ABSTRACT
The concept of perfection entered the Heifetz critical reaction lexicon immediately after his Carnegie Hall debut in October 1917. The theme of violinistic perfection followed Heifetz around the world. The major theme in the critical reaction deals with Heifetz's approach, concert programming and repertoire selection. It concerns Heifetz's physical presence on stage and how he curtailed almost all overt signs of emotion; he rarely smiled, he refrained from excessive swaying, and when acknowledging his applause, he rarely gave more than a small bow. The reviews clearly show that Heifetz's stage presence formed an integral part of how critics and audiences interpreted his performance style. A prime example can be found in They Shall Have Music in the performance of the Mendelssohn Concerto with an orchestra of children. Heifetz plays the virtuosic and passionate final few lines with hardly any change of facial expression. A number of reviews suggest that audiences held somewhat contrasting views of the solo works.
