PERFORMANCE ANNOUNCEMENTS

Musical Courier, April 1, 1940

"The Bach Chaconne is the best kind of piece in which to judge the accomplishments of a violinist, and the young artist astonished us by the beauty and largeness of a tone warm and penetrating, as he did by a technique impeccable and an interpretation beyond reproach."
—Herald American, Chicago, 1940

"The tone was beautifully modulated, the intonation spotless, and the considerable technical difficulties handled with effortless mastery in both hands."
—Record, Chicago, 1940

"His first Chicago recital demonstrated a large and flexible technique, high powers of musical imagination and a robust, driving tone production. The unaccompanied Bach Chaconne emerged as an integrated piece of music, not as a series of violinistic stunts, It is safe to say that you will hear more of Mr. Briselli, and very soon."
—Daily Times, Chicago, 1940

Briselli Scores With Philadelphia Orchestra

"Briselli received an ovation for his rendition of Bruch's Concerto in G minor, and well deserved it was, for he gave a masterly interpretation of the work. The soloist responded to the insistent applause with two encores, and still the audience clamored for more."
—Philadelphia Inquirer

Briselli New Star Soloist With Orchestras (1936-37)

"Briselli received an ovation for his rendition of Bruch's Concerto in G minor‚ and well deserved it was, for he gave a masterly interpretation of the work. The soloist responded to the insistent applause with two encores, and still the audience clamored for more."
—Toronto Symphony, Daily Star, 1936

"His playing of the Bruch Concerto met with high approval exhibiting great tonal effect and freedom of tempo in the Prelude, deep expression in the Adagio, and whirling display of technique in the Finale.
—Washington Symphony, Scranton Republican, 1936"

"There is no question about the admirable performance of Beethoven's violin masterpiece by Iso Briselli, Briselli played the cadenza of the first movement with superb mastery. The slow movement and the final Rondo were in turn deeply moving and deftly jocund and played throughout with an artistry which brought the soloist an ovation and frequent recalls. Briselli's left hand is immaculate, his tone rich and expressive. Best of all are his gifts of heart and head, which are beginning to rank him as a young artist among the elect."
—Philadelphia Orchestra, Record, 1937