New-York tribune., 1920-04-14
Beethoven Society
Ends First Season
In Noted Triumph
Chamber Music, Ideally
Played, Heard Under Best
Conditions; Sonata Com
posed for Prussian King
By II. E. krehbiel

The Beethoven Association brough,
Its first season to a close with a con-
cert in Aeolian Hall last night. The
success which has attended the six
meetings has probably been surprise
to the members Of the association.
AT the outset it does not seem to
have had any deeper purpose than to
enable few artists Of first class abil-
ity and repute to forget the sordid con-
ventions Of their profession and per-
form music for the love of it. Bee
thoven's name, we believe, was chosen
as one providing rallying ground on
which all musicians could meet, not
because there was belief on the part
OF the originators of the plan that
there was need of propaganda for Bee
thoven's music
Its Future Assured
The ideality of the enterprise and
the delightful artistic fellowship which
it illustrated seem to have made a
pecullarlly eloquent appeal to the
lovers OF chamber music, and quite un-
expectedly the association finds itself
so we'll established in popular favor as
we'll as financially that it's future ac-
tlvlty seems assured. The name does
not necessarily imply restricted
horizon.
The program of last nights concert
embraced three compositions. the
pianoforte trio in D major, Op. 10, No,
/; the sonata in G minor, for piano
torte and violoncello, and the quintet in
y Tor two violins, two violas and vio-
loncello. In the trio the players we're
harold Bauer, Fritz Kreisler and Will
lem Willeke; in the sonata, Messrs
Bauer and Willeke; in the quintet
Messrs. Kreisler, Hans Letz, Louis
Svecenski, Eduard Kreiner and Willeke.
Novelty did not enter into this
scheme. The music was all familiar
to the majority of those who listened
o it, though the violoncello sonata does
not often figure on the programs Of
pubic concerts. 1t is the product of so
interesting an episode in Becthovens
career that it is worth discussion.
In 1896 Beethoven had been four
years a resident Of Vienna and fame
and prosperity had come to him. He
was admired beyond measure by the
muslc-lovlng arlstocracy Of the Aus
TRAN capital. He kept valet and
horse. He also felt the lure of travel:
ana, yielding to it, visited Prague and
Berlin, ,possibly y passing through Dres-
den and Leipsic.
Snuffbox of Gold
He spent several weeks in Berlin and
gave concerts at the court Of Frederick
William IL of Prussia. This King was
not only music lover, he was also an
amateur performer on the violoncello.
In his musical menage was Pierre Du-
port, violoncellist, brother of the
more famous Jean Louis Duport, crea-
tor Of the modern cello Technique For
him Beethoven composed two sonatas,
one in F major, one in G minor, and
with him he played the sonatas at a
court concert. He considered the rec
ompense which he received lordly 1t
was snuffbox filled with louis dor;
not, as Beethoven was wont to explain,
an ordinary snuffbox, but such one
as ambassadors received from royal
hands.
When he published the sonatas he
dedicated them to the Prussian monarch.
More significant than the story of
their origin is the fact that the
sonatas We're the first pieces of their
kind for which composer had written
out the part for the keyed instrument.
All their predecessors were solos with
figured bass accompaniment. Another
incident of Beethoven's visit to Berlin
was his association with Prince Louis
Ferdinand, the Kings nephew, whose
talent Beethoven esteemed and
estimated as much greater than that
,ian of Berlin at the time. TO the
prince Beethoven is reported to have
said: "Your hghness doesn't play in
l royal or princely fashion, but like
sound pianist!" Frederick William II
vas nephew Of Frederick the Great.
he successor of that royal flautist
md great-grandfather of the Hohen-
.ollern now sojourning for his health
II Holland.
Audience Breathless
The trio which opened the concert
IS that known in Germany as the
'Geistertro" because of the ghostly
mood Of its slow movements mood
hat was so eloquently pervasive in
asst nights performance that it was
listened to with almost breathless at
.ention. But so was all the music.
Tor that matter, the players being
bound together in an idea! union Of
and understanding and the
audience at one with them
1t was quite natural that this should
&c "o' lux tne ConOlIlOnS were perfect
'or chamber music-a harmony of rev.
aren't love, unselfish capacity to inter
'ret and grateful as we'll as intelli-
,ent appreciation. True aristocracy in
The artists, true aristocracy in the
hearers. The audience was more nu-
nerous than the auditorium proper
could accommodate; it requisitioned
he stage as we'll as all the chairs and
'oxes.