27
MUSICAL COURIER
February 1, 1923
JUAN
The Eminent Spanish Violinist
Sensational Success
(5 New York and Boston Appearances in January 1923)
Next New York Recital, February 12th, 1923, Aeolian Hall
AMERICAN TOUR 1923-24 NOW BOOKING
BOSTON HERALD Jan. 5, 1923.
Mr. Manen played the Tartini Sonata superbly with the splendid breadth that results from a fine regard for proportion and with a respect for the purity of the melodic line in nowise incompatible with emotional warmth. Here was playing of a high quality not met with every day, and the audience delighted in it.
THE CHRISTIAN SCIENCE
MONITOR
Jan. 5, 1923. .
Mr. Manen is one of the most interesting musical personalities to appear here so far this season. Not only is he a virtuoso on his instrument, his qualities as a musician are arresting. His interpretation of Saint-Saëns’ concerto was among the finest heard here in many a long day, an interpretation in accord with the most authentic French traditions. Excellent, too, was his playing of the “Devil’s Trill.” So, one imagines, must the composer himself, or any one of that long line of violinists of the “grand style” (Viotti, Baillot, Kreutzer or Spohr) have played it. Yet Mr. Manen was no less successful in Wieniawski’s “Legende,” a work somewhat neglected by violinists of recent years. Here his playing was full of romantic fire and passion, fancy and humor. S. M.
technique virtuosic. In the Paganini piece he showed that there are no difficulties for him. The audience was most enthusiastic.
STAATS ZEITUNG
Maurice Halperson, Jan. 9, 1923.
Manen’s mature and imposing art carried away the big audience and brought him a great success; from the beginning he captured his public. It felt that here was really a great artist and accordingly showed enthusiasm and asked for many encores.
BOSTON GLOBE Jan. 5, 1923.
JUAN MANEN heard in fine recital. Spanish Violinist Stirs Great Enthusiasm.
Mr. Manen proved that he need fear comparison with nobody short of Kreisler. Manen has a rich, solid tone, a phenomenal ability at technical stunts of the usual sort, a musician’s instinct for phrasing and dynamics developed to an unusual subtlety.
EVENING WORLD Frank H. Warren, Jan. 9, 1923. The Latin grace, temperament and warmth are reflected in his playing and there is charm in everything he attempts. It was a lesson in itself to hear his handling of his own arrangement of a Bach Rondo et Badi-nerie.
EVENING MAIL Jan. 16, 1923.
Juan Manen was welcomed with “ole, ole” and American “hurrahs.” Such a flexible, low, effortless technique we do not remember to have heard. His tone is pure as spring water and as clear. Manen is surely entitled to a high place among the violin giants.
EVENING POST Henry T. Finck, Jan. 9, 1923. Many see a direct violinistic descendant of Sarasate in JUAN MANEN. His intonation was pure, his
New York
MANAGEMENT :
INTERNATIONAL ART CO.
132 West 43rd Street
NEW YORK AMERICAN Max Smith, Jan. 9, 1923.
Manen returns to delight with bow. Senor de Manen is^not only an accomplished fiddler—a virtuoso, in fact, though by no means in the superficial sense—but a composer of genuine merit. Beauty, Warmth and Expressiveness of tone drawn from his violin with technical precision and distinction of style.
THE GLOBE Pitts Sanborn, Jan. 9, 1923.
That eminent Spanish violinist,
JUAN MANEN, reappeared before our public in a recital in Carnegie Hall last night. Mr. Manen is a fine and scholarly player and he commands a truly virtuosic technic. He played the Saint-Saëns cohcerto with finesse and elegance. There were elevation of style and an admirable decision and sense of design in his treatment of the Tartini Sonata. The magic of his technic had play in Paga-nini-Streghe. Throughout the concert his musicianship was in evidence. The audience was most enthusiastic in its- response to the appeal of the violinist.