9
MUSICAL COURIER
March 15, 1923
Josef
Lhévinne
SUPREME MASTER of the PIANOFORTE
Coast to Coast Tour Season 1923-1924
Of His Great Art
“He is an expert workman who stops at no task requiring perfection of finish or endless might of arm, and there were moments in his playing last night which were breathtaking for a lightening command which sacrificed not an ounce of weight and solid power. The truer nature of his art is reflected in his tone, exquisitely polished, glittering with beauty, and filled with a melting and unconscious poetry.”—■Chicago Journal, Jan. 24,1923.
“The hearers were held under the sway of his superb playing from the beginning of the program until the last echoes of the final encore.”■—Delaware, Ohio, Gazette, Jan. 19,
1923.
Recent Expressions
“He is, in the opinion of connoisseur and layman, one of the aristocrats of the piano.”—-Chicago American, Jan. 24, 1923.
“Josef Lhevinne is another of those men intended by nature to play the piano. He has poetic feeling and imagination held in control by a keen intelligence and ripe musicianship. When it comes to virtuosity his playing is simply dazzling.”—Chicago Post, Jan. 24,1923.
“Nothing was difficult for him. There was a warmth of feeling and often a delicacy of conception, to which that marvelous technique was merely tributary.”—Chicago News, Jan. 24, 1923.
In Joint Recital WithMme. Rosina Lhevinne
“The artists have reached a pinnacle of perfection in their offerings an almost incredible unity of tone color and nuance, and they play with an ease and fluency that borders on the uncanny, making light of technical difficulties in a manner probably unparalleled on the concert platform today. And in his solo numbers Mr. Lhevinne gave an astounding display of virtuosity that provided the most seasoned concert-goers with a new thrill.”—New Orleans Times-Picayune,
Feb. 18,1923.
“As duettists they displayed a remarkable ensemble in unanimity of attack and phrasing, with a technical brilliancy that fairly scintillated with its glittering scales and crashing chords.”— Cleveland Press, Feb. 15, 1923.
“At all times there is the most perfect synchronism in their work. Their playing is fused to so delicate a nicety that individuality is completely submerged. To close one’s eyes and listen is to meet the effect of hearing but a single instrument in all the splendor of orchestral grandeur.”—New Orleans Item, Feb. 19, 1923.
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