Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-02-12
THE RICH QUARTET
Camille Zeckwer's Composition a Fea-
ture of the Fourth Concert

The Rich Quartet gave the fourth con-
cert Of its current seasons series last
evening at Witherspoon Hall. 1t had the
assistance of Susanna Dercum, contralto,
as soloist: Ellis Clark l1ammann as aC-
Companist, and Camille ZcCkwer, as par
ticipant in rendition of his own n
minor quartet for piano, violin, viola and
cello.
Tho quartet, which for personnel still
includes the concertmaster Of the Phia-
dclphia Orchestra as first violin, Hedda
van dem Beemt, second violin; Alfred
Lerenz, violin, and Hans Kinder. violon-
cello, opened with DVoraK's + major quar-
tet, and likewisc was heard In Hans Him
mer's adagio and Percy Grainger's Irish
reel for strings. MOLLY on the Shore"
Miss Dercum off "ed two groups, one of
Leder, including Rublnstcin's Der
Asra," Riedel's "Wie Stolz und Statt-
Itch" and Brahms so Whilst Du Des Ar
men" and another of Songs in English"
bracketing Mrs. II. II, A. Beach's 'Ah.
Love But n Day." Roger Quilter's April
and Sanderson's "Harbor Night Song"
Very fine ensemble playing was the
substance of the performance. Coming
after the kneisels in the same hall by 4
night the local organization did not lag
very far behind the classic association of
string instrumentalists in merits of tech
meal efficiency and II had the splendid
Verve of eupeptc youth which its more
elderly relative has outgrown. For the
romance which Mr.. Rich and his as
sociates brought to Dvorak and the
glamours of mood and sweep of move
ment which they brought out of the
treasure-house of his melodies even the
confirmed Classcist could and would
condone lack OF the conservative tenn
perament, with which the Kneisels con-
ceivably would have wrought out their
Interpretation Of the Bohemians work
Severity was absent in favor of the tang
of individual racial music; II smacked of
the soil as all Dvorak's compositions
should
Mr.. Zeckwer heard only last week as
composer with the orchestra, very cap
ably articulated the piano part with the
strings i'm his quartet which bears the
opus number 9. II Is more than a cred !
liable piece of composition, for the them |
attic material has inspiration. and the |
partition is varied firm and compact. |
There is d rare integrity about the work; |
II has no padding, or what has been |
called waterfalls" in the sense OF a |
current which keeps the music going |
from one worthwhile phase to another; |
all Of IL Is worth while. because II Is all /
and unmannered.
The adagio by Mr. Himmer, once a
member OF the orchestra, Is a trihe-in-
deed, IL is not too derogatory to term 1t /
trliiinR. OF course, the composer made /
the part for his instrument, the cello.
predominant and Mr.. kindler, the very /
talented and yivaclOus young musician
who now modestly occupies his desk
lavished great care on the notes, while
his colleagues gave substantial support |
TO what is a miniature concerto for cello
with restricted orchestral background
supplied by the strings. Grainger's four
some" as he calls 1t, for four hddles of
different species, had all the lifting and
II lght-toed grace Of the reading given Il !
4 few weeks since under Mr.. Richs dl-
rection at the orchestra concerts.
Miss Dercum's solos were a pleasing
adjunct to a pleasant evening. Velvety |
a quality and in quantity voluminOus.
ler voice can be both dramatic ana sem
-imental, W. r. "a. J