The sun., 1901-04-10
kNEISEL QUARTET CONCERT,
AZ the Last Of the Series the kneisci Quartet
Plays Beethoven. whiting and Schubert.

The Kneisel quartet gave It's farewell con-
cert Of the season In Mendelssohn Hall last
night The programme was this Beet
hoven quartet Ia T. fat, op. l27 in nat
Arthur Writings new Qunt ct for piano
and strings, aud the beautiful string Quin-
tot OF schubert for two violins viola and
and two 'cellos. op. 1873. Mr. whiting played
the piano part Of his own music and Mr.
Carl Barth the second cello part Of the Schn-
bert quintet. There wns u large audience
present
Some months ago an English musical critic
complained that the public tired OF the full-
nedged sonata, showing "grieviou1 pre-
die Ition for snippets. Possibly the cause oi
thiswas the appearance OF several sonataS OF
form not orthodox. The modern tendency
In symphony and sonata Is toward conden-
sation and continuity. A cyclical piece that
proceeds from beginning TO end without break
Is no longer n novelty. and many modern COIN
posers employ stricking motto throughout
In their desire for organic unity. Another ana
il seems more thorough plnn has been sug-
gested A first movement-and after an the
first movement form OF the sonata Is its Key
stonc-Is made to merge INTO second moNe,
mert without development or free fantasia
section When the last movement IL reached,
fresh thcmsl IL material may be employed ana
their recaIiuilation follow. or the entire
finale he built up Of the principal subjects In
the nrpCochinq movements
Wapner's funeral march OF SieNfried Is
nothing but q professional recapltplation
and concentration OF subjects heard before, ,n
the last movement of his Manfred" SYM
phony Mr. whiting in his plano quintet.
which l. stl In mahnuscrnr runs rSs sne TSEe neips
leading allegro theme briefly dsyeloprssd; !.
this followed by second subject Inc
A. Tree
fantasy, with return Of the hrst theme.
and the scherzo brings In new matter ns
trio howeyer 6sns BEING ne ne sscond o S snescI IN pre-
view the material OF the preceding move
ments
turally compact Celtic. very Celtic i the
meiodic basis There Is the Celtic, or Gaelic
| II you will. Keeninp and GROOM IN the an,
Irish-ike melody principally sounded by
| the strings The piano plays a modest role
throughout, its principal opPoTtnni,ti,e,In BENG
! Of muted fantasy In a dramatic enun--
| ciation during the andantino. For the rest
delights in graceful. though not elaborate
gives give, kaieldoscopio flashes Of tho entire
! quintet, which Is lyric tmpassloned' mono
! phonic rather than folloNwins, In any OF the
Brahms and beaten tracks % some esptoinIy qt tnS
one Of his most auspicIous compositions and
was very well received
The compelling charm Of the evening lay
| in the lovely major string quintet OF Schu-
| bert It's adaRio IL inimitahIe how music;
music that must ~ absolute music pure and
| undenled make all composers sigh And II
was played we-nigh unto perfection The
quartet pnriy had warmed up by mat time
! and with MIR Bar'hs second cello the entire
work, dripping with melody, received most
| sympnthcic treatment Wagner knew tins
quintet very well aud did not fail 70 remem-
! her II later in life The difficult Beethoven
quartet was well executed in spots The
| adagio was not the b st read
| number Nessrs Knelse OndriCek, Svecenskt
| and Schroeder were recalled and with much
| enthusias,u the evening and kreiSel season
! plosed on a very satisfactory note.