The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1899-12-22

QUIT and About .
Si5SSsV]S99VS9SS = - ) ) VS9S1SS$

sci quartet DdCk 10 WOFCeSltI last
night for it's second and last concert
here this season. All good things come
to an end, but it is a sad thought that
many months must pass that are mu-
sically bleak before we have the Knei-
sells lin our midst" again. Just here
it should be said that the thanks of
the music-loving portion of the Wor-
cester public are due to the two ladies
whose energy and courage have been
the determining factors in bringing the
Kneisel quartet to this city.
The following program was presented
last night.
Beethoven. Quartet in B fat major
COP. Is, No. g.
Allegro con brio
Adagio ma non troppo.
Scherzo (Allegro).
Acknowledgements quasi allegro)
Brahms. Sonata for violin and piano
On A major. OPP. 1907
Allegro amabile.
Andante tranquillo-Vivace
Andante-ViVace di piu.
Andante-Vivace-
AlIegretto gracioso
(First time)
Bach..........,,.......S Sonata for violoncello
(Wlthout accompaniment
Mr.. Schroeder.
Dvorak. .,..........T Trio for violin and viola
Greg, Two movem S from quar-. in G minor
COP. 20
The quartet was assisted by Miss
Lolita Mills, pianist.
1t may as we'll be said at the start,
that the program was too long, that
Mr.. SchrCeder's solo had no proper
place i'll it, and that there was not
enough quartet playing in it. Our peo-
pie went out to hear the Kneisel quar-
tet, but they heard it in only two num-
bers. The vigilance committee that
has in charge the ventilating of Horti-
cultural hall slept or peradventure it
had gone on journey, and while it is
very unmusical to go to sleep at con-
cert, 1t must be confessed that towards
the close the drowsy god fiuttered his
wings dangerously near some heads
OF the first humber, there is little
that need here be added to what has
been already said, except that 1t was
played with perfection. The Brahms
sonata for violin and piano which fol-
lowed, was interesting because it was
Brahms, because it was heard for the
first time in Worcester and, lastly, be-
cause it introduced Miss Lolita Mills,
the assisting artist. Much might be
SAID of the work. The non enthusiast
over Brahms will assert that it is over
long and that there are dreary mo-
ments in it, but he will be forced to
admit, or the other hand that there
is far less of the repetitions and in
sistences so characteristic of Brahms
than in many of his works, and that
there is a richness of ideas and an alb
sence OF conflicting melodies, that lift
1t to high rank.
OF Miss Mills playing only commend
able thlrgs can be said She has a re-
markedly clean touch; she is secure
and authoritative she has an unshak-
able grip on this particular work. The
piano score of the sonata is not cal
culated to show off the pianIsts abil-
tiles from the audiences view point
1t Is MOI spectacular enough. An audi
ence might think that it offered only
prcsaloi plain sailing, but really it is
tremendously difficult, busting with
technical difficulties, which Miss Mills
took so easily that few knew she was
doing anything particular. A less dis
Greet player would at times have COW
cred the violin, but Miss Mills was alb
| solutely fair to her partner, and never
| forced or obliterated him. Every one
| knows what Franz Kneisel is, so that
| there is no need to expatiate on his ex-
| cellences.
Bach's sonata is not a concert piece.
Like his other numbers for cello or
violin unaccohpanied, it is a study
written especially for the development
and display Of technique, the perform
ance of which is tour de force, but
| hardly music. Mr.. Schroeder was rap
turously applauded, and, like Mr.. Knei-
sci and Miss Mills after their sonata.
| had to emerge three times from the
| Sums that semi encircle the stage of
horticultural hall to bow his apprecia-
| ton.
Undoubtedly the event of the eve
ming was the Dvorak trio. Has this
beautiful work been played in Worces-
ter before? We believe not. It is a most
delightful thing in it's richness, fresh
ness ane variety, and in the beauty of
| it's orchestration. Closing ones eyes.
there were times when one would have
believed quartet of instruments was
playing. Beethoven wrote trios for
first and second violin and viola. but
never anything in this form so vital
and impressive as this. 1t was given
ideally.
The last number was from the Grieg
quartet that was played in its entire-
ty by the Kneisel quartet in Worcester
two years ago.