The couple’s career was clearly successful. In the Dec. 1919 Lyceum Magazine, Estelle reported that they were concertizing on the northwest coast, and were guaranteed ten weeks of concerts at “$800 per week net”-- a significant chunk of change in that day and age! 1919 also saw an addition to the family, with the couple welcoming a baby boy into their lives sometime that year. A brief article in the Musical Leader of January 1920 states, “After the successful seventy-five concerts of the Gray-Lhevinnes, Estelle Gray-Lhevinne left the Northwest and made a dash for California to this artist couple’s summer home on San Francisco Bay, leaving Mischa Lhevinne, who had some thirty more engagements in the Northwest, in order to see her young son. Viro, the small son of the Gray-Lhevinnes, has achieved seven teeth, which his distinguished mother was eager to see. At home Mrs. Lhevinne has had a long distance phone every night from Mischa, the devoted.”

But soon there was trouble in paradise. The March 22, 1922 issue of Variety had this short news item: “Too much temperament is the basis of a suit for divorce filed here [San Francisco] by Mrs. Estelle Gray Lhevinne, concert violinist, against Moritz Lhevinne. She accuses him of cruelty and asserts that he was fond of moving the furniture about in the room during the early hours of the morning, and was given to nagging her. In her complaint, she asks the custody of their one child, two and one half years old.” The divorce was granted, presumably with more grounds than a predilection for off-hours interior design on the part of the husband. While a Google search for Mischa Gray-Lhevinne provides lots of information on Misha Dichter, Rosina Lhevinne, and even Mischa Elman, the pianist seems to have disappeared from the media once the duo dissolved their partnership.

Estelle remained in their Alameda, California home, from whence she continued to promote her concert career. She seems to have been a born entrepreneur and marketer, from the information gleaned in this 1926 promotion flier. After the split with Mischa in 1922, the flier lists the escalating number of concerts by season: 88 in 1923-24, 137 in 1924-25, 178 in 1925-26, and a projected 245 in 1926-27! She was keeping busy, that’s for sure. The listings of paid admissions for the first three weeks of the Fall 1926 season are also impressive, with 11,855 in Buffalo, 10,500 in Cleveland, and 18,300 in Toledo.  The venues, however, might not have been so impressive. A 1926 article in the Glenville High School newspaper of Cleveland (“The Torch”), announces a recital at the school. The article, by one Miss Lotta Carson, begins, “Last November Glenville High students were very enthusiastic over the recital given in the auditorium by Estelle Gray-Lhevinne. Her selection of music was interesting because of the different types. She is recognized as one of America’s foremost violinists and probably the world’s greatest woman player, and will entertain Glenville students on Monday, October 4. Two half-hour programs will be given.” The Miami University (of Oxford, OH) student paper of Nov. 9, 1927, features a concert review with a couple of new nuggets of information. One, clearly a story told as part of the performance, is that at the time of the San Francisco earthquake in Estelle’s childhood (1906), her violin was being repaired downtown. “When the news came that the fire was spreading, the little violinist dashed downtown and even though the order was to ‘shoot anyone entering a building,’ she flew past the soldiers, broke into the shop and rescued the historic fiddle.” Hmmm. This article also reports that Estelle was asked to accept a life membership in the Cleveland Musical Association, “an honor which few women attain.” She joined the likes of Madame Schumann-Heink and Walter Damrosch in this honor.

Estelle continued touring college and high school campuses, and as early as 1927 began including her son (age 6) on the programs. Viro, or “Laddie,” as her son became known, generated a good bit of press. They are listed as “Mme. Estelle Gray-Lhevinne (violinist) and her young piano virtuoso son” on the 1930-31 Wartburg College artist’s series. The Washington State Normal School in Bellingham featured this review of their 1932 concert:

Laddie Boy Gray Plays as Mozart

Uniqueness and finish characterizing their program, Laddie Gray, young boy pianist, and Estelle Gray-Lhevinne, violinist, played in assembly, Monday, Dec. 12. 

After Mrs. Gray-Lhevinne had played one group of Classical numbers she stated, “Laddie will give his first group of numbers costumed as the boy Mozart. We are not introducing any prodigy, merely showing you a picture of Mozart in his first appearance in court.” The costumed Laddie then played one of that composer’s minuets. He played with a confident touch which produced a very good tone.

His next numbers which he played “as himself” were compositions by Bach, Haydn, and Beethoven. These were all cordially received.

Then, after several more classics, preceded by a story about each, the mother played four pieces of her own composition, reciting the original words before playing them.”

Laddie began performing at age four, and Estelle was quoted as saying that she only allowed him to travel with her a few weeks each year, for his development. “The rest of the time he lives a rustic life in his San Francisco bay home, with earnest diversified studies in advance of the usual boy his age.” 

