MISCHA ELMAN.

Otago Witness, Issue 3148, 15 July 1914, Page 60

MISCHA ELMAN.

A MUSICAL TREAT. Big as the world is, geniuses are by no means common, and probably never will be. The allusion to genius in this instance has particular reference to those who have entered upon a musical career, and have, by sheer talent and industry—which are, after all, another name for genius,—raised themselves to the pinnacle of their profession. In a far-away country such as New Zealand opportunities for meeting the best in art are not too frequent; hence whenever an artist who is famous in , the world’s great centres visits the dominion he is sure to meet with an enthusiastic reception. Violinists are, among those attaining the very highest standard in music, probably less numerous than many others who pursue the same art in other directions, and are therefore not so frequently heard in Dunedin. There have, however, extending- over a long course of years, been occasions upon which the best talent of the world has been heard here. Wilhelmj, Camilla Urso, Kubelik, and others have delighted Dunedin audiences in turn, and the most recent virtuoso to visit the city is Mischa Elman, a young violinist who has admittedly gained a position in the musical world that few have

secured at the age of 23 years. Mischa Elman pays Dunedin but a flying visit, his season being so limited that oi?!y two concerts are possible; and, after hearing him on the 13th inst. at His Majesty’s Theatre, a feeling of regret is experienced that the opportunities of listening to hie playing are not to be more numerous, and that all .cannot hear him. Except to the intensely musical, violin-playing for two hours might be regarded as an ordeal to be avoided, but such a view would not be held by any who once heard Mischa Elman. There can be no question as to his extraordinary power over the violin and his ability to hold the attention of anyone who falls under the influence of his playing. The audience on Monday was not conspicuously numerous, but it was conspicuously appreciative; and, to summarise the reception accorded Mischa Elman’s playing and Mile. Eva Gauthier’s singing, it may be shortly stated that whenever and wherever there was an opportunity to redemand a redemand was immediately forthcoming. It was of an irresistible character, and could not be denied. Taking the performers in the order_ in which they appeared, Mile. Gauthier’s singing of Rosina’s aria from Rossini’s “Barber of Seville ” claims first attention. hhis lady’s voice is of exceptional quality, though perhaps not so robust as some sopranos we have heard. It has, however, a good round tone, even to the very top of the register, and there is abundant evidence that it has been cultivated, and that mademoiselle has studied in a good school. The aria sung by her is a very fair test for any soprano, and makes exacting demands in the direction of executive skill. Mile. Gauthier is an accomplished vocalist who is in every way worthy to be associated in music with one of the world’s leading violinists. She completed her work as far as the programme went by singing Landon Ronald’s “ The Dove,” E. Paladihle’s “ Psyche,” and a bolero by Dessauer. In the first it was quite apparent that mademoiselle fully understood the meaning of Keats’s lines, which have been set to music by Ronald. Her sympathetic treatment showed as much. “ Psyche ” was a pleasant item to listen to, but it was for the bolero that mademoiselle obtained the greatest applause. It was a decidedly fine piece of vocalisation Responding to the loud applause, mademoiselle, as a special treat, sang “ Loch Lomond.” Mischa Elman naturally, took the bulk of the work of entertaining upon himself. No doubt his first appearance occasioned interest :and excited some curiosity, and to the observant his nervous movement when not playing, and his restlessness when fully immersed in his subject, told of a highly-strung temperament. His first solo was- probably his most difficult one. It was Lalo’s “ Symphonic Espkgnole.” in which there are three movements. In the first (allegro non troppo) he exhibited a wonderful decision in his -method of attack, and the first few bare amply sufficed to impress the audience with the pure and beautiful quality of tone produced from his Stradivariue. As the symphony advanced this became still more apparent, whether the player was in search of deliciously soft effects, or seeking to bring out all the wealth of sound that lav within the instrument. In the allegro Mischa Elman showed himself supremely master of* the violin, which in his hands seemed to become instinct with life. His command of technique was obvious in everything he played, and all his conceptions were of a very fine artistic character. Mischa Elman is evidently richly endowed by Nature in everything that goes to constitute a musician. The andante was beautifully treated, and the rondo brilliantly played. The latter was perhaps the most striking performance of the three, and was an exceedingly fine piece of work. An air bv Bach, played on the G string, was remarkable for tone as much as for anything else, and listening to its rich, full quality it might have been thought to proceed from the ’cello. Paganini’s “ Etude Caprice ” was very cleverly,, handled. The eccentricities of the composition were fully brought out, and some remarkable effects produced. The caprice embodies almost every department of violin playing, and would discover any weakness, if such existed, but none could be discovered in Mischa Elman’s treatment of it. In the “Faust” fantasia, skilfully arranged by Wieniawski, Mischa Elman introduced music of a very popular order. After a brilliantly played introductory the “ Flower Song ” was suggested by the melody, then came the quaint and subtle air “ The Calf of Gold,” followed by “Salve Dimora”; the selection ending with the waltz in an form. The selection was most artistically ■played, and a perfect little gem was given in response to repeated recalls. Mischa Elman completed his night’s work with Schubert's “ Ave, Maria,” arranged by Wilhelm j; a Hungarian dance, by BrahamsJoachim; “ Siciliennc ct Rigaudon,” by Couperin-Kreislor; and “ Souvenir de Moscow,” by Wieniawski. The first was beautifully played and marked intense feeling, the dance was invested with all its peculiar characteristics, Couperin’s music was brilliantly performed, and in the > last of those four bracketed items Mischa Elman excelled himself. PRINCESS THEATRE. The principal attraction at the Princess Theatre this week is Deave’s Mannikins, who provoke much merriment. Signor Rellimi can make a accordoon sound like a church organ. Johnny , Small is a smart American comedian, and his tw;o sisters arc vivacious and original dancers, and a number of artists who have appeared before presented entertaining new bills. HAYWARD’S PICTURES. The chief picture in the new series introduced to patrons of Hayward’s Pictures at the Octagon Theatre on the 13th deals with the visit of Mr Frederick Burlingham, an American kinematographer, to Mount Vesuvius. It is claimed that it is the only picture of its kind the world has ever seen. “ The Story the Gate Told ” is a very pretty drama of mid-Victorian days. “The Art of the Furrier ” sets forth in a very interesting way the various processes in the making of a moleskin coat, from the trapping of the animal until the finished mantle is ready for use. The Pathc Company contributes a beautiful coloured scenic film containing a charming scries of views in the Quercy district in France. “A Night Out” (comedy) and a new edition of the Gaumont Graphic complete the new series. The same pictures will be exhibited to-night. FULLERS,-’ PICTURES. The principal source of attraction in the new series of continuous pictures that was introduced at the King’s Theatre on the 13th is a drama containing a high degree of present-day interest, being based, in a sense, upon the war between Mexico and the United States. The film is entitled “ Sealed Orders,” or “ The Navy Spy,”

and it outlines a tale of enthralling interest, dealing with the diplomatic relations between the two "countries concerned and the amatory relations of two young people. “ The Delayed Special ” is a railroad drama by the Kalem, and contains a sufficient wealth of incident to hold the attention throughout.