DAISY KENNEDY’S ART.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1553, 29 January 1920, Page 36

DAISY KENNEDY’S ART.

THE WITCHERY OF HER VIOLIN. A SUCCESSION OF TRIUMPHS. In presenting such a genius of the violin as Miss Daisy Kennedy, Messrs. J. and N. Tait would seem to have crowned their achievements as enterpreneurs of all that is supreme in the world of art. Miss Kennedy, with her divine gift, has been holding large audiences spellbound, and not only as a virtuoso does she command rapt attention, but as the embodiment of exquisite femininity she compels instant admiration. Her first programme opened with “Variations on a Theme by Corelli” (Tartini). which exampled her dexterous fingering and surety of execution. Couperin’s “Chanson Louis XIII. et Pavane” was a symphony in grace and delicacy, and grand and inspiring was her treatment of the first movement of Tschaikowsky’s famous “Violin Concerto in D Major.” Three unaccompanied pieces by Bach —“Bourice in B Minor,” “Andante in C Major,” and “Prelude in E Major”— proved a further enthrallment, and amongst a feast of tremendously appealing numbers were “Dragonflies” (Nandor Zsolt) —marked by peculiarly characteristic effects —“The Lark” JGlinka-Balakireff). “Berceuse” (Tor Aulin), “Russian Dance” (Zimbalist), “Swing Song” (Ethel Barnes), and “An Old French Hymn.” After each item the artist received a veritable ovation, so unerringly did she express the sentiment and mood of every piece in her interpretations and make it potent to her hearers. Miss Topsie Doenau, as accompanist, not only adorns her own art, but with an affinity of ideas brought about by long association with Miss Kennedy, helps to bring about an idealisation of results.

So masterful has been Miss Kennedy’s achievement in Auckland that the four arranged recitals have not been enough to satisfy the increasing audiences in the Concert Chamber, and the management have decided to extend the season to Thursday and Saturday.