Born in the small town of Vilna, Russia in 1895, Raphael Bronstein made his debut as soloist at the age of ten with the Warsaw Philharmonic. This was followed by a concert tour of important Russian cities including appearances with the Odessa Symphony Orchestra. At age twelve he was awarded the Alexander Glazunov Scholarship to study violin with Leopold Auer and chamber music with Glazunov at the Petrograd Imperial Conservatory. He studied there until age nineteen (in the same class as Jascha Heifetz, Nathan Milstein and Richard Burgin), playing throughout Russia with major orchestras and leading the Glazunov String Quartet.

In 1923, at the conclusion of a concert tour of Spain and Portugal, Bronstein arrived in the U.S., becoming a citizen in 1929. Although he had concertized extensively in Russia and Europe, a left-hand finger injury prevented his performing in the U.S., and he turned his attention to being assistant to Professor Auer. When Auer died in 1930, Bronstein continued the Russian tradition in his stead, teaching private students extensively, as well as teaching at the Settlement School in Philadelphia and the Hartt College of Music at Hartford University. He became one of the leading pedagogues in this country.

In addition to teaching, he was also a composer and the conductor of the Bronstein Symphonietta, which he formed in 1949, and premiered with them two of his own compositions, A Romantic Suite and Sketches for Orchestra. He conducted several New York Pops Orchestra concerts in Carnegie Hall as well.

His editions of Bach works and the major concerti have been widely used by teachers throughout the world. Bronstein's methods are described in his treatise, The Science of Violin Playing, published in 1977 by Paganiniana Publications.

All the major conductors of the previous generations -- Stokowski, Reiner, Ormandy, Mitropoulos -- came to Bronstein for his pupils to play in their orchestras. His former students are to this day members of virtually every leading orchestra in the U.S.

Established artists regularly came to him to polish recital programs, learn new repertoire, solve problems, or simply to absorb the 'Bronstein air'. His daughter, Ariana Bronne, reaped the benefits of this daily exposure to his musical life and became a concert violinist. Because of the quantity of students who wished to study with the Professor ("Prof" as he was often called), Bronne followed in his footsteps, much in the same manner as Bronstein did when he became Auer's assistant, and became a teacher in her won right. Bronstein was instrumental in the establishment of the successful Manhattan Trio, which consisted of Ariana on violin, cellist David Wells, and Joseph Seiger on piano.

His association with the great Mstislav Rostropovich began when the new Soviet-emigré first came to the U.S. An immediate warm friendship was born and they became cherished colleagues, with Rostropovich giving several classes at Bronstein's invitation. In 1981, "Slava" took time out of a tremendously busy schedule to honor his colleague by conducting and performing at a Gala Concert, "Rostropovich Salutes Bronstein," at the Hartt College of Music. Bronstein's close circle also included David Oistrakh and Leonid Kogan.

Returning to Russia in 1966, Bronstein gave a series of special lectures at the Leningrad Conservatory, where some fifty years before he himself had been a student. He adjudicated the Tchaikovsky Competition in Moscow that same year. He was also invited to give classes in Peking and Shanghai, and was awarded the Artist Teacher Award from the American String Teachers Association.

Bronstein was a member of the violin faculty at Mannes College of Music, the Teachers College of Columbia University, Queens College, and the Graduate Center of the City of New York. From 1950 until his death in 1988, Prof. Bronstein taught at Manhattan School of Music.

He was Visiting Professor of Violin at the Hartt College of Music at Hartt College of Music at Hartford University and at Boston University as well as teaching at Boston University as well as teaching at summer festivals such as Kneisel Hall, Waterloo (where he worked with Gerard Schwarz) and Blue Hill. He also gave master lasses at the leading universities and conservatories throughout the U.S.

Bronstein was very devoted to helping all his students fulfill their potential not only as artists but also as human beings. It is perhaps this devotion that has won the loyalty of all who studied with him and which will keep him dear to their hearts forever.

A tribute concert was held at Manhattan School of Music on Sunday, February 11, 1996, in Borden Auditorium that established the Bronstein Award given each year at commencement. The award goes to “an outstanding violinist who demonstrates great promise as a performer, and in whom can also be seen a dedication to carrying on the pedagogical devotion so exemplified by Professor Bronstein.”

Program details:

A celebration of the contributions of violin pedagogue Raphael Bronstein,
featuring remembrances and performances
of his colleagues and former students.

