New-York tribune., 1901-04-10
lfUSIC.
THE KNEISEL QUARTET.

The last concert of the Knelsel Quartet's evening
series. which given last evening in Mendelssohn
Hall. offered rare enjoyment in that IL presented
two great master works that seldom heard in
the concert hall-Beethovens quartet In fiat. one
of the masters last great five. and Schubert's
quintet in c. with ceos II is when the
kneisel Quartet undertakes the Interpretation Of
these latest of Beethoven quartets that their true
artistic stature is convincingly disclosed It
is given TO but few penetrate the inner secrets
OF these works. and they must be among the high
priests Of the art. There needed for the under
standing of them the highest qualities of heart and
head. and for the performance of them something
above and beyond what is generally understood as
good ensemble playing by good quartet players
There must be not only an entire unanimity to
their Intentions and methods the part of the
four performers, but individual insight into
what is especially confded to each ore BY the COM
poser; the power to make it something more than
a component part of the whole. These things the
Kneisel Quartet know and understand. and so 1t
is that their Interpretation of the E fat quartet
last evening must stand as a crowning achievement
in quartet playing. 1t was noble and beautiful
from beginning 20 end. with ripe intellectual
beauty and understanding that reached far into
the deepest qualities of the composition. Noble and
beautiful too but i'm a very different manner, was
their playing of Schubert's quintet, in which the
composer aimed so high for purest euphony. the
sensuous beauty of the instrumental combination,
the outpouring of ceaseless melody. The playing
was warm and delicious In tonal color fuil or the
accent of passion. and exhibited the art of Mr..
Kneisel and his companions In its most captivating
light.
Mr. Knesel has always been extremely hos
ptable to the work of the younger men among the
composers Of to-day. not excluding the talented
fellows of American birth. II is most commend
able quality; but it has its penalties we'll its
rewards. 1t cannot be said that the placing of
Mr.. Writings quintet for piano and strings
among such noble company as it had on last
nights programme altogether kind to it, or
that it worked wholly to the benefit of the general
effect of the concert. II may as we'll be said
once that IL Is not among Mr.. Writings most sue
cessfu attempts in works OF larger mould. In 1t
he has tried an experiment as to form. endeavor-
ing 10 gain the model of the time honored
and at the time greater unity of design
than he thinks is attained in the existing condition
of that form. Whether not ne has succeeded in
so far-reaching attempt Is be decided
a single hearing of single work but the
pertinent is interesting one. and Mr.. Writings
further elaboration of his plan. If he should so on
with 1t. will be worthy of close attention II is
the specifically musical part of the work heard
last evening that constitutes its weakness. its
thematc convention. It's harmonic basis and the
treatment OF the themes. They lacking in
spontaneity and the freshness and vigor they have
a monotony of general contour due partly TO a
frequent recurrence OF pentatonic effects: and the
element of charm Is lacking.
Mr. Whiting has tried manifold effects Of in
strumentation some OF which are striking but
more OF them are without justification, without
the quality of appearing 70 be the inevitable way
Of expressing the musical idea waiting for utter
nnce The slow movement seems particularly
futile in this regard Yet. with all these auaiica
tions. the work gives the impression Of being a
product Of ripe skill and reflection. In many ways
II is admirably made; bur It smells of the lamp
II was presented i'll the most favorable light pos
sible by Mr. Kneisel. Mr.. Whiting himself taking
the pianoforte part: they played IL with devotion
and loving care Mr.. Whiting was complimented
by cordial recall TO the platform after the per-
formance