Evening star., 1937-04-11
BY ALICE EVERSMAN,

The distinguished German COM
poser, Paul Hindemith, was the lion
of yesterday mornings concert of the
Eighth Festival of Chamber Music
being given this week at the Library
of Congress under the auspices of the
Elizabeth Sprague Coolidge Founda-
ton Not only was the morning
program devoted to Mr.. Hindemiths S
compositions, but the composer him.
self appeared as soloist in his Sonata
Op. %, No. l. for viola alone Eagerly
awaited after the interest inspired
by the first numbers heard, Mr..
Hindemith was greeted with prolonged
applause on his entrance, the audi
ence rising to do him honor.
From time to time, works by this
outstanding musical writer of Ger
many have been performed here with
varying success. but, with the excep-
ton of the viola sonata, the pro-
grammed numbers were heard in
America for the first time yesterday.
For the most part they were the
output of last year and the year
before, with the remainder dating
from 1922 and 1925, the latter, four
part songs, revised this year The
interesting part about these dates
is that it marks two distinct periods
of thought and also explains the
past criticisms and the growing pop
ularity of this man of great gifts.
Judging by the compositions heard
yesterday, it would seem that Mr..
Hindemith has made an about face
or has had a sufficient try at ultra
modernism to find refreshment and
inspiration along the more accepted
lines of composition. Whatever it is,
there is a decided dividing line be-
tween the manner of his musical
thinking in 1922 and that of 1896.
Two things remain indisputable, how
ever, the originality and the rich
ness OF his genius and the arresting
character of his musical speech.
Mr. Hindemith writes in a new
idiom but it is an idiom that is
graced by wealth of thought and
feeling behind it and the resolution
of the technical form is under the
influence of these guardian angels of
genius. This is what removes any
sense of strangeness in unaccustomed
harmony and avoids any intellectual
sport with the old rules of writing.
What Mr.. Hindemith has to say is
compelling for its power, its poetry
and its depth. It's sincerity is matched
by the opulence of expression and
richness of idea. If at times he allows
the fullness of his inspiration to run
away with him, he at once balances
it with lyricism of rare beauty that
combines strength with its poetic
imagining
These characteristics were ideally
present in his Sonata for Flute and
Piano." less evenly divided in his
Sonata No. 3" for piano and with
will-o'-th -the-wisp effects in his Sonata
for Viola Alone" The songs of 1895
to poems by Friedrich Hoelderlin, were
in class by themselves, interesting
composition but less interesting vo-
cally, while the four-part songs were
unusually captivating and excellently
conceived.
Mr.. Hindemith was fortunate in
having superb Interpreters for this
program. Georges Barrere, with j. M.
Sanroma at the piano, gave glowing
performance of the flute sonata, color
full and poetic in the extreme Mr..
a no IN
derstanding Of Mr.. Hindemith's style,
was equally successful with the piano
sonata, while the splendid tenor voice
ana musicianly reading of the four
songs by Frederick Jagel provided q
fine medium through which to become
acquainted with these noteworthy
compositions. A real treat was given
by the Motet Singers of the Dessoff
Cholrs, which, under the direction of
Paul Boepple sang the delightful part
songs capella with great beauty of
tone and finely stressed shadings. The
artistry of these Interpreters left moth
ing unrevealed of the content of the
music. Mr.. Hindemith proved him.
self violist of the first rank and
made a deep impression as a per-
former of his own sonata.
Last evening the program was given
by the South Mountain Quartet, Kath-
leen Parlow and Edwin Ideler, violins:
Conrad Held, viola, and Willem Will
leke, cellist. Brahms very beautiful
Trio in B, op. 8" was played by Miss
Parlow, and Mr. Willeke with Gunnar
Johansen at the piano This proved
to be the high light of the program,
the players being in complete accord
in both the finer points of technical
effects and in the spirit of the work,
Mr.. Johansen contributing consider
ably to the forceful reading.
Less successful was the rendition of
Beethoven's Quartet in E Flat, op.
1877" the intonation being careless and
the ensemble uneven. Boltan Ko-
daly's Quartet in c Minor, op. 2"
again found the members OF the group
more united in idea and the many
opportunities which the colorful score