Ariana Bronne, Honorary Chairperson

3:00, Sunday Afternoon • February 11, 1996
John C. Borden Auditorium • Manhattan School of Music

Robert Sherman, Host

Performances by:
Elmar Oliveira — Concert Violinist
Raymond Gniewek — Concertmaster, Metropolitan Opera Orchestra
Laura Hamilton — Associate Concertmaster, Metropolitan Opera Orchestra
Michael Ouzounian — Principal Violist, Metropolitan Opera Orchestra
Rafael Figueroa — Principal Cellist, Metropolitan Opera Orchestra
Galina Heifetz — Concert Violinist
Linda Fennimore — Jazz Violinist
Paul Rutman — Concert Pianist
The McDermott Trio

Manhattan Chamber Orchestra — Richard Auldon Clark, Conductor

Works:
Samuel Barber: Concerto for Violin and Orchestra
W.A. Mozart: Trio for Violin, Cello, and Piano in Bb Major, K. 502
Ludmila Ulehla: Remembrances for Violin and Piano (in memory of Prof)
Johannes Brahms: Sonata No. 3, Op. 5 (Andante movement)
George Gershwin: "The Man I Love"
Linda Fennimore: "Love Life"
Giacomo Puccini: Crisantemi for String Quartet
Piotr Ilyich Tchaikovsky: Serenade for Strings (excerpts)

Alumni Memories

Here are some memories submitted by alumni who remember Prof:

Richard Auldon Clark (BM '86 / MM '88) writes: "Mr. Bronstein would say: 'A musician cannot move others unless he himself is moved.' He inspired every musician who passed through his studio. It is unnecessary to comment on his awesome contributions a teacher on a technical level; it is impossible to express his impact on the hundreds of musicians who became artists because of his love and dedication. Professor's teaching brought us to the highest level of performance, but his philosophy and his friendship affected every aspect of out lives."

Linda Fennimore (BM ’69) writes: "He touched many lives in many ways. Remembrance of my time of study with Mr. Bronstein. He certainly conveyed this concept that music was not to be trifled with, that music was a serious vocation, a ‘calling.’ The role of the artist as a torch bearer of civilization was to be taken seriously. I must admit that from time to time he could be rough. There were times during my studies of various literature that he would be adamant, and say ‘a little bit of misery is good for you... .’ He was a man who did not praise his students to their face, but behind the scenes clearly knew who was a ‘find,’ a ‘treasure,’ who did acknowledge, at least to others, his appreciation of his students. One of the many things that impressed me was the depth of his knowledge. He was so serious about his work and his teaching that he saw to it that some of his students had the additional benefit of studying with his daughter, Ariana Bronne. Through this combined effort, more aspects of our work, as students, could be developed. On this occasion, he would be proud to see us continue to strive to rise to our potential and to the calling of music. My own case is unique in that I was paralyzed for so many years because of a catastrophic accident. I believe that he would have admired my passions and determination, with my gifts, to continue the high calling of music in a unique genre, as a jazz violinist who has now expanded in to singing, composing, arranging and dramatic presentation. Raphael Bronstein students acquire a ‘cool head, warm heart.’ This became, in me, embedded like a second spinal cord, and in my darkest moments of frustration, when I thought I would never again make music, it emerged like a new bolt of inspiration. I don't think that there is anything that we do as artists that does not feed our own particular channel of art, and widen and deepen it. Art expands the soul and the result is growth...where we least expect it...if we even anticipated it at all. Whether it is attending a concert, going to the museum or in my case, as I recovered from my accident, gazing at the ceiling, making some sense out of the designs of some black dots contained within the squares. As I lay physically paralyzed and unable to move physically, ‘hearing’ the configuration kept the torch of the ‘minds' eye’ lit, the mind open and growing even if it only resembles a cracked door with light from the other side coming through. That's all a person needs... a sliver of enlightenment can become a pool of light, a canvas if you will, for the ‘mind's eye’ to draw on. One of my commitments is to always look for that light, that receptivity in an audience, of one or many, and allow that person or persons, the opportunity to share the torch of unity, inspiration, that artistic communication brings to humanity. That is why art, and the teachers, performers and students are so important to me. It is the best of civilization and human experience that we share together."

Laura Hamilton (BM ’81 / MM ’82) writes: "Some of Mr. Bronstein's most inspiring techniques were non-verbal. I recall playing repertoire in lessons with him seated at the piano, pounding a rough approximation of the accompaniment, occasionally stopping to grab his beat-up fiddle from the music rack to illustrate a point, 8 or 10 broken hairs dangling uselessly from his bow. His involvement with the music we were covering was absolute, and with these tools and his gestures -- facial expressions, relatively few words -- he was able to communicate perfectly the desired emotion, tone color, nuance, tempo, articulation, dynamic, etc. Most meaningful for me was his deeply heartfelt approach to music-making, always in a context of solid technical preparation."

