Day before yesterday when I sat in Cohan's Opera House in the afternoon, together with the entire audience unable to take away my eyes from the beloved Jewish virtuoso, Max Rosen, who was standing on the stage and drawing such sweet tones from his violin, I thought: where lies the secret of the power that brings out those tones which penetrate the heart? Wherein lies the mystery of this marvelous music--Rosen's music?

There stands a young Jewish lad, drawing the bow over the strings, producing such a rare combination of tone that the public is inspired, wildly enthusiastic about the sounds which reach the ear.

Why is it so? From whence does the enthusiasm come? I asked myself unwillingly.

It is the unusual that inspires; this is art, genuine and beautiful art, which appealed so much to all--I tried to answer myself, yes, this is really what it is and this is why Rosen won such acclaim. This is easy for everyone who was present at the recital to understand.

This is the second time, that Rosen has appeared in Chicago during the past six weeks, and no matter how sweet and pleasant it was to listen to his previous program, it was even more delightful to hear the positive improvement in the tone which Rosen produced, if you compare his most recent performance with his first local appearance on the tenth of March.

This fact was noted in Bruch's "Concerto In G Minor," in Chopin's "Nocturne In A Minor, " which Auer so brilliantly arranged; in Sarasetta's "Caprice," and in the other numbers of the program, which he played brilliantly.

For Rosen is passing through the process of development at the present time; as yet he has not reached his zenith; more, many more pleasant surprises 3can be expected from him. This cannot be said of Heifets, who naturally cannot become any greater than he already is, or Kreisler, or Elman, who are--to use a common expression--more or less "settled" in their consummate art, and in this fact alone lies much of Rosen's greatness as a wonderful master of the violin, as a Jewish virtuoso.

And Rosen's Jewishness appears not only when he plays such pieces, as for instance the "Rabbi's Ecstasy," a composition by his accompanist, Mr. Israel Joseph, which he played this time as one of the five encores, but in everything else, in absolutely everything that he played, his Jewishness appears triumphant and proud.

Because only the Jewish temperament, the genuine Jewish felling--Only the Jewish soul can produce, as Rosen does, such tone. And the young artist is a Jew in the highest sense of the word.

Rosen's second appearance in Chicago was a triumphant one. The audience, 4who called him out innumerable times, who met and escorted him with so much enthusiasm truly understood his sympathetic art, which rises and mounts and leads him to the road of creative genius.

And it will really be a pleasure for our local audience when, in the near future, we shall have another opportunity to hear our beloved Max Rosen.