Gilbert Ross

              1923
GILBERT ROSS AMERICAN VIOLINIST
THREE NEW YORK RECITALS

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A valuable addition to the Auer seraphim.—
Milwaukee Morning Sentinel.


PRESS COMMENT:

THIRD THIRD NEW YORK RECITAL
Town Hall, Nov. 7th, 1924

Gilbert Ross, violinist, gave his annual recital in New York last night at Town Hall.  His fine program included the 'Ascension,' Sonata by Cecil Burleigh.  And here, incidentally, it may be noted that Mr. Burleigh is now completing a violin concerto which he has dedicated to Mr. Ross.  The 'Ascension' sonata was ADMIRABLY PERFORMED and made a deep impression upon the large audience.  Mr. Ross, who is favorably known here as a violinist, won fresh laurels in his general work last night.  He is going ahead in his art.  His tone, clear and full, gains in mellowness and HIS STYLE, ALWAYS MUSICIANLY, HAS NOW EVEN GREATER BREADTH AND AUTHORITY.  HIS PLAYING GAVE GENUINE PLEASURE.—
New York Sun.


Gilbert Ross, making his third appearance here, showed continued development and progress in a talent that was marked at his debut.  TECHNICAL SKILL and sureness and a TONE OF considerably augmented VOLUME AND RICHNESS, plus temperament, showed the progress of the young violinist, applauded by Professor Auer and a good-sized audience.—
New York Tribune.


Gilbert Ross, a good American violinist, confirmed an impression of ripening musicianship made at his former debut here.—
New York Times.


Gilbert Ross gave an excellent performance of Burleigh's 'Ascension' Sonata.  He is a performer of ability and deserves praise for his SCHOLARLY INTERPRETATIONS of old and new music.—
New York American.


Mr. Ross played with obvious sympathy and sincerity.—
New York World.


Gilbert Ross opened his program with Cecil Burleigh's 'Ascension Sonata,' for violin and piano.  The Sonata, a compact melodious work, pleased the audience, as did Mr. Ross' other numbers.  This violinist possesses a good tone and a sound technic.—
Evening World.



SECOND NEW YORK RECITAL
Aeolian Hall, Nov. 9th, 1923

The young artist reveals highly commendable qualities.  His interpretation of the Franck Sonata was excellent.  Imbued with true musicianship and deep feeling, it was played with fine sincerity and warmth.  Mr. Ross plays simply and directly.  His bowing is free and elastic, his tone full and sonorous.—
New York Herald.


His simple, unaffected manner accentuates his GOOD MUSICIANSHIP.  He grasped the message in Franck's A Major Sonata, and disclosed its moods and melodies with artistry and assurance.—
New York American.


The Franck Sonata was played with a tone of very agreeable quality, smoothly holding its own in involved passages.  Mr. Ross was QUITE AT HOME IN TECHNICAL DIFFICULTIES, playing with confidence and dash.—
New York Tribune.


A carefully chosen program included Franck's Sonata, which the young violinist gave with a broad sonority of tone, skillful phrasing and brightness of style.—
New York Times.




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Played with wonderful ease.—
Milwaukee Evening Sentinel.



PRESS COMMENTS ON
EUROPEAN TOUR

AGAIN THE LION'S SHARE OF SUCCESS WENT TO GILBERT ROSS, violinist from New York, who was among the artists.  His powerful tone delivered with especial beauty on the lower strings, and his energetic bowing carried the day in pieces of Chopin and Tschaikowsky, while in others by Paganini, Kreisler, and Sarasate, his dazzling technique shown to the best advantage.—
Berliner Tageblatt.


His bow and finger technique can hardly be improved upon.  HIS INTONATION IS FAULTLESS of purity, the tone is large, beautiful, and of haunting charm; the interpretations of the artist also makes a sympathetic impression.  Everything is executed with painstaking accuracy, and winning grace while his artistic temperament is controlled by strict musical discipline.  Intellect and emotion are well mated in Ross, artistic intuition being wedded to warmth of feeling.—
Muenchener Zeitung.


The violinist, Gilbert Ross, is an artist of great ability.  He is so secure in his control of his instrument that he achieves all technical effects with unhampered tone and unusual clarity of presentation.—
Frankfurter Nachrichten.


Bach's Chaconne alone would have been sufficient to prove him A MUSICIAN OF GREAT AND AUSTERE FEELING, with a finished technique.—
Leipsic Nachrichten.