When at their “rustic” home, she and her son continued their interest in dogs. This picture appeared in the San Francisco Examiner in 1930, in an article entitled “Hero of the Klondike.” The photo text read, “This famous huskie, Klondike Skipper, ‘mushed’ alone through blizzards and drifts 85 miles into Dawson to summon aid for a United States mail carrier trapped in a storm. The dog, owned by Mrs. Estelle Gray Lhevinne of Alameda, will be a feature attraction at the dog show, which opens Saturday evening at the Oakland Auditorium.” At some point in the 1930’s, Estelle married again, to A. L. Heynemann. The couple was known as hosts to many musical gatherings in their Alameda home. 

In May, 1933, at the end of a six-week concert tour with Laddie, Estelle needed time to rest before returning to California. She entered a Boston hospital, and sadly and apparently unexpectedly, passed away two days later. 

Clearly Estelle Gray brought much joy and music to audiences in her forty or so years of life. I’m glad the internet gave me a chance to know about her.

Yes, love was about to find Estelle. Her new traveling partner in concerts and in life was to be the pianist and composer Moritz Lhevinne. In the book Circuit Chautauqua, author John E. Tapia reports that the Gray-Lhevinne duo was a popular circuit feature between 1913 and 1917, and featured "various combinations of piano, violin, song, and dramatic reading." A brochure from 1915 claimed that their performance would be "humorous, pathetic, thrilling and always inspirational."

Lhevinne was a pianist and a composer, who apparently focused on popular songs (more on that later). He was described thusly in their first joint brochure: "Moritz Lhevinne combines a striking, virile personality with his poetical conceptions and his dramatic insight into the very soul of music. His technique is of the brilliant and flawless surety that marks the born master. The critics are unanimous in their praise of his fluent legato runs and brilliant octave passages. He has the faculty of enthusing people who never before have enjoyed piano solos. When he went into the Chautauqua field he created a sensation." What protected young lass wouldn't fall in love with such a musical partner?

The pairing of the two was meant to be a boost to both their careers. This same brochure also stated that "With the increasing demand for the combination of well-known, successful artists, the announcement that Miss Gray and Mr. Lhevinne, the brilliant Russian pianist, will tour together is noteworthy." At this point, Mama still served as their "personal representative", but the young artists would soon take matters into their own hands.

The two wed, perhaps as early as 1915, but without doubt by 1919. They hit on a very successful formula for their concerts, called "Personality Programs." A 1920 account published in "The Crescent," the newspaper of Pacific College in Newburg, Oregon, gives a good description:

"The Gray-Lhevinne concert, given under the auspices of the Monday Music Club at Wood-Mar Hall Friday night, was very successful, for Estelle Gray, violinist, and Mischa Lhevinne, pianist, are very clever entertainers. The concert consisted of story-music which was given originally and simply, in an informal and pleasing manner. Miss Gray, or Mrs. Lhevinne in real life, possesses an unusually pleasing personality and charming stage manner. She told the story of the numbers as they were played, which helped the audience to appreciate their interpretation. 

One of the groups they gave was composed of music depicting rural life in a clever and comical way. Miss Gray also demonstrated her ability to play more classical selections, many of which were written by old French masters of composition. Mr. Lhevinne proved himself a brilliant pianist and competent accompanist. Especially pleasing was his playing of Chopin's beautiful and difficult 'Ocean Etude.' The concert was well-patronized by the people of Newburg and the surrounding towns. Many were personally introduced to the Lhevinnes after the close of their program, and many were interested in inspecting Miss Gray's priceless violin and seeing the picture of 'the only boy in the world' [presumably their son, born the previous year]."

A somewhat less sophisticated review was printed in the Red Oak Express of Red Oak, Iowa, in 1921. 

"Estelle Gray told of the Old Cremona, her own violin, which was made in 1715 and played the 'Italian Elegy' which was composed in the same year. She pointed out that it is the spirit the master breathes into the violin that makes the music and not age and time for wood and strings. Fine music from a violin, she said, comes when the owner treasures the instrument. Some of the most beautiful numbers played by the artists were 'Fantastic Appassionate' by Vieuxtemps, a French composition which won Estelle Gray her reputation in Europe; 'Zephe' by Hubay, delicate and charming; and 'Danse Macabre' by Saint-Saens. 'The Heart of my Opal,' 'My Song," and "Now It's Up To You' were interesting compositions of the artists themselves. Estelle Gray wrote the words and Lhevinne the music."

By all appearances, the Gray-Lhevinnes appeared to be deeply infatuated with each other. Their several joint compositions, published (perhaps self-published) in 1919, are shameless love songs. The lyrics of "My Song," written by Estelle, feature this last verse:

You are my own dear hills, You are my deep blue sea
I look into your eyes-- they fairly transport me.
You're to me, enchantment
You are my sun and star
God has made you-- all things, 
Perfect as you are.

