New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-12
Play Schumann and Beeth-
oven at Memorial Con-
cert 10 Pianist.
GIVE NEW WORK
BY JEAN SIBELlUS
Finnish Composers String
Quartet a Unique Addition
to Chamber Music.
BY II. +. kREHBIEL.

ny -. IT,. hhbiiDiLis-
To the interest which is always invited
by concert Of the Kneisel quartet that
given in Aeolan Hall last night added
the attraction OF a new work by Jean
Siblius, the Finnish composer, and an
appeal to gracious sentiment in the
shape of performance of two com
positions in honor Of the memory Of
Rafael Josefy, who died last June.
JosefTy was not only a great admirer
Of the Kneisel Quartet, but also a col
laborator with it at intervals through
long term OF years-an ideal collabo-
rator, moreover. In no work was the
sympathetic relationship which existed
between the pianist and the quartet
better exempllfied than in Schumann's
pianoforte quintet, which fact, no
doubt, explains its choice as one Of the
memorial pieces. The other was the
Cavatlna from Beethoven's quartet in
fiat, Op. 1870. For this music Mr.
Josefy is said 20 have felt a peculiarly
ardent love. Small wonder, for it is
one of the most luminous of the many
golden pages created by the immortal
as near TO the gates of heaven as ever
mortal musician approached. Beethoven
was not in the habit of becoming senti-
mental over his own creations, but he
confessed 10 HolZ, whose helpful
friendship was one ofthe comforts of
his last years on earth. that no other
composition of his affected him so
deeply as this slow movement, and that
long after he had written il lit was
composed in 1925 and performed for
the first time in public about a year
before his DEATH ne could not put him
self back in thought 70 the time of its
composition without tear
The work Of which the Cavatina
forms part Beethoven called his
Leibquartet, indicating by this word
that 1t was especially dear TO him. Its
last performance in New York by the
kneisel Quartet took place nearly
two years ago. on which occasion The
Tribune published some unfamiliar his
tory about IT, This need not be re-
peated to-day, though we cannot resist
the temptation to recall an anecdote
because of its amusing illustration of
Beethoven's attitude toward his pub
fishers. Schlesinger, Partisan pub
Usher. whose reputation among has
colleagues was not of the best, having
secured the publication rights of the
B-hat Quartet, made an effort to get
possession of the autograph manu-
script of the Quartet in A minor, Op.
1872, which. though bearing a later
opus number, was composed before the
one in b flat HolZ represented 70
Beethoven that the autograph would be
an asset for nephew Karl, who was
- - ..pfs ri
OF the same opinion, and supported
Hollis statement with the argument
that such Capitalien grow more valua-
Bile with age and that he was sure
Schlesinger would sell the manuscript
for at least 80 ducats if he got II.
Beethoven expressed indifference as 10
which publisher got the works. so long
as he was promptly paid. I'm urging
ha ste upon Holz, who had undertaken
to look after the copying OF the b-nat
Quartet, he wrote in his conversation
book: at is immaterlal which hell
hound ticks and gnaws my brains. since
n must needs be so; only see That the
answer is not delayed TOO long Inc
hellhound in J.. lLeipsicD can wait, and
meanwhile entertain himself WIN
'Nephistopheles' the editor of a must
cal journal is meant IN Auetoach
cellar He will soon be plucked by me
ears by Beelzebub, the chief OF devils.
II was obvious from the manner IN
which Mr. Kneisel and his men played
the Cayatina last night that they iel'
the solemnity Of the occasion. II was
as near perfection IN quartet playing
as one is ever likely TO hear.
In Harold Bauer the hneisels long
ago found an ideal associate. an en-
sembe player who is wholly unselhsn'
who thinks and feels instinctiyely with
has fellows and plays, not for himself
nor for them, but solely for he glory
of the composer and his music. 20 IL
was again last night.
The new work by Sibelius was quar-
tot for strings I'm d minor. Strictly
sneaking. II is not "A new work except
i'm the sense that it had never before
been performed publicly in New YORK.
PerhaDs one reason for this mas
been that u offers difficulties TO
the performers which are surmount-
able only by consummate vlrtuosl.
Il was published SIX O. seven
Years AGO. There is much that
is pulling about Il. including the
relevancy of its title, "Noces intim9,
and il would require score OF eN-
amples from its score 10 make de-
scription Of il Ineligible. IL is, so u
seemed to Us on this hearing. unique
i'm chamber music literature so far as IT'S
style is concerned but 1t Is not bizarre
and incomprehensible in purpose. like
the Finnish composers last symphony
Neither does il ape the quartets Of
Schoenberg and the young French
school i'm using means OF expression
foreign 20 the instrumental apparatus
which il employs. II does not strut
and strive 10 be orchestral. Through
out the four instruments speak the
language native TO them. Nor does %
disclose adventures in strange har-
monte fields. But its thematic material
is strangely individual and it is full Of
startling Interruptions. which. m the
first movement especially, cause so
much bewilderment as 10 make quiet
enjoyment impossible. II has many
beauties, but several hearings will be
needed for their perfect recognition.
Even the trained hearers, who compose
the majority Of the Kneisel audience.
seemed nonplussed, and only the splen-
did tour dc force accomplished by the
players stirred last nights listeners TO
enthusiasm.
WHAT Is GOING On TO-DAY.
Free admission % tte American Museum ~ MAJ
urA hstus. tle Metropolitan Museum ~ Az.