Kocian: Bohemian violin virtuoso

              RECITAL
ORCHESTRA HALL
Thursday Evening, Nov. 10, 1910
JAROSLAV KOCIAN MAURICE EISNER, Pianist.

PROGRAMME.


I.
d'AMBROSIO Concert G Minor

KOCIAN



1) Grandioso molto moderato e sostenuto





2) Andante —
3) Allegro



II.
RAMEAU (1684–1764)

EISNER



a) Sarabande





b) Rigaudon (arrg. by Godowsky)




III.
J. S. BACH:
a) Andante





b) Praeludium
KOCIAN



IV.
a) KOCIAN:
Humoresque




b) RIES:
Adagio




c) HUBAY:
Zephyr
KOCIAN


V.
a) CHOPIN:
Nocturno op. 15 No. 2.




b) MacDOWELL:
Etude
EISNER


VI.
PAGANINI:
I palpiti
KOCIAN





Seats: 50c., 75c., $1.00, $1.50.
Boxes $12.00 at Box Office now.

Management: F. J. Wessels and H. E. Voeseli.
Stainway Grand Used.




Figure

KOCIAN
Bohemian Violin Virtuoso.
SEASON 1910–1911.




Jaroslav Kocian, Violinist to tour America.
The Bohemian virtuoso to play in all large cities.

Since Paganini's death he is the only person that played on the Master's violin at Genoa.

Under the direction of Bohumir Kryl and Charles L. Wagner, Jaroslay Kocian, the young Bohemian violinist is engaged to appear in 75 Concerts in all the larger cities of the United States.  Kocian has just completed a triumphant tour in Europe where his art has won for him the name of second Paganini.  Especially in Russia and Italy he has achieved phenomenal success.  His technique is regarded by the foremost European authorities as most perfect and unequaled.



Plays Paganini's Violin.
When in Italy, Kocian was invited to Genoa by the musical celebrities for the purpose of playing on the dead master's historical violin.  Since Paganini's death, Kocian is the only person that has played the old violin, which is kept in sealed urn in the Paganini vault.  Kocian played for two hours before the authorities, who caused documentary records of his great art, which they classed equal to the dead master's, placed in the city archives.



Kocian foremost living Violinist.
Kocian is known to the American public from his last visit here several years ago.  His recent European triumphs have given him the distinction of the greatest living artist of the violin.  The technique and natural comprehension Kocian commands in his art will make him an idol of the musical public in this country and his triumphs here will no doubt parallel and even exceed those won by him in the old world.



KOCIAN FOREIGN NOTICES.

Temesvari Hirlap,
He is able to concentrate his principal attention on the thought of the composer, on the contents of the composition, and in this way he is with selfpossessed power the master of his instrument.  This artistic sovereignty affords him his real greatness.


Delmagyarorszagi Kozlony.
Kubelik was failing in point of warmth and sensitive playing, while Kocian can claim both, besides his technicality as his greatest virtues.  Kocian's fascinating action is likewise unlimited


South Hungarian Reform, Temesvar.
An independent, well developed, fascinating talent, notwithstanding his youth, with an exalted tendency toward completion which awards him the very first rank among the greatest in his profession.  A lucky combination of the foremost qualities of the other masters of the violin — the so far unattained noblesse of Joachim's reading gains in translation and interpretation by the sweet, well formed, singing tone af Sarasate, the deeply felt expression reminds us of Burmeister and the astounding action equals in every respect that of Kubelik, if it does not surpass it.  There was not mere playing, there was witchcraft.  The public listened fascinated by the splendid manifestation of a phenominal art.


New Age, London.
Of Mr. Kocian I have to speak in terms of undiluted admiration.  His technique is of the very highest order, and the peculiar timbre of his tone please me even more than Kubelik's at a first hearing.  But most of all he is master of an extraordinary power of expression, which he keeps under perfect control.  He seems to have solved the problem of adaptation of means to ends in such a way that not a single nuance or gradation is without significance.  In this I can only compare his powers by analogy with Richter's command of gesture in conducting.  Those who have faced Richter in orchestra will know perfectly what I mean.  Above all, Kocian's expression is unmistakably the outcome of absolute sincerity.  It would not surprise me if Kocian should raise even a greater furor than Kubelik.


Topical Times, London.
Kocian is a pupil of Professor Sevcik.  That he is possessed of exceptional gifts is very obvious, and, moreover, his manner and style are singularly free from affectation.  Although I dislike making comparisons, for many reasons I cannot help comparing him with his already famous countryman, Kubelik; and be it said, to the latter's disadvantage, for I think Kocian much more of an artist by temperament.  He plays with considerably more warmth, and produces a fuller, purer tone; his technique is both fluent and finished and his intonation absolutely above suspicion.  In Ernst's F Sharp minor Concerto one was strongly impressed by the ease with which he overcame the formidable technical difficulties, the cadenza being a veritable triumph of virtuosity.  Kocian assuredly has everything that goes to the making of an exceptional artist, and the development of his powers will be followed with keen interest.