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[A photocopy of this material was kindly supplied by Cindy Ostrowski. The original source, dated between April and September 1946, is not known.
This web version is dated 25 December 2004.]

Columbia Concerts, Inc. Announces
The First U.S.A. and Canadian Tour, 1946-47

Maryla JONAS
The New Polish Genius of the Pianoforte

Maryla Jonas, with necklace

"Plays in the grand manner . . . a musician with remarkable command of style . . . mastery of tonal resources." —J. D. Bohm, New York Herald Tribune

"Echoes of long-ago grandeurs . . . evocative of Moriz Rosenthal and Vladimir de Pachmann . . . penetrating understanding of the true meaning of music." —Robert Bagar, New York World-Telegram

Immediately engaged by the N. Y. Philharmonic-Symphony Orchestra, Artur Rodzinski conductor, as the first soloist of next season on October 10, 11 and 13. The October 13th concert will be broadcast over the CBS network.

Immediately engaged for recitals in Philadelphia (Forum), Chicago (Adult Education Series), Cincinnati (Matinee Musicale), Dallas (Community Club).

First New York recital next season Carnegie Hall, Saturday afternoon, December 7.

F. C. COPPICUS[?]      [Illegible]
113 West 57 Street      New York 19, N. Y.

The New York Times      March 31, 1946.
Scores Tremendous Hit With Ability to Make Instrument Sing at Carnegie Hall

Par 1 This musical observer entered Carnegie Hall yesterday afternoon as Maryla Jonas, Polish pianist, was playing Bach's D major Toccata. He came to the immediate conclusion that he was listening to a poet and master of her instrument. Nor was this impression changed or weakened in the seven compositions that she played. He had not heard Miss Jonas before, although she had made an unheralded American debut in this city the twenty-fifth of last month, but, on the basis of yesterday's experience, he believes that she has few equals as an interpreter among the leading pianists of today.
Par 2 It is perhaps not without significance that this impression was not caused by some heaven-storming climax or feat of velocity. On the contrary, we were listening to one of the most intimate pages of Bach's piano music, as [a?] passage comparable to the recitative of the "Chromatic Fantasy" in its subdued colors and self-communings. And the piano spoke, in a way that with a whisper of tone commanded and held the attention in the spaces of Carnegie Hall. The fugue that follows and ends the piece supplied completely contrasting effects, in the bold announcement of the subject, the clearness, and energy, and power of its development. No wonder the audience approved.
Par 3 As much, and as indisputable mastery, wholly in another vein was displayed in the playing of that Schubert song without words — the Third Impromptu in G major. It was adorably sung, rather than played, without sentimentality, or dragging the pace, yet freely, with truest feeling and tonal charm. For Miss Jonas caught the truth of Schubert's naïveté and emotion. We think that the composer would have sat him down as simply as that.
Par 4 This, too, was significant: the complete distinction between the lyricism of Schubert and the lyricism of Chopin. There are pianists, let us say, of the Austrian school, by nature sympathetic to the Schubert style, but wholly at sea in the more complex psychology and far greater sophistication of Chopin. Or vice versa. Miss Jonas understood the two composers equally well, played them with equal understanding, divination, and taste. Never exaggerating, she proved that she has the secret, not shared by many, of Chopin's "rubato." She caught with intuition each fluctuation of color, tempo, and mood, so subtly and changefully present in the Polish genius' art.
Par 5 And Miss Jonas understands Chopin's use of the pedal, wholly different from Schubert's, or for that matter, anyone else. The shimmer of the harmonies, the haunting song that they half revealed and half concealed, was something to remember. The three Mazurkas, op. 68, No. 4; op. 30, No. 4; op. 30, No. 2; the posthumous Nocturne in C-sharp minor, and the seldom-heard rondo in E-flat major, all were triumphs of feeling and style. What Miss Jonas does with the greater Chopin of Ballades, Polonaises, Scherzi, Sonatas, Barcarolle and other pieces, is not known to this commentator. But when she plays them he will go with high anticipation to hear her and he does not expect to be disappointed.
Par 6 There is not only room for such a pianist in the front ranks of her profession; there is need of her there.