Kerry McDermott (prep studies / undergraduate studies ?81): "I can sum up my initial reaction to Professor Bronstein in one word: Terrified! However, I soon learned that he was a kind and loving man who simply demanded nothing less than the best at every lesson. He was not just my violin teacher - he was my friend, grandfather and mentor all in one! I began studying with Professor Bronstein when I was twelve years old, and my family (mother, sisters and brother) would appear at his home every Saturday afternoon at about 4pm. We commuted from Long Island, spent most of the day taking classes at MSM Prep and then went off to my violin lesson. Since there was no place to leave my siblings during this time, they all attended my lessons. My mother took notes, Anne-Marie accompanied me, Maureen listened and Patrick occasionally took a nap (that is until he began taking violin lessons with Professor Bronstein a few years later). As a result, I would have to say that my WHOLE FAMILY studied with Bronstein!! They would all sit and listen attentively as he taught us not only about violin playing, but about music and life. After the lesson, we would all gather on the Long Island Railroad, discuss the success or failure of my lesson and read the notes that my mother took. I still have these notebooks and they are a constant source of inspiration for me. I fondly remember the many visits to his daughter Ariana's home. Before many of my performances, we would first visit Ariana and play through the program. He adored his only daughter and greatly respected the advice she would give me. Years later I felt as if I actually became a member of Professor Bronstein's family when I moved into his Upper West Side Apartment. His warmth and generosity towards me is something I will never forget. Each night when he was finished teaching, he would knock on my door and we would walk up 4 flights to Jenia's apartment for dinner. During that time together, I had the privilege of listening to his thoughts on music, religion, world politics, etc.. After dinner, he would retire to the living room (violin in hand) to watch television and do his left hand violin exercises! He was a fascinating man whose mind was constantly alert and who was eager and willing to debate any subject. He loved life to the fullest extent and taught me to embrace new thoughts and ideas and to cherish every moment of music and life. My love and respect for Professor Bronstein knows no boundaries and I could not possibly sum up all that I learned from him. He was the single most influential person in my musical and personal life, and although I miss him greatly, I feel privileged to have shared so many years with him and grateful to have the knowledge and wisdom that he imparted to me."

Celeste Myall (MM ’77) writes: "So that I could continue to study with him following graduation, Mr. Bronstein took us into his apartment, letting us occupy the room which had been his brother Leo's. While we were undoubtedly not such good students as to remember everything he taught us, we continue to hold our memory of him and his teaching as our truest moral and artistic compass. Certainly, we will never forget the unearned -- and thus all the more wonderful -- kindness and friendship he showed us."

Elmar Oliviera (BM ’72 / HD '85) writes: "Raphael Bronstein was, from the very beginning, a part of my family and I a part of his. My brother beat me to the punch when he became his pupil ten years before me, and from that time on my home was filled with Bronstein wisdom three-hundred and sixty-five days a year. Ariana prepared me well for what was to come. She demanded total attention to all the musical and technical details that were Bronstein's trademarks. As a musician he was supreme. Music was his breakfast, lunch, and dinner. But it did not exist in a void. A note could not be produced that did not relate directly to the complex world of emotions, love, tragedy, politics, religion, and human rights. This formed the complete musician. As great a musician, violinist, and teacher as he was, that is not what I remember him most for in my private moments when I envision him standing before me. He was a man with an enormous heart and protective spirit, and cared about others in a way I have rarely seen -- this is what I remember most about Mr. Bronstein. He was my most treasured friend, and he will always be in my heart and thoughts as long as I can feel and think."

Wendy Plank Rosen (BM ’77) writes: "The unique way in which he could convey his thoughts and feelings about music has had a long-lasting effect on my musicianship and approach to playing and teaching the violin. He inspired me to have the courage and freedom to find 'myself' in my playing. He told me once to 'play like a Big Shot!' and I still think of Prof and that phrase whenever I perform. He was a devoted teacher and I remain grateful for his musical genius and supportive influence in my life."

Paul Rutman (BM ’65), a pianist, wrote the following about his time with Bronstein: "Raphael Bronstein was the most important musical influence on my formative years as a pianist. This must sound somewhat strange, a pianist surrounded here today by this vast throng of violinists gathered together to pay homage to Raphael's great gifts as a violin pedagogue. There is a logical explanation. My family was part of that huge circle of Russian immigrants who gathered together regularly at 251 West 92 Street, the Bronstein apartment. There, people with names like Sascha, Yascha and Kascha, could be found every night discussing music, art, the state of the world, and all those deep philosophical subjects that Russians are prone to spend all their time thrashing about, into the wee hours of the morning. When I was born, it was thus an inevitability that Raphael would play a role in my musical development. He was instrumental in arranging for me to study with Robert Goldsand and Sascha Gorodnitzki, and was always involved in my musical life, offering advice and support. For that alone, I owe him a great debt. But probably the most important thing I learned from Raphael was that the piano was not, as some people would have you believe, a percussion instrument. 'It was meant to sing, like a violin,' he told me. And how many demonstrations did he hive me, using his fingers like extensions of soft clay on the keyboard, to explain to me how to coax those round, dark mysterious colors out of those wooden hammers found inside the lid of a Steinway. It was like watching a child fingerpainting -- he would put his fingers backwards and forwards -- pressing, squeezing, kneading the keys, until he found the shading he wanted me to hear. It may not have been a demonstration you would have gotten from your local piano teacher, but I can tell you -- it worked! And so I have chosen the Andante expressivo from the Brahms Sonata in F minor, a movement that, for me, embodies the essence of Raphael Bronstein's influence, both musically and personally."

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