The daily morning journal and courier., 1898-02-03
THE KNEISEL QUARTETTE.

In view of the approaching series of
 concerts by the Kneisel quartette it
 may be interesting to see three Eng
 fish criticisms of their playing which
 have come to our notica:
 British Musician, Lonflon, July, 1S9s
 What can be achieved in the way of
 ensemble playing, if only sufficient
 time and intelligence are devoted to
 this difficult branch of the. musicians
 art, was demonstrated in splendid
 fashion at the first of three concerts
 of the Kneisel String quartette. given
 ago MT. Franz Kneisel, with three
 prominent members of the Boston
 Symphony orchestra, Joined in this
 most delightful musical partnership;
 and they have now crossed the At
 lantic, unfortunately not at the best time of the year, to seek the approval of London amateurs. Their success at the first concert was never for mo-
 ment in doubt; for in the three string
 quartettes of Sgambati, Beethoven.
 and Schumann their playing was char acterized by unanimity of purpose, both in phrasing and expression, and these, allied to fine fulness of tone, rem dered the performance in every sense delightful.
 Musical Courier London, June 25, 1S96-America has just cause for pride when she sees how, without a dissen- tient voice, London has given eulogy to the quartette from Boston, who have during the past week created a sensation in this hypercritical world of talent. So much has been already said in the pages of this and in many other journals of the wonderful ensem- ble, the perfect information, and sym pathetic rendering that it Is needless to repeat these phrases of admiration, although at the concert given in St. James hall on Monday last we felt, more than ever, the truth and justice of all this praise. That the Kneisel quartette play absolutely con amore struck us most forcibly. Each part is a beautiful solo from the mind of q musician, and the result of this per- | feet singleness is perfection of union. Three quartettes were given Dvorak | in F. Brahms in A minor, and Haydn | in G. Each Of these works were inter- preted with understanding and refine ment the third movement of the l Haydn being a triumph of deicacy. Tn l the modern quartettes there was no want of vigour, the telling parts for cello and viola in the Dvorak being executed with much feeling and de- l termination. A great deal nf enthusi-
 asm was evinced by the audience, ana | the quartette were repeatedly recalled at the conclusion of the programme. | The Queen, London June p, 1S96- The celebrated Kneisel String quar- l tette from Boston, IT. s. A, gave it's second chamber concert in St. James
 hall on Monday, and fully confirmed the favourable opinion which it had previously succeeded in creating. The four instrumentalists played Dvorak' S | quartette in F major (Op. 96), Brahln s | quartette in A minor (Op 51, No. 2) 1 and Haydn's delightful quartette in q l major cop. 76 No. 1) as if inspired by one mind and with measure of ar tistic feeling and a faculty and cer-
 tainty of execution that gave the audi | enee the keenest enjoyment. The | players were at the close of each move
 ment most enthusiastically applauded
 The sale of seats for the course is be- ing held at Steinerts.