Evening star., 1941-01-20
By ALICE EVERSNIAN.

DIV hLlSE L LhSNlAN.
The wide appeal of Yehudi Menu
hin's art was to be recognized in the
large attendance at his annual violin
recital yesterday afternoon in Con-
stitution Hall The young artist was
in excellent form and played with
poetic feeling that held his listeners
in rapt attention and brought
rounds of applause after each num-
Der. The interest which his color
full career has kept alive and the
gradual development of the boy
prodigy into the adult artist while
rounding out his private life in most
wholesome fashion, has made him
one of the most glamorouS figures
before the public today. His entire
life will stand as an example OF
proper and natural growth in an
artist.
AS each year offers another op-
portunity to hear him and to judge
him anew, it is noted with satis-
faction that his statue is con-
tinually growing. He has done
nothing abnormal, such as spring.
ing from prodigy into the ma
turity of a man like KreiSler but
has gone the natural way of find
ing himself and putting his indi-
viduality into his music He retains
(and for this one can be gratefuD
a romantic outlook, but it carries
spirituality and a thoughtfulness
which enobles it. A reverence for
his art is to be discerned in every
phrase, doubly impressive because
linked with youthfulness.
The brilliancy of his technique,
the suavity and beauty of his tone
and the fine musical direction in
matters of Interpretation have
thoroughly individual quality which
makes his art distinctive. The ease
and grace of his delivery prohibit
any roughness and for dramatic
effect he draws on the strength of
his own feeling With his soulful
tone and intellectual refinement. his
playing becomes more spiritual than
that of any other violinist.
Nearly Perfect Workmanship.
For the beginning of his pro-
gram he chose two works of we'll
nigh perfect workmanship-Br Brahms
Sonata No. 2 in A major, op. 100"
and VieuXtemps, Concerto No. in
A minor, op. 81" The carefree,
exalted character of the first and
the noble lyricism of the second
were ideally suited to his style and
temperament. If there is flaw to
be found in MI. Menuhin's playing
1t is the repetitious manner in which
he. releases the tone in cantabile
passages, which interrupts the
smooth flowing of his legato. This
is something of a mannerism and
a defect that easily can be over
come It was present in the sonata,
yet in spite of it the artist con-
veyed the changing moods, which
are delicate as cloud formation, with
deep sympathy.
The concerto, played without in
terruptions, is seldom heard on con-
cert programs and its lack of high
drama is perhaps the reason it has
been overlooked. 1t is, however,
gem in its particular way, with its
poetry and fervor well balanced.
Following it came the Chausson
"Poeme" wherein the artist expand
ed his powers into an emotional
richness that we'll expressed the
tragedy and romanticism of this
work
In the final group which con-
sisted of shorter numbers, Ravel's
''Kaddish," a Hebrew prayer, was
most outstanding. In the manner in
which Mr. Menuhin played it it was
deeply moving. The group con-
cluded with a brilliant performance
of Saint-Saens Introduction and
Rondo Capriccioso' Mr.. Menuhin's
staccato is superb and in this num-
ber was fully to be appreciated, as
was the purity of intonation through
out. An indefinite number of en-
cores followed beginning with Kreis-
1er's "Schoene Rosmarin," the Den
icu-Heifetz "Hora Staccato" and the
Schubert -Wilhemj "Ave-Maria."