PROGRAM

I. Beethoven . . . . .  Sonata Op. 47 (dedicated to Kreutzer)

II.  Bruch . . . . . .  Concerto (G minor)

III. (a) Beethoven . . . .  Romance (in G major)
(b) Beethoven-Auer . .  Chorus of the Dervishes
(c) Brown . . . . .  Rondino (on a Cramer theme)
(d) Arbos . . . . .  Tango

IV. (a) Kreisler . . . .  La Gitana
(Arabo-Spanish Gipsy Dance of the 18th Century)
(b) Cui . . . . . .  Orientale
(c) Bazzini. . . . .  La Ronde des Lutins

“As you see there are two extended serious works, followed by two smaller ‘groups’ of pieces.  And these have also been chosen with a view to contrast.  The finale of the Bruch concerto is an allegro energico:  I follow it with a Beethoven Romance, a slow movement.  The second group begins with a taking Kreisler novelty, which is succeeded by another slow number; but one very effective in its working-up; and I end my program with a brilliant virtuoso number.

VIOLIN MASTERY

“My own personal conception of violin mastery,” concluded Mr. Brown, “might be defined as follows:  ’An individual tone production, or rather tone quality, consummate musicianship in phrasing and interpretation, ability to rise above all mechanical and intellectual effort, and finally the power to express that which is dictated by one’s imagination and emotion, with the same natural simplicity and spontaneity with which the thought of a really great orator is expressed in the easy, unconstrained flow of his language.’”

IV

MISCHA ELMAN

LIFE AND COLOR IN INTERPRETATION. 
TECHNICAL PHASES

To hear Mischa Elman on the concert platform, to listen to him play, “with all that wealth of tone, emotion and impulse which places him in the very foremost rank of living violinists,” should be joy enough for any music lover.  To talk with him in his own home, however, gives one a deeper insight into his art as an interpreter; and in the pleasant intimacy of familiar conversation the writer learned much that the serious student of the violin will be interested in knowing.

[Illustration:  MISCHA ELMAN, with hand-written note]

MANNERISMS IN PLAYING

We all know that Elman, when he plays in public, moves his head, moves his body, sways in time to the music; in a word there are certain mannerisms associated with his playing which critics have on occasion mentioned with grave suspicion, as evidences of sensationalism.  Half fearing to insult him by asking whether he was “sincere,” or whether his motions were “stage business” carefully rehearsed, as had been implied, I still ventured the question.  He laughed boyishly and was evidently much amused.