New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-01-14
The kneiseI Quartet and
Oscar SeagIe Give
Concerts.
A NOTE ON BRAHMS'S
QUINTET IN q
The Correspondence of the Com
poser and His Interpreter
Joachim.
BY N. o.. kRfIIBIEI.

AeOlan Hail yesterday, ana DIdNtu 1"V
wintry blasts 10 do so, must have felt IN
the afternoon like pitching their tents
and remaining there. FOR there was over
two hours Of il in the afternoon and as
much more IN the evening The first al
fair. though announced as a song recital
by Mr. oscar Seagle. was more than that
for Mr.. Yves Nat, who played the sing
ers' Accomplishments. also asked hear
ing as pianoforte vlrtuoso He proved
that he was entitled TO individual consid-
GRAFTON by a thoroughly artistic perform
ance Of Schumann's symphonic Studies.
As well as some smaller pieces which
were marked by the same beauty OF
touch rhythmical crispness and delcacy
Of feeling that distinguished his accom-
PAYMENTS and contributed large factor
10 the success OF Mr.. Seagle's songs.
Mr. seagle was heard here in recital
under conditions not quite so favorable AZ
those of yesterday last year, and then
and since then has been heard. we be-
lieye, in polite drawing rooms, which offer
the best field for his very ingratiatinS
talents. His voice is light BARITONE
which. We fancy would soon be devel-
oped into a dramatic tenor If he had elect
ed 10 become singer OF German opera.
II is not remarkable either in quality or
volume. but Il has been admirably
schooled, and he shows intelligence and
taste I'm its management. As singing pure
and simple anything more exquisite than
the old French songs which he sang in
the first part OF his programme could
scarcely be asked. despite the fact that
they seemed "A trife tnged with preci-
osity. When he reached the modern art
songs OF Chausson, Widor Paladilhe and
Debussy, however. the charm Of his vo-
calizaton could not quite make up for
monotony Of style for which the music
was not wholly to blame and in his inter
probation of SchUmann's "ProveHalisches
Lied" and two songs by Brahms C'Alte
Liebe" and "Botschaft'D he was unquali-
nedly disappointing. Not only was SEN
timent absent. but appreciation OF the
melodic and rhythmic lines as well.
The evening concert was the third for
this season of the Kneisel Quartets
series The announcement serves in itself
to inform the lovers OF chamber music
that the affair provided two hours of the
oftiest sort Of aesthetic delight. There is
nothing capricious or fortuitous in the
performances of Mr.. Kneisel and his as
sociates. They are masters OF ensemble
playing, and when they play compost
lions for which they have a particular
affection their listeners sit with them in
spiritual communion and ask nothing
afterward in the nature OF critical COM
ment or analysis. Such was The case
last night, when the programme consisted
of Vincent Indy's quartet in + major
(Op. i5l, Beethoven's quartet in + (Op.
90. No. u and Brahms's quintet for strings
i'm q (Op. 1lD. In the last number the
quartet had the help of J. Kovarik AS
second viola.
Mr.. Kneisel introduced tho quartet by
d'Indy 70 his patrons in December. 1905,
when the composer was visiting America
and himself took part in a Kneisel con-
cert in Mendelssohn Hall. II was won
derfully played then, as II was again las,
night. and also then. as last night, II was
forced 10 pale its Intellectual fires by the
music which came after II, which was
then a quartet by HAYDN. Last night the
atmosphere Of labored reflection which II
created was freshcned by the familiar
Beethoven quartet. and its impressions
were wholly and happily disspated by
the superb quintet of the last great Ger
man master OF music. The evenings en-
ioyments were thus characterized by
beautifully planned development up TO
climax which sent the audience home
with mind end senses pulsing with en-
ioyment Mr.. Kneisel and HIS fellows
have cultivated an affection FOR d INDY
composition, and many Of their patrons
who cultivate chamber music IN then
homes have also learned 20 like H. IL
would be churllsh TO quarrel with them on
that account, for in several respects II Is
masterful piece OF music. But TO admire
II one must have a large respect Tor IN
cenious workmanship and be willing 10
let naive inspiration wait upon II. Nhat
IL best Illustrates is skill IN thematlc
workmanship: what II exhibits least IS
that emotionality which is the soul OF
music. At its base lies a motif OF four
notes which has frequently been eX-
nloited. but never so beautifully as by
Mozart IN the fndl' OL MS JuPi''i - ~
phonv, though the eighteenth century
master never dreamed that so curt
figure could be twisted into so many
rhvthmical shapes. surrounded with such
a multitude OF harmonies or filled with so
much color 81 the master handicraftsman
who wrote century after him. The
work is polyphonie from beginning 10
end I'm scarcely measure do the instru-
ments pursue homophonic course. The
treatment Of the four voices is quite as
extraordinary; each proceeds on It's
course with absolute independence. shift
ing their relative positions continually
bass and middle soaring over the heads OF
first first diving into the depths while
the others soar over II, then emerging
and climbing to the highest attainable
attitudes For two movements puzzled
wonder and startled interest are the only
emotions aroused. In the slow move
ment however, strange beauty rises
from the Interviewing voices and grows
in intensity until the listeners are carried
off into a new world OF fsthetic pleasure
The finale is full OF animation, but also
az charm. Yet when all was over the
strongest impression left was that OF ad-
miration At the performance OF MT.
Kneisel and his associates. IL was little
short OF miraculous in its precision, It's
.,..,.. 80 iuf,r.tiou its elasticity. Its