Evening star., 1937-02-12
New Work
By Porter
Applauded
Composer H e a r S
Coolidge Quartet
Play Number.

THE second concert of the Cool
idge Quartet series at the Lii
brary of Congress yesterday
u afternoon gave an opportunity
Of hearing a new work by Quincy Por-
ter, which found favor with the large
audience and was generously applaud
ed. Mr.. Porter, who was in the audi
ence, was brought on the stage and
bowed acknowledgment.
The concert opened by the Quartet
in G, K. v. 387," by Mozart, composed
in 1882. AS soon as the familiar strains
Of the quartet were sounded, the audi
tor was conscious that pleasant aft
ernoon was in store for him. The
graceful flow of Mozart's music, done
in fine style, compensated one in a.
great measure for the disadvantage at
which the Coolidge Quartet was heard
last Tuesday. The first three move
ments of the work revealed new posi-
bilitieS of the ensemble: Color, detail
work and a rounded tone, which en-
hanced the enjoyment of the compost
ton. In spots, the finale was not as
successful in tonal effect due to the
timbre of the second violin.
The next number was Paul Hinde-
minth's String Trio No. l, op. 34,"
written in 1924, for violin, viola and
cello. 1t is generally believed that
successful composer should be at least
25 years ahead of his contemporaries.
Germanys foremost creator revealed
himself fully that far in advance. If
not more. The trio is one of those
works which has to be studied to be
thoroughly understood. Hndeminth
has the reputation of having a great
deal of depth. One should hear the
work many times before forming an
opinion. The disSonance of the first
and third movements are interviewer
with rapid passage work and scales,
<he fluent delivery of which is one Of
the strong assets of the organization.
The cantabile part of the second
movement and the plucked string part
Of the third give an opportunity to
show individual work On the whole,
the composition creates a picture of
unrest. 1t was we'll executed by Mr..
Berezovsky, Mr.. Moldavan and Mr..
Gotlieb, members of the Coolidge
Quartet, although it was not infused
with any special logical objective.
Nicolai Berezovsky, violinist of the
trio, is a composer, whose work of
much promise was heard several years
ago at one of the Coolidge festivals.
He showed himself good musician
and a skilful violinist.
The violin which Mr. Berezovsky
uses is not happy medium for ex-
preston and is responsible largely for
the blurring sound in ensemble work.
Its tone is hard and tight. of diff
fused character, devoid of overtones
especially when played forte or in a
fast tempo, and it is often responsible
70: destroying the tonal quality OF
the whole ensemble.
Quincy Porter'S string Quartet
No. S." composed two years ago, gives
evidence of talent, originality and, in
some instances, of novel treatment
Of ideas. The opening bars played by
the first violin are thoughtful giving
way to development of themes which
elOW 4Al 3ofClliICoo III IIiC SCCOllu IilONc.
ment with its whimsical ending. In
fact, the first violin is given promi-
nence throughout over the other
instruments and gave Mr.. Kron an
opportunity to display a liquid tone
and freedom of execution. It is a
grateful work for the performer,
imaginative and direct, written in a
modern idiom. The finale resolves in
o harmony spiritual in character with
the first violin in the high register.
The Coolidge ensemble was in good
form and its playing was modulated,
better balanced and most enjoyable.
The audience was appreciative.
e. de S.