[2] She concertised widely, as soloist and with the Menges Quartet (founded by her in 1931) and Quintet, in locations such as Darmstadt (at 14 years of age), Liège, Wiesbaden, Amsterdam, The Hague, Rotterdam, and throughout England, Scotland, Canada and the United States.

[3] More specifically, notices included the following: February 1913: Queen's Hall, Tchaikovsky V concerto: "...remarkable command of the bow and ... almost childish delight in displaying her mastery.

She had evidently studied the work musically as well as technically, as the distinction of her phrasing showed... [but] she did not quite succeed in making clear.. the intricate development of the slow movement".

Hamilton Harty: ".. performance was an exceedingly well thought out one, in which the only disadvantage seemed to be a too meticulous care for the emphasis of certain rhythmic accents... [She] was at her best alike in the .. pieces of Kreisler and the .. chaconne by Vitali...

In the latter it was chiefly her splendid tone and the display of an accurate technique in high octave passages... which gave the feeling of complete assurance..."[7] January 23, 1918: Kelowna Theatre, British Columbia: "..she gave a free performance to 350 school children, and had bidden them shut their eyes and hear the bees humming and dream dreams of an imagination known only to childhood... in her evening's programme were: "Devil's Trill," Tartini; "Nocturne in D," Chopin; "Gavotte," Ph.

[8] 1920: Wigmore Hall, Wieniawski concerto, Handel sonata: "The double stops and other ornaments are a model of neatness, and these are helped by a sensitive bow-hand".