The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-02-09
OCTET BY ENESCO
STRIKING NOVELTY
Y Played for the First Time at
knci>cl Quartet Con
cert.
HEARD WITH INTEREST

~ ..I.,t concert ~ the kuc sci
pI,r,.. '.l. place. Iisi evening "a
,co'..r ui'l Tho '.,gr1mmc consisted
NzItt- quartet IN u minor. No.
90, u. t.r ko,,nci catalogue; GEORGE
.1esr,s octet 700 e. minor for strings.
nus = an G~oc,hoNgn's quartet in q
,,i,r opus -. 40 . The Fnesco COM
.,,,.ou wps heard Tor the frs; time
this country The players who as
.iod n. - p~.c-cuta;iou wee t.douari
ye,h.c. AID J. ts Brecsekiu. violius
Lou. Bu-'..uAu viola, aud jacques
Eertri. '.cio
Two o.jc. proved io zoe characteristic.
interest ~ ''s technical construction
"a .r' icI with tcmpcran'utnl quail
- l.,s., is ~ RImtuiau who has
sod fU, some years ~ iirls 'uu whose
French ,Il.ire has not crt,cd his af-
',c.l, f.r national musical idiUms, but
,.s fgr. .Jcl tIm with a certain amount
ne'fupU. AN Stlu.-hca;,uu in their
.cI.w.r. rl" composition heard last
.,...nr d closed So e striking and slim.
.,,'e utrrr- Er,scus elaborate ami
'.l,s ..'.urttc methods iu expanding
p, uu arr. nm themes derived from
l|li.oul! pl.,al thought
TIE u.i.. is % 'nJr movements. but
ne. rs on lut,rWlsairu only between
he a..t anL second. The progress OF
ire other ,l.ee Affords uo point at which
Haal .ddtryH MAY A' made. though
a seems 80 bc indicated a. tlc close
p ilc III. ri IN, FIRST j. entitled tres
mo'crc. The others are tres fougueuN.
Il. q. . 49,. =,
.lytNmcl.
TIE moIodjs ideas arc all idiomatic.
They have Eastern flavor and lean tow
,-d passionate utierauCe. In develop
en- the first movement approaches
.os. .losc'N ~ all TO familiar patterns.
sIiholgl It's ,liWaNes are reached in a
,-o'oss o. working ont more akin TO
4eamajI' composition than to the purely
.lst-um,p'll song OF chamber music
~ IN, ~,'tssi" type. This * not necces-
.r}, 4 figit. but a departure and one
which produces some striking. and even
.'it.Iuc effects.
s. m. very outset of this movement
ESQ shows a brilliant mastery Of
,ol,plo.N which does not fail him
-ougNuIi ms octet. Here the voice
;reauro9i leans more toward contrapun-
I s'Nl" tntl tu some other parts OF
o v"r.. where souorous chord harmon
- ary used. The thematiC ideas are
TO- all repeated in other movements
NJ the community plan Is followed
I'd certain Uylodic roots bear fruit
'h'o.sHHJ' the composition. In this
Ar, movement also the noncoufornity
f 'gr variety of rhythm. which ars
features of the whole. Immediately make
&c.,. appearance.
" the second movement impetuositl
communicated by broken lhythms anC
'or'-a!'.,orv figures among The eghI
.'rsweu'~. while At one point a siugu,
Ia. c~cr' - produced by the employment
80 s..r' chromd'ic runs PLAYED Amos
:.-.,ulo The SLOW movement is ex
tf-o'Irtrilt beautiful throush IN,
n1.. . ~ Is melodic thought and tn.
sN.a...te .olor Of It's harmonies and IL,
'.s'-Hw,r .'ion. The final movemen
'-.. .'N",i- tho composers fondues,
.'r 80 elaboration of his fancie,
~ 'u. detrimental combinations lean
e rHN'-d the orchestral IN style.
-, .rirsSsiou lcf, by tho composition
= ore ~ nervous excitement. Its N,go
g. ,-...r nearly all the time. an,
"'i''s 90 tryu~, seem 10 he TOO feN RI
", ,, .14nd 2, coucede the artist tn,
p. q s-. - revealing himself to US In
sustained mood of ardent passion IL IA,
. wills 70 Ne must object to any,hin!
70 'H.''! Ht 20 the obvious piling NJ
oc.'s ,'t.. of effects which seem to To-
eN'.s t'I nothing more.
h' . 3D. whole. M" octet has q ~pleu
90 ''>'.'" tl' o. has iudubitable quail
II - ue'i'U.s too plethoric il
81" 4. .. A. = ur 'n' other hand n"ye
''." ."r D. - clearly the creation