New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-11-26
MUSIC.
A DAY OF CHAMBER MUSIC

The Kneisel Quartet last night gave the first
,-re-t Of SIS eleventh New-York season in Men
5elsschn Han. where in the afternoon Mr. Frederic
rarord gave the second OF his rectals OF piano
,srte music mercitul Providence having silenced
orcsestr-s aHc opera singers Tor one day ttbe only
s;erensatl0n of the kind bestowed llpon the week,
music patrons were privileged, L 50 disposed 10
enjoy .our hours Of chamber music The musical
public dad Itself honor by appearing in more than
ban6eora numbers at the evening concert in spite
If the ched weather. which fatalists win soon
Rave Us believe is inseparable from Kneisel con-
eerts: and Mr. Lamond was compHmeuted by an
audience which made up in appreciative capacity
and understanding what IL lacked in numbers. Yet
q was not small ordinary recital audiences 90.
FOR the sensational field in which all criteria are
,brovn % the winds Mr. Lamond has not dis
closed any qualifications: and he is not likely To-
Eis is a healthy view of art, and he has little
use for The hysteT!ca the hysterica have for him
His program comprised music from half dozen
composers, yet its centre Of gravity lay in the di-
reston which his earlier performances pointed out
ss that which harbored his chief affection He
played The noble variations by Brahms on a theme
bv Handel he played Schumanns lofty tribute to
the names OF Beethoven the Fantasia in (; he
rlaved with a significance that must not be over
looke5J the mlaor Nocturre Of Chopin; he
played a Beethoven sonata. and he played guam
run sufcit Of the usual Lisztian transcrptions of
ether ideas; but everything that he played
he presented himself the interpretative musician
rather tLdH Is Nle p-afc-DFle NElGosO- Let II not
he thought that the meaning Of this is that his
pjavinF deficient in the skill that too many
peeple nowadays think is the sum Of vi-tuoscship
OF VLrlucsoship, III one sense, il may be. bat Of
rausiciarship never. There was skill Of the high
est order in Mr.. Lanond's playing but it de-
voted n the proclamations which the composer
wished 10 make not to the exploitation OF the in
stTunest which le happened 10 choose as his We
hicle Nr. Lamond has made il as plain pike
stan that he knows all about the secrets Of piano
~F-..~ srr4- rod
Of the tone Of the paaoforte 10 such an extent as
- be willing 10 sacrifice musical thought and
feeling 10 il, but he knows tts value and
rays tribute 70 il in a manly way. He IS
emotional when large emotions are 10 be eT-
dressed n an appropriately large way; lie
does rot translate large emotions into mere
sentiments. and utter these sentiments senti-
mentally. When such artists he play Bee
thoven's music, men who DO not stop 70 think
talk q academic conservatism, and try 10 per
susde themselves that any style Of playing Bee
thoven-s music which puts The purely musical idea
and is proper expression over purely sersuous
effect is peGantic academic and an injustice 20
the master. Who conlpre hended within himself all
the worlds and all the periods of music. II would
BE- vel il they We're 10 remember that Beethoven
once. 70 show 70 a casual visitor that his piano
.orte vas out Of tune, picked up his bootjGck and
h- some # The KEYS. For his music the piano
forte is only necessary agency. II chances 10 be
admirable ore, but one will ever appreciate
his pia1otorte works because they are not 'pianis
sic" "arpeggiate" 'Chopiuesque" Thank heaven,
they are far above such technical sway ComTos-
ers who write with 'ne-side3 appreciation
az the effects possible - that superb musical mi
Crocosu, the pianoforte pur down small ideas for
with them the iHtegument not The thought. is all
Nr Lamond vesterd. g. disclosed noble music molly
IN The Beethoven sonata. "LAdieu. Absence ct ls
Rsy-ur cor. 81, so he did in Schumanns Fantasia.
7 his listeners longed Tor greater beauty Of tone
81 was because he flayeG pieces in which sensUous
loveness took precedence over IDEA IN The mind Of
the composer
IN KuetseI and his associates cais tine one Who
vas new. in the person Of Nj Theodorovtcz second
rf7lfn--a worthy companion with proper appre-
cation Of how much Of the value Of his part lies
in ? sense of ACKNOWLEDGEMENTS which is
leadership gave concert IN The evening which in
rlr=s 70 several dlsquisitiens. Mr.. Knesel, Ike
ri Lamcnd. is said 70 be conservative in his
tastes ana methods. Yet he produced quartet
NV The Italian sg8mbati Gn sharp, minor. op. u,
trio fer 1iancforte. violin and violoncello in D
minor ny ire latter day Russian Arenski On which
Be- Ea1 The Russian Gabr-lcwitsch 10 play the
rianotorre parD snd came back 70 the classics
only for his final number. which was Beethoven
Quartet in e minor No / r NAV he that many
# his audience thought that the most refugent
ravs shone Il The last number. but the patrons
q he Eue.s= Quartet are used TO that briliancy.
end 90 they SHOWED themselves heartily apprecia-
tive e the other offerings Extremely interesting
they proved 10 oe, though not wholly new. A must
cal Baececker would have 70 put star before the
Sgambau Quartet and least tWo stars before
re SeaerZo Of me Arensd Trio. which failed Of
its perfect effect only because Mr. Gabrilowitsch
seemed disposed 70 sacrifice deIicacy and fnesse to
briI.5ncy. Nr. hneisel gave the cue ir the har-
Uor-c tones in his part had n been followed II
would have been even more rayishing than It was
II may seem invldous 70 particuiarize IN the play
Ing q such q company as The Knesei Quartet.
where beauty rests upon ensemble, but SiGnor
Sgambal gave NJ. Sveceuski. the viola, oppor
t-D.ty show the beauty Of his part ia the
dante, q which ~ made 50 beautiful a 10
cause The most lively comment