The sheet music for this, and also "Now, It's Up To You," are brought to us by the wonders of the internet and UCLA's Archive of Popular American Music: (http://digital.library.ucla.edu/apam/librarianITEMID=NSO016018 
and 
http://digital.library.ucla.edu/apam/librarian?ITEMID=NSO018010).
 
The couple seems to have anticipated modern practice by hyphenating their names together, and in this case, even became a "Brangelina" item for authorship credit.  

Sadly, this love was not to last... 

When I am in need of inspiration, or perhaps procrastination, I visit a wonderful website, which has been brought to us by our tax dollars. Part of the Library of Congress’s “American Memory” site (memory.loc.gov) is something called “Traveling Culture: Circuit Chautauqua in the 20th Century.” Among other artifacts, the site houses promotional fliers from various artists and acts that traveled the country in the early part of the 20th century. A search of  “women violinists” brings up a number of items, both intriguing (Dorothy DeLay and her sister as 2/3‘s of the Stuyvesant Trio in the 1950‘s) and occasionally hilarious (see the Melody Belles). These violinists had performing careers, numerous glowing press clippings, and management of sorts, yet I’d wager few people would recognize the names (Miss DeLay aside). It seemed a shame, so I thought I’d see what I could find out about some of their lives and careers.

In an oddly linear Google search, a picture emerged of the short life of Estelle Gray, billed in her press kit as “The Violiniste of Inspiration.” Gray was born in California sometime in the early 1890’s (ancestry.com says “about 1892”). She began studying violin at the age of six, and gave a recital two years later at the Alhambra Theater in San Francisco, playing a memorized program to an audience of 1500 people.  Her press biography from the 1920’s adds, “It was at this time she was gaining inspiration from her habit of practicing in the open, among the wonderful mountains of California.”  Teddy Roosevelt said of her, “You have absorbed the message of your big West; it shows in the strength and virility of your bowing.” 

The University of the Pacific gave her “the offer of a cap and gown” at age eleven, and soon afterwards she turned down a scholarship at the University of California in order to study in New York. Gray began giving concerts in New York at age 15, including a series at the Waldorf Astoria, the Plaza, the Astor, and in Aeolian Hall. Playing her way across the U.S. at age 17, Gray ended with a recital at the University of California’s Greek Theater, which seated 8,000 (though the report neglects to say how many seats were filled). A tour of Europe followed this success. More dubious compliments came her way, such as this by Henri Marteau, Joachim’s successor at the Berlin Hochschule: “ Her bow arm is truly remarkable for its freedom and strength. She has the best bowing of any woman I have ever known."

Gray was fairly unique for her time in that her training was accomplished entirely in America, though I haven't been able to find any mention of with whom she studied. This native training was frequently pointed out in her publicity, and after her European tour, Gray was “besieged” by New York newspapers for interviews on “why American training is best for our girls.” Press blurbs included on her post-European brochure reveal interesting perceptions of and attitudes towards “girl violinistes” of the time. For example:

Nuremberg, Bavaria, The Musical Zeitung: “We were amazed to find ourselves so won by the little American artist; the very walls that for centuries have been penetrated with German music , seemed to rejoice at the fresh melodies of the girl from the other world.”

London, The Times: “The young American violiniste, Estelle Gray, is quite extraordinary; her charming winsomeness won before she played a note, and she plays with the vigor of a man.”

Ostend, Belgium. Ciro Patimo, of the Grand Opera Company, said of Miss Gray’s playing: “So feminine and graceful, yet the strength and force of a man. She is the most brilliant of artists.”

San Francisco Examiner: “Miss Gray’s tones are warm and virile. Her manner on the platform instantly enchants with its simplicity and unaffected, unconscious ease... She is equally charming in a lullaby, a gypsy dance, or the heavier work.”

New Haven, Conn. Register: “It was brilliant and thrilling and almost set the audience wild. For an encore she played a sweet lullaby that made one think of home and all the sweetest babies we ever knew.” 

Gray’s mother, Mrs. Margaret Ludgate Gray, served as Estelle’s tour manager and promoter (stage mother, anyone?). She also, likely with little prompting, participated in the programs as a “reader.” An early brochure states, “Mrs. Margaret Ludgate Gray always travels with her daughter. Mrs. Gray has studied the art of interpretation under some of the best masters. She is a character delineator of marked ability, and has won popularity from East to West. Mrs. Gray is a great favorite with audiences, with spoken songs, readings with music and character delineations. Her numbers add greatly to the interest and charm of the program.” Or else?

Mother Gray’s role as performance partner was soon to take a back seat with the advent of a new collaborative pianist-- one Mr. Moritz Lhevinne. Stay tuned for the rest of the story...