Indianapolis Times, Indianapolis, Marion County, 24 February 1947 — Page 16
a
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""DANSATION" — Veloz and Yolanda, appearing with their “"Dansation of 1947" at 8:30 p. m, today at the Murat. 75 ‘PIRATES’ ARRESTED TOKYO, Feb. 24 (U. P.).~Japanese police today announced the arrest of 75 members of a “pirate gang,” alleged to have bribed guards and stolen 250 tons of steel and 30 tons of electric wiring from factories in Kawasaki city, near
.{day to hear the one and only Jascha.
| without parallel,
“was two things: first, an epitome
By HENRY BUTLER jammed the English theater yester-
The “one and ‘enly” is not just critical double-talk, For eMr, Heifetz, who appeared here under Martens Concerts auspices, has created . violin style
The critical question is hot whether the Heifets style is “better” than that of other great violinists, It is unique. It has had great influence,
ft may turn out to have started a whole school of fiddling. Mr, Heifets himself yesterday recalled more than 25 years of influence by playing Paganinl's Caprice No. 30 as an encore. He recorded that brief and marvelous combination of pathos and pyrotechnics back about 1918. Melting Tenderness Even then, the Caprice (first arranged, I believe, by Frits Kreisler)
of the Heifets style; second, a sort of challenge to other fiddlers. The 1918 recording (maybe the date’s wrong, but I have no reéference books) carried through the old acoustic, pre-electronic mufflers the split-second alternation between bold incisiveness (complete with those easily struck harmonics most fiddlers would give their eye-teeth
for) and melting tenderness.
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|Heifetz’ s Creative St yle Jams English Theater ~~.
and in the history of violin-playing;|
There's an fneredibly ‘busy ner.
A ‘typleal Heifets-recital crowd|vousness, never fidgety, in the Hel.
fets style. There's an unbelievable
trivial, which need stressing as the music, goes on The Helfets playing, while always in musical time, defies clock time by picking up -everything as it pro~ gresses. No bar of music is routine. Composer Vs. Performer Such qualities were evident In the Vivaldi-Busch A major suite, opening the program. Customary classical material, you might say, and yet transfigured, as in the adagio (a typical 18th-century recitative), by great executive imagination, or in the “Gigs,” by the tenderness and willfulness Mr. Heifets appropriately gives it. Solidest of the works on yesterday's program were the Brahms D minor sonata and the Bach Chaconne, in both ‘of which the composer outweighs the performer. Mr. Heifetz does both with tremendous intelligence and facility. Certainly, the Chaconne, played unaccompanied, is tops among such works, demanding ail a violinist has to give. Mr. Heifets has plenty, He understands and puts across the part-religious, - part-tragic significance of that profound composition. Maybe the best example of the Heifets style on yesterday's program was the “Havanaise” of Saint-Saens. By itself, the piece is no great shakes, like a trifling bit of evidence in a whodunit. Let Detective Helfets investigate; and everything changes. Pleasing Novelties As played by Mr. Heifetz, the “Havanise” exemplifies ‘the Heifets style to perfection. It depends almost entirely on performance—a fact Mr. Heifeta has exploited elsewhere. If you have that technical equipment (improbable harmonies, glissandi in thirds, sixths and oc-. taves and some of that rapid passage work a lot of Hoosier fiddlers will be trying today with their metronomes), maybe. you can bring it to life. Also maybe not. An encore, the Ravel “Piece en forme de Habanera” which Mr.
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LAST 2 DAYS
awareness of musical ideas, however |.
TOM AND DEANNA--Tom Drake and Beanna Durbin, in "I'l Be Yours," now rounding out a second week at Keith's,
announced as “Habanera, by Ravel,” Was a version of that piece comparable to Albert Spalding's version, on last season's Martens series, of “Claire de lune.” It lived, beyond belief. : The fourth group, including coms positions by Susan Dyer, Alan Shulman, Jacobi, William Kroll and the
Waxman “Carmen” fantasy, was full of pleasing novelties. I'd like to add
ductor, whose beautiful “Intermesso from Sonata No. 2" Mr. Helfeta played in his second group.
the admirable kind of support accompanists should be praised for, but rarely are adequately, necessarily brief review.
Times Amusement Clock
n RAT Velos and elands® with “Dansation of Hr at 8.30. ’ CIRCLE “The Man I Love,” with Ida Lupino, Robert Alda, Andrea King and Bruce Bennett, as 13:38, 3.45, T and 10:10. “The Fabulous Banga Britton 11:25, 3:35, 5:4
INDIANA “My Darling Clementine,” with Henry Ponda, nda Darnell and Ficior M Mature, at'11, 1:10, 3:30, 5.30, and
their
'
with
Vales,
Suzanne,” 3nd Rudy and 9,
KEITH'S “rm Yours,” with Deanna’ Durbin, Tom Drake. Will} Bendix sad AtGipbs Menjou, at 11:30, 1:38, 3:40, y 7:50 and 9:58.
LOEW'S “The Jolson Story,” with Larry
Paria, Evelyn Keyes nd he, st 30, 2:01, 4:33 snd
. LYRIC gif Twi ie wit Carson, Jaa ES wo Vickers, at 3, 3%, 1M, 7:46 and 9:53.
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DANSATION OF 1947"
Heifets laconically, almost boredly |e
recently-recordéd’ (ROA) Bizet-|! &
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w Emanuel Bay at the piano offered |
in ® ted.
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MARY MILLS
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loved husband of Myrtle Lae, f % Futur of Mamie and and Rs ra of uy awa Services Wednesda 7p at Ine Bean. ossom Mortuary, az bE" Ray st, Burial
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* assed Peoria: fi. \, Frida sway Tider. Husband o t Belle, aor of Bender and Pe n Folge f pram i rn, 80 son © anklin Washburn, brother of Lester and Leroy. rvices at the J. °%. wi of the Chimes, 1234 p. m. Friends Et Ted, Burial nds i at
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3 Card of Thanks
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