29
MUSICAL COURIER
February 2 2, 1923
ELIX SALMOND
MASTER ’CELLIST
New York Criticisms Following Recent Engagements
With NEW YORK SYMPHONY ORCHESTRA, at PITTSFIELD CHAMBER MUSIC FESTIVAL and IN RECITAL
All of it played, too, as such music ought to be played, with the symmetry of phrase, the pure and noble tone, the strong grace and graceful strength, the repose which we feel to be the essential quality of everything in art entitled to be called classic, from a bit of verse or prose to a Grecian temple. It was the concert of a refined musician, a master of his art.
■—H. E. Krehbiel in The New York Tribune.
He is a very different thing from a virtuoso, an artist wholly devoid of self-seeking, rapt by the spirit of the music he is playing and inspired by it, and capable of bringing it to full expression by his unfailing technique and his beautiful tone.—Richard Aldrich in The New York Times.
Felix Salmond played the cello obbligato part in Strauss’ “Don Quixote” with the New York Symphony Orchestra at Aeolian Hall yesterday afternoon, and played it magnificently, with masterly insight, a prodigious technical skill that was never obtrusive, and a never-failing beauty and variety of tone. He is a great cellist.—Deems Taylor in The New York World.
The performance of Mr. Salmond left nothing to be desired on the part of the listeners, for it compassed a richly colored tone, admirable rhythm, technical excellence and imagination.
—W. J. Henderson in The New York Herald.
Mr. Salmond not only has a complete command of his instrument and draws from it an exceptionally warm and vibrant tone, he has a musical personality peculiarly sympathetic, and the taste he reveals in the details of interpretation stamps him as a true artist.
—Max Smith in The New York American.
One of the most brilliant artists of the day. A more finished, a more startling technique is rarely to be met with. In saying this I do not mean to underrate the artist’s intellectual faculty. On the contrary, everything he gives us is governed by a wonderfully discerning mind and taste. His execution is highly finished and effortless, and we marvel again and again that these delicate effects which we are wont to ascribe only to the violin can come from the less flexible ’cello.
—Maurice Halperson in The New York Staats-Zeitung.
Mr. Salmond, in the very short time he has been here, has already established himself justly
as a sure but shining musician, possessed of a more than persuasive tone, a far more than efficient technic, a musical taste and sensibility—G. W. Gabriel in The New York Sun.
Exclusive Management:	DANIEL. MAYER Aeolian Hall, New York