New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-01-13
DIR. DVORAK's AMERICAN MUSIC.

The third concert of chamber music by the
Kneisel Quartet which took place last night in the
cosey room in the Music Hall set apart for SUCH
occasions was devoted wholly to compositions by
Antonin Dvorak. \ quartet, quintet anu seNtet'
all for strings piaycl the first two being
the conpositiOns already described in this journal
which were written last summer in Iowa, AMI
under the influence Of American surrouhllhsS'
The popular interest in these works was atiesied
hv the largely increased attendance at the concert
For the first time chamber concert the room
was filed and the gallery called into requiston
\ most amiable spirit Of anticipation was ohs'rV-
able too in the conduct Of the auditors, ana the
obvious desire TO enjoy the new music was Amply
grat!ned After every movement OF the quartet
and quintet the applause was loud. ions ana en-
thuslastic and the composer. who sat among Tue
listeners was several times called to his feet ana
compelled 10 bow his acknowledgment OF the nearly
tribute paid his genius. The whole concert was
q season OF keen delight. and the lovers or the
highes: form OF absolute music were grained De-
vond measure at the evidences Of its pleasure
giving potency.
Mr.. Kncisel's plan Of consorting the new compo-
sitions with an earlier one CHE seXtet Il ~
Dvoraks opus 81, served an excellent purpos''
especially for those who were anxious TO discover
wherein the characteristic clements OF the America"
music Law In the sextet DR.. Dvorak * a bohemian
Two Of It's movements are cast in national forms
The slow movement is a Dumke. that IS 30
homian e,egy; the jocose number Is a Furiant' a
Wild Czechish dance. Moreover, tn majority OF
the melodies bear the bohemian character. The
quartet and quintet have nothing in common WIN
the sextet, save some peculiarities OF pT DVordh
style Most Of their melodies. as we have tTiei 20
show. smack OF the tunes which appear 10 ur
popular feeling Of this country. Not onIy 90 ih'y
show rhythmic and inierVallc pecuilaIlueS WHlCh
are native the folktuncs Of the SOuth out tntie
is that in their spirit which diaereAilates thcin
broadly from the melodies Of the seXtet II was IN
tercsting and instructive to note these things, an
also 10 discover that with his resor; 70 new material
DR. Dvorak has adopted different manner. Inc
new compositions are cOmpdcter ana simpler ~
form than the older one, ana their cXpTcssip IN
Is more direct If some Of their melodies are less
DISTINGUISHED in character than those OF the scNtct
they are at least more spontaneous, more lnSenu-
ous and their treatment is less labOrcd. Or.
Dvorak's habit of excessive elaboration, n trait
which he shares with his admired model. Schubert.
does not obtrude Itself in these new works. one IS
/ even tempted. while listening 70 his Haydn IKE
/ frankness and simplicity. TO believe that he has
purposey reverted TO the style Of the father OF the
string quartet in order that the composers who
NAV undertake work on the lines when nc mas
marked have the cleareSt model before
| them The music is not profound nor heavily
| weighted with emotion. but 1t Is full Of ingenuity:
repiete with gracious fancy, clear as crystal and
/ inspjri,ing in its unaoyed happiness. Mr.. Knese
/ and his associates Mr. Zach. viola and Mr.. Schulz
/ violoncelIo assisting in the quintet and scXtetl
playe9 as If the music was pleasure TO them. ana
| enioved the finest triumph that has yet fallen "a
their lot in New York. The quartet had previously
been PLAYED in Boston. Hartford and Washington
the quintet had It's first public appearance on this
| occasion.