The Detroit times. [volume] (Detroit, Mich.) 1903-1920, 1913-01-17
Elman's Genius
/. Enthralls ThrOng

II was what the Junior offis boy
would call sum nite.' Following his
custom on concert evenings, the
weather man unleashed the hounds
OF spring, who flushed a hard shower
ito add 10 the clamminess of the at
mosphere. II was bad for big audi
once, and ruin for violin strings, bui
the audience came. Thursday eve
ming, filing the armory, and Mischa
Elman said after the concert. II
was hard TO manage, but played
4 He certainly did. Many OF our best
and some OF our wealthiest citizens
refused TO leave the hall after Elman
had played Dvorak's "Humoreske" as
an encore TO Sarasate's astounding
"Zigeunerweisen." They clapped their
hands and stamped their rubbers, and
some gathered before the platform
and pounded on the boards. And when
Elman came back, pushing his way
Through the crowd about the steps
with his violin held gingerly above
his head, out OF the way OF harm, our
/ beauty and chivalry let out roar
that was just as true music 10 any
one interested In Detroit's artistic
progress as the most mellow strains
! of Elman's fiddle. Not once year
not once in five years, does a Detroit
audience forget It's reserve in such
fashion. IL took an Elman TO drive
the people away from their circum
scribed minds. And then he played
\ Schubert's "Serenade"
Mischa Elman is no longer boy
He has discarded the youthful tricks
that he was so fond OF when he was
an infant prodigy" three years ago
Those who heard him then and were
able 10 reserve Judgment. in spite oil
his emotional appeal (the writer was
rot one), were astounded Thursday
night at the maturity which he show
ed He played not like the deyotee,
wrapped up and whirled along In his
music, but like a master, In full con-
troll OF himself and OF his instrument
He has developed an immense re-
serve. which gives authority TO his
rlaying without detracting from its
warmth. II Elman were not violin
list, he would be poet; he has the
poets power to interpret feeling, and
can control the creative frenzy and
bend II to his will as only great poets
can.
The program opened with a
Beethoven sonata which at once
placed Mr.. Elman and Percy Kahn,
his pianist, in the respect OF all true
lovers OF music. Beethoven's genius
grows greater as time advances, and
strict attention 10 this sonata
yields insight into his power over
form and color. II Is not show
piece for the violin; the plano Is fully
as prominent, throughout. II was a
thorough test Of Mr.. Kahn's musician
ship; Elman reserved his store OF
technique for the more difhcult feats
OF the evening.
Some indication OF what he could
do was afforded by Ernsts concerto
| IN F sharp minor, which is designed
TO show almost everything that can
be done with violin, both in finger
| ing and In tone. Handers sonata In
ID major was invested by Gilman with
4 gorgeousess that would have de-
lighted that lover OF broad and
pompous effects who composed It, A
nocturne by Chopin, arranged by VIII
heImj; a waltz by Hummel and Bur
mester; a love song, written by Sam
martini and bettered by Elman, and
Brahms Hungarian dance No. Z, as
played by Joachim. formed a group
which. IL seemed, would bring out
Elman's entire power. But II was the
"Zigeunerweisen" OF Sarasate that
really revealed his genius. Ii Is a
brute beast for technique, and the