Word: milstein
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Dates: during 1940-1949
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...Marias, S. '45, Lowell J-12 ELI 2971 Meyer, A.H. '46, Eliot K-33 TRO 5492 Meyers, H.I. Eliot G-11 ELI 0280 Middendorf, H.S. Jr. '45, Eliot G-22 ELI 2552 Middleton, D. 1G, Lowell M-34 KIR 8027 Miller, R.H. '46, Leverett D-21 KIR 8152 Milstein, R.G. '46, Eliot D-42 TRO 0280 Mishara, D. '46, Eliot D-42 TRO 4711 Moffat, A.W. '46, Eliot C132 TRO 0904 Moot, S.D. '46, Eliot L-32 TRO 6393 Morgan, M.H. '46 Eliot K-32 TRO 5492 Morris, I.I. '46, Eliot K-32 TRO 6725 Mountain, C.F. '46, Kirkland...
...Meyer, A. H. '46, Eliot K-33 TRO 5492 Meyers, H. I. '46, Eliot G-11 ELI 0280 Middendorf, H. S. Jr. '45, Eliot G-22 ELI 2552 Middleton, D. 1G, Lowell M-34 KIR 8027 Miller, R. H. '46 Leverett D-21 TRO 8152 Milstein, R. G. '46, Eliot G-11 ELI 0280 Mishara, D. '46, Eliot D-42 TRO 4711 Moffat, A. W. '46, Eliot C-12 TRO 0904 Moot, S. D. '46, Eliot L-32 TRO 6393 Morgan, M. H. '46, Eliot K-33 TRO 5492 Morris, I. I. '46, Dunster F-32 TRO 6725 Mountain...
Short, impassive Milstein fully seizes such melodious, bravura opportunities as the Tchaikovsky and Max Bruch concertos (both of which he has recorded for Columbia). But he is also among the most sensitive living interpreters of Beethoven's and Bach's violin music. To aging Violinist Fritz Kreisler (see cut) he is the greatest of today's younger generation of violinists. Unlike most Russian fiddlers, he had a wealthy father (a wool importer). Milstein was born in Odessa, was sent to the Imperial Conservatory at the age of eleven. The revolution stopped his violin lessons, but he went...
...Milstein's talk is mostly about war or politics. He reads biography and history, plays a deadly game of gin rummy. Unmarried, he spends most of his time with a coterie of very close friends: Pianist Horowitz, Cellist Gregor Piatigorsky, Choregrapher George Balanchine and his dancing wife Vera Zorina, Arturo Toscanini and Elsa Maxwell. He dislikes popular music and makes no bones about...
...Milstein has only one eccentricity: a method of remembering telephone numbers. He thinks of the digits from one to nine as positions on the G string of his Stradivarius, thus translates each combination of numbers into a melody. Then he has only to remember the exchange-and the melodv...