"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.
Management METROPOLITAN MUSICAL BUREAU, Inc.
F. C. COPPICUS
Division of COLUMBIA CONCERTS, Inc.
113 West 57 Street New York 19, N. Y.
COLUMBIA RECORDS STEINWAY PIANO
The New York Times March 31, 1946.
MISS JONAS RATED AS A GREAT PIANIST
Scores Tremendous Hit With
Ability to Make Instrument
Sing at Carnegie Hall
By OLIN DOWNES
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
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 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
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
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.
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
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.
There is not only room for such
a pianist in the front ranks of her
profession; there is need of her