBER 22, 1861 – BROOKLYN, NEW YORK CITY, MAY 16, 1935)

 

 

 

 

Lichtenberg was born in San Francisco, California to Jewish parents. Lichtenberg studied under Beaujardin, and made his first appearance in concert when eight years of age. In his twelfth year, he was asked by Henryk Wieniawski, then on a visit to California, to become his pupil. He accompanied Wieniawski on a tour through America. Some time afterward he spent six months in Paris under Lambert, and then rejoined Wieniawski at Brussels Conservatory, where he studied unremittingly for three years. After winning a prize at a national competition held in Belgium, he made a successful tour through the Netherlands.

Upon his return to America he played with Theodore Thomas’ orchestra in New York City, and gave a number of recitals in other cities. After spending three years more in Europe, Lichtenberg gave another series of concerts in America, after which he settled for some time in Boston, Massachusetts, as a member of the Boston Symphony Orchestra. He next went to New York City to take charge of the department of violin at the National Conservatory. His fine technique and beautiful tone entitled him to high rank among violinists.

With pianist Adèle Margulies and cellist Leo Schulz, he formed the Margulies Trio, which became one of the foremost chamber music organizations of the United States. Lichtenberg died in Brooklyn, New York City, in 1935.

 

 

DEZSŐ SZIGETI (BUDAPEST, 1880 – HOPEWELL, VIRGINIA, 1963)

 

 

 

 

As young as a ten year old, he was among Jenő Hubay’s pupil. He lived in Paris and played in Edouard Colonne’s famous orchestra, being the younger one of József Szigeti’s two uncles. He moved to US in 1921, first as a touring virtuoso, and then as orchestral violinist with the Metropolitan Orchestra and later the New York Philharmonic. He gave up performing in 1950. The two Poemes are his only known commercial tracks, probably recorded in 1930 by the Pathé (Perfect) Company.

 

 

TOSHA SAMAROFF

 

 

 

Tosha Samaroff was a versatile and highly skilled violinist active primarily as a studio and ensemble musician in New York during the mid-20th century. Though he was not widely known as a solo performer, his work underpinned countless recordings in jazz, pop, and orchestral music, placing him at the center of the city’s vibrant recording scene.

Career Overview

Samaroff’s career was largely defined by his role as a professional studio musician, often “locked into” particular bands or recording ensembles. He occasionally performed with dedicated bands, but the bulk of his work was in orchestral and studio sessions, providing the precision and expressiveness that arrangers and bandleaders required.

Collaborations and Recordings

Tosha Samaroff performed with or contributed to recordings under a remarkable array of bandleaders, arrangers, and orchestras, including:

• Ralph Burns’ Orchestra with Ben Webster
• Mitch Miller
• Richard Hayman
• Henri René
• Coleman Hawkins
• Phil Woods
• Lehman Engel
• Hal Mooney

In addition, he played violin on sessions for many celebrated artists, demonstrating his versatility across jazz, pop, and orchestral contexts:

• Frank Sinatra
• Roberta Flack
• Johnny Mathis
• Victor Borge
• Sarah Vaughan
• Harry Belafonte

He also appears in studio orchestras for numerous recordings from the 1950s through the 1970s, including jazz albums, classical crossover sessions, and pop hits — often listed in violin sections backing the featured performers.

Role and Legacy

Samaroff’s career highlights the essential work of studio musicians who remain largely behind the scenes. His technical mastery, adaptability, and reliability made him a sought-after player in New York’s recording studios. While he did not achieve fame as a soloist, his artistry contributed to some of the most memorable recordings of his era, making him a key figure in the mid-20th-century musical landscape.

 

 

TRACKLIST

 

 

1. Mischa Weisbord Romanza andaluza (Sarasate) Gramophone Unpubl., test
2. Mischa Weisbord Scènes de la Csárda n°5, Op. 33 (Hubay) Gramophone Unpubl., test
3. Mischa Weisbord Perpetuum mobile (Ries) Gramophone, Unpubl., test
4. Leopold Lichtenberg Serenade (Schubert) Puritan 742
5. Leopold Lichtenberg Traumerei (Schumann) Puritan 743
6. Dezső Szigeti Two Hungarian Poems, No. 1 (Hubay) Perfect 11048-A 020818A
7. Dezső Szigeti Two Hungarian Poems, No. 2 (Hubay) Perfect 11048-B 020818B
8. Tosha Samaroff Air (Mattherson-Burmester) Lang-Worth SC 8A LNY 1653
9. Tosha Samaroff Hejre Kati (Hubay) Lang-Worth SC 8A LNY 1653
10. Tosha Samaroff La Gitana (Kreisler) Lang-Worth AS-698
11. Tosha Samaroff Poeme (Fibich) with Henri Rene and his Orchestra Victor 25-1120-A 25-1120A 4S
12. Tosha Samaroff Speak to Me of Love (Parlez moi d’Amour) (Lenoir) with Henri Rene and his Orchestra Victor 25-0102-A 25-0102A 2S