The New York herald., 1921-11-23
Flonzaley Quartet
Opens With NeW
Rumanian Music
Quartet by George Enesco Is
Performed for the First
Time Here.
by w. j. HENDERSON.

The late Edward J. De Coppet be-
queathed priceless legacy to the musi-
cal world when he founded the F1onzaley
Quartet. 1t was greatly needed in its
earlier days as a contrast and foil to
the Kneisel organization, whose style
Kneisel and his associates retired from
the chamber music field the Flonzaley
Quartet has easily occupied an unchal-
lenged position and its public comprises
and other cities.
Last evening 1t gave the first concert
OF its eeason In Aeolian Hall. The oc-
casion assumed a special Importance by
reason of the initial performance of a
new quartet by George Enesco, the
Rumanian composer, who has long lived
in Paris. The work, which Is in E fat
major and is dedicated to the Flonzaley
players, was begun before the outbreak
of the great war. Two movements had
been written before the composers mind
was distracted from his art. The otner
two were made recently and naturally
there is q perceptible difference In quail
ity between the two halves OF the COM
position.
This difference betrays itself in the
larger warmth and spontaneity Of the
frst two movements. The third and
fourth show the pale light os the mid
night oil They are indisputably the
products OF a musical mind working I'm
congenial field, but the inspiration
which fired the original conceptions of
the quartet had been permitted to die
and to resurrect It was labor of love
indeed, but palpable labor neverthe-
less.
The first and second movements are
brilliant chamber music. At the opening
is heard what may be called the germi-
nal theme OF the entire composition. 1t
Is announced In what musicians call
canon" form and is then led through
series Of stirringly effective develop
ments in which there Is some unusually
planned, but entirely successful solo
writing for each Of the four instruments.
The cantabile theme which furnishes
the customary contrast Is plainly de-
rived from the fundamental theme and
by this process the movement acquires
well knit organization, which is not
too badly exposed. but sbilfully clothed
with instrumental and harmonic decora-
ticns almost invariably suitable and
quite invariably interesting.
In the second movement the funda-
mental theme Of the work recurs in OPP
position to O second theme OF chromatic
character. This movement contains
some of the most original treatment In
the entire quartet and holds the lis
tener's interest closely throughout. The
scherzo Is overladen with device, and
the same may be said of the finale, in
which again the root theme plays ar
important role.
But the quartet as a whole leaves a
strong impression. 1t is good music
It has melodic beauty. 1t has richness
of harmonization without too great a
parade of dissonance for its own sake
Tho purpose of the composers modula-
tions Is usually clear. The four instru-
ments OF tho quartet have numerous
opportunities for Individual utterance
Even the second violin has an importan,
and indeed beautiful solo in the finale.
The last pa ges Of the composition are
grandiose In style, but the straining for
effect is rather rudeiy unmasked. Yet
the close is not without a certain i'm
: essiveness. The composition was
sUperbly played. 1t was a severe tes,
Of the intonation and balance Of the
Flonzaley players, but they emerged tri.
umphant.
The other numbers on the programme
were Mozart's d major quartet, opus
499, In the Koechel catalogue, and Bee
thoyen,s In d major. opus IS. No. 3.