His style is characterized by uncommon accuracy, his tone is noble and mellow, his TECHNIQUE INFALLIBLE.  While at first we were not overjoyed when we noticed on the program that overplayed Chaconne of Bach, mild disappointment was turned into real joy upon hearing it in such noble, aristocratic and masterly fashion.—
Stuttgart Merkeer.


The young artist, Gilbert Ross, gripped us from the first note by the nobility of his cultivated, clear facile tone, without a trace of sentimentality or excessive temperament.  His steel-like and yet flexible wrist and his highly developed finger technic enabled him to accomplish a virtuoso's achievements, but the ease with which he attacks them gives an impression of musicianship to his performance.  It was a blessing to hear Bach once more in the Chaconne, so often mishandled as a bravura piece.  In Sarasate's Gypsy Airs, Gilbert Ross unleashed all the dazzling fireworks of double stopping, flageolet tones and pizzacati with resounding tone, which brought forth several encores and stormy applause.—
Stuttgart Neues Tageblat.


He is a great performer.  Neither his left hand nor his right arm seemed to be conscious of any difficulties.  The most difficult flageolet passages as well as all the problems of bow technique are child's play to him.  What is particularly impressive is his vigorous, yet beautiful bowing, which he applies with masterly evenness.—
Frankfort Zeitung.


Gilbert Ross, whose great, glowing tone and clean effortless technic combine with fine native musical feeling, will be an acknowledged and honored guest in Munich henceforth.—
Bayern Curier, Munich.


The talented violinist, Gilbert Ross, used his bow with vigor and temperament in the sparkling Allegro movements of the Tschaikowsky's Concerto in the Andante, and showed that he knew how to sing with a plastic, clear and beautiful tone.—
Allgemeine Musik Zeitung (Berlin).


His rendering of the concerto of Tschaikowsky and Tortini's Devil's Trill Sonata held the listeners spellbound.—
Hanover Courier.



Appearances as Soloist With the Chicago Symphony Orchestra (twice) and Syracuse Symphony Orchestra

His tone is beautiful, smooth, clear and absolutely true; his bowing has the well-known Auer sureness and strength, producing a depth and commanding power and serving splendidly the UNUSUAL FEELING FOR RHYTHM, which we should say is one of the young violinist's outstanding characteristics.  He has color, too, imagination and fine facility, and he played with poise and authority.—
Milwaukee Morning Sentinel.  Catherine Pannill Mead.


COMBINES YOUTH WITH AN ASTONISHING COMMAND OF THE VIOLIN … amazed audience with SUPERB MUSICIANSHIP … brilliant technique and A RARE QUALITY OF INTERPRETATION.—
Milwaukee Journal.  Jessica Knowles.


Concert Affords Music Lovers Real Treat… Gilbert Ross, a youth who plays with the touch of a master, was SUPREME.—
Syracuse Evening Telegram.


HIS TECHNIC IS PERFECT; his tone of striking purity and elegance.  The young artist conquered the technical difficulties with astonishing facility and finish.  The audience gave the young artist a rare ovation.—
Milwaukee Herald (German).


Gilbert Ross triumphed with his violin, delivering with poise and ease a concerto of extreme difficulty.—
Madison, Wisconsin, State Journal.


Played his solo parts exquisitely, displaying a wealth of technique, … and great musicianship.—
Madison Capitol Times, Edwin A. Uehling.


… Gave a splendid reading of the concerto.—
Syracuse Herald.


Youthful violinist charms.—
Syracuse Post Standard.



FIRST NEW YORK RECITAL—Town Hall, March 13th, 1923

He has agile, flying fingers and uses them admirably as to pitch and tempo … He had both fire and strength and produced something which was both colorful and compelling.—
New York World.


Admirable technique, a scholarly attitude toward his task of interpretation and a tone that ranged from the deeply mellow to a treble like silvery gossamer.  His performance of Tartini's 'Devil's Trill' and Tschaikowsky's mellifluous concerto was of high merit.—
New York American.


He showed when playing a sudden fire and distinction, free of mannerism, deeply sunk in the music's mood and bringing it at points of climax to eloquent proclamation.—
New York Times.


He had a fine command of violin technique and his style showed freedom, breadth, and keen intelligence.—
New York Herald.


Mr. Ross knows not only how to get a warm, beautiful, and varied tone out of his instrument, but how to play with expression.—
New York Evening Post.