11
MUSICAL COURIER
May 25, 19 22
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A magnet for crowds wherever he goes
—W. J. HENDERSON in New York Herald, Feb. I/¡.•, 1Q22
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PRESS NOTICES OF HIS FIRST THREE RECITALS
Mr. Richard Aldrich, New York Times, Jan. 3, 1922:
“Jascha Heifetz played again to a sold-out house yesterday. It was good to hear his delicately etched tone in classics of Bach— his most flawless fiddling—”
Mr. W. J. Henderson, New York Herald, Jan. 3, 1922:
“The audience tilled all the seats, including several hundred placed on the stage, and all the standing room. Many were unable to obtain admission. He held his hearers enthralled while he played, and the applause was long and enthusiastic.
“Saint-Saëns’ ‘Havannaise,’ in memory of the composer, was given with rare feeling and brilliant execution.”
Mr. Deems Taylor, New York World, Jan. 3, 1922:
“(The audience) tilled all the regular seats and overflowed ten deep on the stage. Mr. Heifetz played with his usual flawless, beautiful tone—the utter perfection of his playing—”
Mr. Max Smith, New York American, Jan. 3, 1922:
“One noted the transparent beauty and smoothness of his tone, the clean-cut perfection of his technique, the purity of his unaffected style. One admired his repose, his distinction, his straightforward simplicity—this amazing wielcler of the bow—”
Mr. Richard Aldrich, in the New York Times, February 14, 1922:
“The audience, as audiences at Mr. Heifetz’s recitals always do, filled every available inch of sitting and standing room.
“He played—with a tone that was uniformly fine, rich and vibrant. His passage work was brilliant and effective. He was applauded with much enthusiasm.”
Mr. Richard Aldrich, New York Times, Dec. 18, 1921:
“(The audience) tumultuously applauded everything he did. There was the tone of wonderful richness, warmth and bigness, the marvelous technique of finger and bow arm, to which no difficulty seems to cause effort; the imperturbable repose of style which nothing breaks down.”
Mr. H. E. Krehbiel, New York Tribune, Dec. 18, 1921:
“. . . playing remains source of wonder and admiration. The distinguished young violinist must have been gratified at the size of his audience, which filled every seat in the hall and overflowed on the stage. The ravishing beauty of his tone, the smoothness of technique, brilliance of execution, and purity of style again enchanted.”
Mr. H. T. Finck, New York Evening Post, Dec. 18, 1921:
“His popularity seems to have grown rather than waned—the stage was as crowded as the rest of the house. The ease of his playing is astonishing; the violin-istic difficulties present no obstacles to his remarkable fingers.”
Mr. W. J. Henderson, in the New York Herald, February 14, 1922:
“The violin recital of Jascha Heifetz was evidently regarded by music lovers as one of the chief attractions of the holiday.
“For the delectation of the classically inclined came the famous Bach Chaconne, which is rarely played as Mr. Heifetz played it.
“(The program) was a scheme well devised to exhibit the best qualities of Mr. Heifetz’s great art, which has made him a magnet for crowds wherever he goes.”
Mr. Deems Taylor, in the New York World, February 14, 1922:
“Jascha Heifetz gave his third violin recital of the season at Carnegie Hall to the usual Heifetz audience—one that crowded even the platform. His performance of the Chaconne was flawless in tone, phrasing, and mood. In the Hungarian Dance and Sarasate’s ‘Malagueña’ he displayed a technical brilliance that exacted worshipful aspirates from the students who stood three deep at the back of the hall.”
TOUR OCTOBER to MAY 19221923־, MOW BOOKING
MANAGEMENT:	WOLFSOHN MUSICAL BUREAU
NEW YORK
8 EAST 34th STREET
Steinway Piano