To hear Mischa Elman on the concert platform, to listen to him play,
"with all that wealth of tone, emotion and impulse which places him in
the very foremost rank of living violinists," should be joy enough for
any music lover. To talk with him in his own home, however, gives one a
deeper insight into his art as an interpreter; and in the pleasant
intimacy of familiar conversation the writer learned much that the
serious student of the violin will be interested in knowing.


[Illustration: MISCHA ELMAN, with hand-written note]


MANNERISMS IN PLAYING

We all know that Elman, when he plays in public, moves his head, moves
his body, sways in time to the music; in a word there are certain
mannerisms associated with his playing which critics have on occasion
mentioned with grave suspicion, as evidences of sensationalism. Half
fearing to insult him by asking whether he was "sincere," or whether his
motions were "stage business" carefully rehearsed, as had been implied,
I still ventured the question. He laughed boyishly and was evidently
much amused.

"No, no," he said. "I do not study up any 'stage business' to help out
my playing! I do not know whether I ought to compare myself to a dancer,
but the appeal of the dance is in all musical movement. Certain rhythms
and musical combinations affect me subconsciously. I suppose the direct
influence of the music on me is such that there is a sort of emotional