Hers is not one of the oft-repeated names of virtuosi.
She was a rare female soloist in a male-dominated era, but cut back on performing to raise her children. Howard Taubman, reviewing the violinist Camilla Wicks’s New York debut at Town Hall in The New York Times in 1942, had to admit that she had “a certain flair for the fiddle.” He was especially impressed by her handling of difficult passages in the Paganini D major Concerto, a work requiring an abundance of technical skill. By the way, Ms. Wicks at the time was, as the review’s opening sentence noted, “a pretty, flaxen-haired lass of thirteen and a half.”
With that attitude, it’s easy to understand why.