Vladimir Sokoloff (February 21, 1913 – October 27, 1997) was an American pianist and accompanist on the faculty of the Curtis Institute of Music.

Born in New York in 1913, Sokoloff entered the Curtis Institute in Philadelphia in 1929, studying with Abram Chasins, Harry Kaufman and Louis Bailly.

As a recital accompanist and pianist with a career of over 70 years, his repertoire spanned all instrumental and vocal genres and styles.

Sokoloff collaborated with such artists as the violinists Efrem Zimbalist,[1] (with whom he had a 27-year collaboration, accompanying recitals all over the world),[2] Jaime Laredo, Aaron Rosand; violists William Primrose and Joseph di Pasquale; the cellists Gregor Piatigorsky and Emanuel Feuermann; flautist Julius Baker, William Kincaid, oboist Marcel Tabuteau, and soprano Marcella Sembrich.

[6] The couple performed as a duo until the birth of their daughters: Kathy, director of development at the Settlement Music School,[7] and Laurie, principal piccolo player with the Baltimore Symphony Orchestra, and professor at the Peabody Institute of the Johns Hopkins University.

When Saidenberg resigned to pursue a solo career, his place "was taken by his cousin, Vladimir Sokoloff, who had been acting as Zimbalist's class accompanist.

On early U.S. tours Zimbalist had performed with Sokoloff's uncle Nikolai, founder and first conductor of the Cleveland Orchestra.

Vladimir (or "Billy", as Zimbalist called him) remained with him for the rest of his concert career – some thirty years – excepting the period Sokoloff spent in Special Services during World War II.

Zimbalist liked to hold the final G of the solo part to the very end, in one bow, while the piano brings the piece to a close .... After Sokoloff's initial performance Zimbalist, in his gentle way, admonished him for playing the concluding arpeggio too quickly ... His pianist confessed to a fear of stretching the bow beyond its limit.

Joseph Rezits wrote the following recollection of Sokoloff:When I first entered the Curtis Institute in 1942, 1 was barely seventeen and eagerly searching for the path to excellence, strongly influenced by what I observed and heard.

Understanding full well that the violinist would have great difficulty with the fingered octaves, Sokoloff had incorporated the anticipated problem in his own part – giving the whole passage a certain interpretative validity.