imbalist's man-merely a repetition of what it is in ordinary life, He is quite unaffected and almost shy in his conversation. He began to learn the violin at the age: of six, at 12 he wan advanced enough' to be taken as a pupil by Professor Auer in Petrograd, that famous teacher who also trained Mischa Elman and Haifetz and with him he stayed for nearly six years. Then he was for five years in London and for the past ten has been in New York. Next year he goes to London again to give recitals.
Of his art he does not appear dis posed to speak much, certainly not with a capital "A." Possibly be-ensue there is no necessity. To those who have heard him, his genius is too apparent to need talking about. "Good wine needs no bush" nor does the playing of a musician the front yank, One may add up his purity of tone, his absolute mastery over every device of which the violin is capable, the simplicity, of his readings, in which there ix never a truce of the bizarre, of searching for peculiar and out-ofthe sway ideas. "But there remains always a something not to be put into words, which the violin can express as no other instrument can if It be there, and without which the nounds it produces are merely th: vibration of inanimate strings and wood. When Maggie, (in What Every Woman Knows") is asked to define charm she says, "If you have charm, you don't need anything else, and if you haven't, it matter what you have."
assuredly with the vich Great artiste are xuppoved to have hhud great sorrows, Zimbalist hard ly gives one the impression of having hud a sorrow in his life. No doubt as he grows older and hix experiences widen, his playing will Decome even richer and more appeulinse thai Yet know musician with whom it is satisfying to spend an ey ing. There is depth of emotion and there is joyousness; there is infinite ing and never a trace of id Tu all things i is bright and lovely.
Text read from the printed page and cleaned; old type leaves the occasional error.