Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-01-20
ANCIENT MUSIC HEARD
IN CHAMBER RECITAL
Society of Ancient instruments
Gives Fine Concert in Cham
ber Music Series

The musical clock of Philadelphia was
turned back 200 years yesterday afternoon
at the delightful concert given by the So
cety of Ancient Instruments under the
auspices of the Chamber Music Association at
the Bellevue Stratford.
The instruments played by the members
of the society are five in number. the auinton'
or treble viol. forerunner Of the modern
violin; the viola damour, which is wei
known to concert-goers and cannot even now
be termed obsolete: the viola da galnba'
forerunner of the violoncello; the bass VOL
a Sarge instrument OF the cello type, out
differing materially from our contrabass, and
the harpe luth. a kind of harp without pedals
and somewhat smaller than the modern in
strument.
The tones of the viols are delicate but
penetrating, and Of exquisite quality. 1t is
possible to obtain from them effects which
cannot be produced modern instruments
by reason of their construction. This is
especially noticeable in the very soft pas
sages notably in the lower registers. where
the tones clearly defined and without
any suggestion Of "nluddiness, even where
the harmony lies close together On the
other hand. the tones of the vols undeniably
lack the fexibility of the instruments of
which they were the prototypes and bril-
liancy, in the modern musical sense Of the
word. is impossible.
The five instruments were beautifully
played by Maurice Hewitt. qulnton; Henri
Casadesus. viola damOur: Jean Charron,
viola da gambia. Maurice Devilliers, bass viol.
and Nine. Casadesus harpe luth. Mr.. Hewitt
played "A sOnatina for uuintOn and luth and
Mr.. Casadesus played fantasie for viola
d'amour accompanied by the other members
of the society Both these works called for
considerable execution and were played with
the utmost grace and deltcaCy.
The following program was played:
! IpnNu IL, .1ra''
Sonatinc ...........,...,.I Y. FranCo"ur
concerto pour Violcs. s.....,..,..,..,.r Z, Hach
"Itaet do la Royne'' '................,. MUusiGny
Judging from the dates OF the composers
whose works were performed, they were in
! the last group of those who wrote for the
| viols which were. superseded by the violin
VIOLA cello and bass which we know In the
eighteenth century. The works were all
formal in style, with strict contrapuntal
| writing, but are well adapted to the capabi-
| ties and tone qualities of the viols They
were especially interesting In showing the
struggles which the composers OF that day
were making toward what Haydn. rev
| wears later, crystalized into sonata form and
| a definite style of writing for stringed in
| struments The germ of the classic string
| quartet is clearly indicated in several of
| the compositions played yesterday.
Where all the parts Were well played
| and the old thine atmosphere so perfectly
| maintained. it is difficult to mention any
| points of merit attained in one work which
| was not reached in all The Society of An
| cient Instruments does fine work. not only
| in letting present-day music lovers hear
| works which are seldom given in their origi-
| nal form but also in revealing the ideals of
| tonal beauty and musical construction for
which composers strove zoo years ago.