The sun., 1901-11-13
YESTERDAYS MUSIC.
Tho Kncisei Quartet Concert and the
Calico Piano Recital.

GuitCO PIANO RECITAL.
Last night at Mendelssohn Hall the Kneisel
Quartet began it's tenth local season. In
New York this admirable aggregation
Of strings has loyal following. one which
braves all kinds Of weather TO hear serious
music seriously interpreted Steadily
has the number Of this following increased
until the size OF last nights audience was
just about equal to the capacity Of the
hall
The programme for this concert CON-
prised the Haydn quartet. ID major Opus
o.. No. 8; a sonata for piano and violins
composed by Henry Holden Huss, and one
OF Beethoven's famous -Rasomuffsky
Quartets,' Opus SO, No. 1.
The Haydn quartet proved a winsome
opening number. Its humor Is irresistible
and its melodiousness of Old World charm
Mr.. Huss's sonata was novelty. The
composer is a native and an ambitious
musician many OF whose writings have
been made known to this public. In this
sonata he departed from the classic path
OF convention and strove to effect a closer
relation between the several movements
by the repetition of thematic material.
The idea Is not a new one by any means.
HAYDN, in one Of his symphonies, expert
mented with It: and there is a notable in
stance OF the use Of this device In the finale
Of Beethoven's Fifth symphony whom he
harks back TO a theme from tho preceding
Scherzo. But the logic OF joining several
movements by means of themes Is doubtful
II theme is al all expressive 1t portrays
a mood which fits. or ought TO at least
that particular movement. Now IL the
same theme Is used again in another move
ment of entirely different character the
mood which IL calls up Is most apt TO be at
utter variance with its new surroundings.
And this was the impression made by Mr..
Huss's too liberal Use of the same material.
For the rest the Sonata il not too interest
ing The singing theme Of the Andante
II tender. as Is the second theme OF the last
movement.
Of the Beethoven quartet there is moth
ing but praise 10 he written-or would be,
had Il not been covered long ago with
much Of the glory Of words and were IL
not so familiar to music lovers
The Kneisel Quartet played as they have
seldom played here before. There was
a careful balance Of tone, a level OF sound,
which Is so desirable for these works and
which seems to be 80 difficult to attain.
Mr. Kneisels tone was far less strident
than usual. and from MIR. Schroeder's
cello there came a volume ana quality
OF sound seldom heard from any one in
strument. MIR. Huss played the piano
part Of his sonata with all the UNDERSTAND
ing and feeling one would expect OF COM
poser. The audience was unusually at
tentive
Also az Mendelssohn Hall, but In
the afternoon. MIR. Paolo Calico played a
very interesting programme Of piano com
positions and IN tins remark there is praise
Tor the performer, since the programme
itself contained nothing novel or unusual.
The T. ma jor Beethoven Sonata, Opus 100,
ESPECIALLY the last movement 81 variations.
was made 10 sound meanlngful 10y a care
ful and unTedantic reading. lIkeMise was
the St Sa6ns number Caprice on the
ballet airs from Gluck's "Alc'ste played
expressiVely. In ia" symphonic studies,
by Schumann, Mr. Calico was al hi- great
est disadvantagc. herr his touch Was l-aden
and pDssihl.. effects were blurred by in
judiclous use Of pedal Ihc-e same de-
fects were also prominent in IA" chopin
group A dainty, mOck-antique nfhdaun
bv Han, was d-licat"ly done, a. Wa the
Field n0cturne A - - liszt compO-
sitions oompl.tsd the Afternoon. III" audi
enc was 'ordial and Hpplau-ive