New-York tribune., 1922-02-14
seMr of Seasons Programs
Given by Association De-
;Sotcd to Works of the
Immortal Musical Trio
Artists Heighten Pleasure
Heifciz Collaborates in Civ
ing Evening of Delight
TO Sympathetic Audience
By n. T.. krchbiel


Of the Beethoven Association in
Acalan Hall only music by Bach,
beethoven and Brahm. was heard The
tnaSer Of Bonn began the program
wit the Serenade in D, for violin. viola
and violoncello and ended it with
Slo third OF the ouartet's Op. SO. dedi-
Gated to Count Rasoumoffsky. After
tho trio, Messrs. Georges Bsrrere and
Auftlio Giorni played sonata in +
for fute and clav;er by Bach, and be-
fore the quartet Mr.. George Mcader
sang a group Of four songs, to which
pinte the audience asked for more, he
added hfth. the serenade, Der Mond
Scieint uber die Bcrge" His set
nu1ibers were An cine Aeolsharfe, >"
lsa."
l1 all he had the cooperation Of
Coknraxd V. Bos, whose accompani-
merits are always as striking feature
of the Assoc atoms concerts as the
playing Of The other musicians. who
out Of love for their art put aside
,nsir virtuoso character and join in
ne ensembles which make these con-
cers notable. At the preceding con-
cent it was the collaboration OF Nh.
Sllbti on the eve OF his first concert
vh'eh invited sdmiring comment; last
ght 1t was the cola bora ton Of Mr.
Heifetz. VINO had enjovcd onlv brief
respite from his lxbors ut concert
IF his own III Carnegie Hall He LED
'ha trio At the beginning and also the
quartet a. the end. having AS his as
sotIstes Hugo kortschak, Rene Poi
'alns and Wil.em Willeke
Artists Enjoy Their Work. Too
As in ali the meetings since the or
eanization. the obvious enjoyment
rhsch the artists found in their play
ing heightened the enjoyment Of the
listeners. II would scarcely be an eN-
agEeration 10 say that every measure
of the music, except tr1 sonata for
hute and plsnoforte. was familiar 70
every one in the audience This so
nata. though the most archaic piece IN
ne iist, was, however. AZ refreshing a.
fare June day. so fascinating was
me music itself. so exquisitely artistic
Il > performance by Messrs. Barrare
aHe, Glorni IN respect of sympathetic
rderstanding, quality Of tone and
phrasing contrapuntal Interviewing
anf soul filing in rs loveliness and
grace.
The other instrumental pieces.
,noasn played without opportunity for
the long and careful preparation which
pexfect ensemble performances exact,
wcre delightful exhibitions Of now
sl1icere artists can penetrate TO the
nesft of great conlpositions when they
use the wings OF enthusiasm and love
Al Hclietz s associates were all tried.
traqHed and seasoned ensemble PLAYERS.
ncrsthelr admirable work offered no
surprise, but it was gratifying TO note
the sincerity and sympathetic intelli~
Sence Of his leadership IN the quartet
especially
he performance Of Beethoven's
Sevenade II D by three artists like
Messrs. Heifetz. Pollaine and Wi}leke.
amp under such exceptional. not TO say
".istocratic. conditions, invites to some
.hserva;ions on the work. lonr a
faforte piece of music among ANA
t'nr as well as professional players o..
chSmber music. II vas composed in
'ss or 1897. about five wears after
Beethoven, "a small, thin. darkroom
pi.fSioned. pockmarked. dalk-eved, be
wiEged Young musicians" as Thayer de-
scffoed him, had come to Vienna TO
small. thin, arS-complexioncd. Dock-
marked, black-cyed and bewigged vet
IAN composer r"-otherrisc Josepi,
Haydn. That Beethoven laid consider
an|f store by the work. which sounds
very ingenious but nevertheless beau
figul 20 our sophisticated ears to-day
,sitndicated by the fact that he pub
llsred it soon after he had written it
rrf ton years later sanctioned the pub
n of
movement, the polonaise, for two VIC
illY and for violin and guitar SooT
a.fer It's origina publication the com.
rdser himself revised an arrangement
OF, It "a rotturno for pianoforte anl
v'ota COP. a2). This title. as we'll a.
-'at of screnade, suggests tho origin
ce the form exemplifed in the coniposi
on. This form was extremely popu.
lay. in the eighteenth century. There
IN round dozen se-enadcs among
Mss compositions.
sshe character Of the various move.
1leHts. as we'll as their order. grows oft
of the purpose for which the soronadc
vas invented and which is indicated by
~. ttic During a. least three cen
t'tT,es before our own It wes no un-
rekrroH thing for a lover to bring the
t.1tute OF musical performance to
va sweetheart, and i, was not alrsvs
ssbailad sung to The s.rummng Of q
:9tar. That II eorretiNes took tho
frrr os concert of digniiied proro~-
tlsfs is indicated in Proters's advice
tatJ hurlo in Shakespeare "Two Gen
'tmcn of Verona"
va ~ night your lady's cnsmbor wsn.
wa, some sweat corcer.: to their instru-
~ dcpiorinc dump; ths night. dread
WI ~e' beconle such sweet complsinlug
=. How Sercradc Took Form
10 yeas from the use OF music thus
staSested that the instrumental serc-
rsAc TOOK the fo,rn which IS st,ll Illus
l3<eed in Recthoven's seronade. though
ot its medium. for being intended for
performance oUt-of-doors the serensdcs
i9f;- 30 those of Mozayts day werecom
st>G Tor wind instruments the oldest
Il oboes and bassoons. These old
SssenadeS orened with march to the
st-$ins Of which We may imagine the
musicians approaching my lady's win
c$t. Then came rlinuet to prep- re
hfJ. ear for the "deploring dump this
SNng . moulnfui or sentimental piece
y, pusic, or. as Shakespeare character
i1ss It, Sweet, complaining griev-
a!.ae." There followed piece in merry
tt-apo and rhythym. then a second
Svoful ballad 10 the mistress eye
nqw.' and the entertainment generally
eShed with march to which we can
Nacy the musicians departing from
,te scene. This succession of pieces is
ilfstrated in Beethoven's Op. 8: march,
kA