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Aaron Rosand


Once described as ‘one of the romantic violinists supreme’ by New York Times critic Harold Schonberg, Aaron Rosand has a truly enormous discography, only the very surface of which can be scratched in this biography. He studied with Leon Sametini in Chicago from 1939 and later became a pupil of noted Auer pupil, Efrem Zimbalist. Rosand thus considers himself to be the inheritor of two powerful traditions, that of the Auer-Joachim line, and also that of Ysaÿe (who taught Sametini). This consciousness of nineteenth-century heritage perhaps explains his reputation as a leader of the Romantic revival of the latter half of the twentieth century. He has certainly made deliberate efforts, both in his own playing and in teaching at a number of American institutions, to perpetuate these two traditions.

Rosand played the ‘ex-Kochanski’ 1741 Guarnerius violin for over half a century, eventually selling it for $10 million in 2009 in order to present the Curtis Institute’s Aaron Rosand Chair of Violin Studies with an endowment of $1.5 million.

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