New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-01-08
CHAMBER MUSIC in
TW0CONCERT ROOMS
Too Much individuality in
Playing of Mighty Trio
A New Serenade.
By ". T.. KREHBIEI.

, OF large calibre. like Ysaye. Gerardy and
: Godowsky. chance to be in New YORK ~
the same time. their combination I'm a
concert should suggest thoughts OF the
I bargain counter In drygoods shop. This
/ to the ordinary and unnstructed observ-
crs Of musical affairs. who cannot help
concluding from the. circumstance that. In
! commercial phrase, the market Is over
stocked I'm the mind OF the cultured
J patron of music the commercial reflection
/ is paired with another no less grievous'
which is that the combination is made Tor
sensational purposes only-not for arts
( tic.
IF the conditions OF modern art HE
were different than they are-it they rep
resented such dealism as prevailed when
the lines between craftsmanship and art
merged into each other imperceptibly. as
once they did-then it might be imagined
| that the union of three artists OF the nrst
order in a common labor would be produc-
/ tive of the finest results. But perfection or
! ensemble in music is 10 be had only AT
: the cost Of Il sacrifice OF individuality
and devotion TO an unselfsh end. for
tuitous meeting Of individual factors, no
matter how admirable they may be In
! themselves, cannot produce IT, There
must be antecedent labor, meeting
of minds, ard affiiaton OF emotions.
/ Those essentials were not illustrated in
/ the concert given by the three artists
Whose names have been mentioned
| in Carnegie Hall yesterday afternoon.
Only NJ. Gerardy disclosed a Willingness
| to subordinate his individuality to the
general good. Mr. Godowsky seemed 10
be impressed with the convection that his
associates were merely helpers TO him.
and frequently made their cooperation
look like dumb play. A charitable view
might charge this to a misconception
growing out OF the surroundings Of the
affair, for chamber music In Carnegie
| Hall is as preposterous as a military band
concert would be in the Little Theatre.
But putting aside the question OF the su-
preme necessity OF intimacy In chamber
music-ntimacy between the performers
among themselves and intimacy between
performers and listeners which is quite
known that the relationship between sole
string instruments and the pianoforts
which existed when Beethoven wrote the
music which was played yesterday was
a very different thing from what II Is
to-day Beethovens pianoforte was not
a thing with skeleton Of steel built 10
resist a tension OF forty tons and the
muscular exertion of men with
"-thews of Anakim
And pulses of a Titan's heart,
but an instrument Of music whose tones
could be made TO blend amiably with
those of single violin and single vio-
loncello. The modern pianoforte IS a
monster compared with its predecessor OF
a century ago, and II It is to be used In
agreeable association with the companions
with which il was consorted yesterday
the player upon IL must be willing, as
Bully Bottom was, TO "aggravate' his
voice But under the conditions which
surrounded Yesterdays concert there can
be no chamber music in the true sense
mot even when Ysaye, Gerardy and Godow-
sky attempt TO make II. Inc music
played was all by Beethoven and the list
of pieces was arranged to prevent me
development OF climax. Like pyramid
standing on its apex, it began with the
Trio in b fiat Op. 81 C'Trio to the Arch
duke was the singular title given TO II
on the house bllD. followed by the Sonata
in A major for violoncello and pianoforte
and the Sonata in the same key (dedi
Gated to Kreutzer), Op. AZ. for panofortt
and violin. large audience heard the
concert and applauded generously. bu
the room was far from full.
There was a nearer approach 10 the
spirit OF chamber music in the concert
given by the Zoellner Quartet, family
party evidently, and undistinguished By
special excellence in any department, a
Aeolian Hall last night. The playing o.
the quartet, which is led by lady, is fai
from perfect. technically; in fact, 1t l.
frequently distressing in It's information
but the four musicians play with mos
obvious sincerity, with fine understand
ing of the mission OF each instrument
and show a devotion 10 the ensemble
ideal which is I'm the highest degree
praiseworthy. The programme consisted
of a suite in by Glazounow, Op. 30;
romantic seIenade by Jan -Brandts-bLy'
"a composer new 70 local lists. and tn
familiar quartet by Haydn, In G. desig
mated as Op. IS. No. !, in the catalogues
The new serenade is modern In spirit
but in the succession OF its movement
preserves the old scheme made familia
by the composers OF the latter end OF th'
eighteenth century. IL begins with
nocturne in which. amid the murmurs Of
night, the viola sings the "doleful dump
which Shakespeare recommends 10 TN
lover IN THE Two Gentlemen OF Verona.
The march Of the approaching serenader'
follows. then the serenade. the departure
and all ends with a second nocturna
mood picture. The music has fascinat
ing color. and is a fine example OF new
wine poured into old bottles.