New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1922-04-18
Archaic Works Are
Given at Beethoven
Association Finale
Students of the Institute of
Musical Art Help Atone
for Features Criticized in
Other Concerts of Season
By n. E. krehbiel

The luster of the Beethoven Asso-
citation, which was somewhat dimmed
by some of the features of two of its
concerts this season, shone refulgent
again last night, when it ended the
third year Of its existence with a con-
cert in Aeolian Hall of extra ordinary
interest and beauty. Associated with
group of professional musicians was
small string orchestra of students,
graduates and undergraduates of the
Institute of Musical Art under the direc-
ton of Franz Kneisel, with whose
help two archaic compositions of IN
usual interest were performed with all
the spirit and finish that might have
been expected of professional men
picked from the city's orchestral organ
izations. The pieces were a Clavier
concerto in E minor by Wilhelm
Friedman Bach the solo part played
by Mr.. Ernest Hutcheson. as was to have
been expected from a musician who is
at once virtuoso and devoted clas-
steal scholar. The work itself, full of
beauty, was a characteristic example
of the style with which this, the most
talented of the sons of the great Sc
bastian, bridged over the period inter
vening between the Leipzig cantor's
achievements and those of Haydn and
Mozart.
That Wilhelm Friedman was not as
stout in his morals as he was gifted in
art found illustration in the second
archaic number, which was Vivaldi's
concerto crosse in D minor, for two
violins and violoncello, with accom-
paniment for strings and figured bass
/ fy,lo ,irrt1+ %,o,,
and taste on pianoforte and organ. To
this composition, though there was no
intimation of the fact in the house
bills announcement, there clings bit
of history that smacks of moral
obi1qulty. We are writing away from
all evidence and trusting to memory
alone, but have an impression that
when this piece of music became known
| to the musicians of a century or less
ago it bore the name of the same Will
helm Friedman Bach, who had found
it among his great fathers postum
nous papers and given it out as a COM
position of his own. Later it was dis
covered that Johann Sebastian had
Transcribed it as an organ concerto, as
he did other works of the famous
Italian composer whom he admired. In
this form only it was known by scholars
until not many years ago, when man
uScrlpt to which the dissipated Wilhelm
Friedman had appended his name was
discovered. We do not recall exactly
when it was, but within the last decade,
! that We saw it in the hands of Mr..
( Sam Frankie, of this city, who edited it
as a work of Vivaldi's and gave it
| to the public through the press of G
Schirmer. This edition, we believe
! had not reached the eyes of MI
Kneisel when he performed it at q
meeting of the Bohemians some
weeks ago. which performance led to
that of last night. So Vivaldi was re-
stored to his rights at this concert and
simultaneously the cognoscenti in the
audience, whether familiar with the
singular history of the work or not
were enabled to make comparison OF
the creative ability of the real com
poser and the genius who, for reason
which can only be surmised, was will
ing to appear in the role of plagiar
list. 1t is said that the superior genius
of Johann Sebastian Bach is disclosed
by some changes which he made il
Vivaldi's work when he Transcribed il
for the organ.
The rest of the evenings music was
moro modern and all familiar Mr.
George Hamlin sang eloquently sonf
by J. S. Bach go Jesulein suss")
Handel's profoundly affecting "Tota
Eclipse" (from "Samson") and songs b!
Schumann, Brahms and Wolf, to trans
portingly beautiful accompaniment
played by Mr. Harold Bauer, whc
Joined Michel, Piastro, Louis Svecenski
Emmeran Stoeber and Z. L. Mandy il
a performance of Schubert's "Forellen'
I nuintet