Evening star., 1939-02-17
Ballots
Quartet
Heard
Roth Ensemble
Plays Stradivari
Instruments

The second of the three quartets
by Pierre Marie Francois de Sales
Ballot, in "B fiat major" was the
novelty which the Roth Ensemble
presented upon the Stradivari in
struments last night under the aus
pices of the Gertrude Clarke Whit
tall Foundation at the Library OF
Congress.
A violinist of unusual attainment,
Ballot embarked at first upon a
career at the ministry of finance and
1t was only after his return from a
2O-month campaign with Napoleon's
armies that he decided to take up
music as profession and devoted
himself to the study of composition.
Nineteen years later, at the age OF
43, famous as a soloist, Ballot be-
came known as a chamber music
player par excellence, establishing
his own chamber music series in
Paris. Ballots bow, made by Fran
co.'s Tourte about 1900 and conSld-
cred to be the most perfect speci-
men of his workmanship, belongs
also to the Whittall collection and
is occasionally used in connection
with the Stradivari violins.
The Ballot quartet proved un-
usually interesting. Opening by a
prolonged trill in the first violin, the
composition had a distinct individ-
uality throughout. especially pro-
nounced in the "Minuetto" and in
the finale in which striking iml-
tation of bagpipes was cleverly in
troduced. The Roth Quartet ex-
celled in bringing out the salient
points of the work and giving an
opportunity in cantabile passages to
enjoy the luscious tone of the in
struments.
Mozart's Duo" for violin and viola
in &c major, K. 423," second num-
ber on the program, companion to
the one already heard here on a
similar occasion. played by two
members of the Gordon String
Quartet. was given an interesting
and expert reading by Feri Roth
and Ferenc Molnar. Composed to
help out his friend, Michael Haydn,
who was unable to carry out the
orders of the archbishop because of
illness, these duets were written in
Haydn's style and submitted to the
archbishop as Haydns. Complete
and satisfying, more Mozartean IN
character than the duetoheard here
previously, it abounded in delight
full melodies. the lines of which could
be easily followed.
The concluding number was Bee
thoven's familiar Harp Quartet" IN
"E fat major op a." named thus
for the pizZicato effects after the
introduction of the main theme.
Plucked first by the cello then by the
violin in the higher register, it is
further developed to assume even
tually major importance in the
coda. The work is considered one
Of the finest examples of Beethoven's
lyric style with its finale consisting
OF six variations on a lofty theme,
presented by the Roth group with a
sensitive understanding. The viva
cious "Scherzo," preceding the varia-
tions, written on broad, almost
symphonic scale, serves as contrast
to the variations and gave the play
ers an opportunity to show the per-
fection of their ensemble and finesse
of shading.
The audience was appreciative and
gave the artists cordial reception
In the afternoon. Noemi Bitten
court. young Brazilian pianist. was
presented at the Brazilian Embassy
at a reception and musicale in honor
Of His Excellency Oswaldo Aranha,
foreign minister of Brazil.
Nine. Bittencourt, who completed
her musical studies in Italy, where
she concertized with great success
as well as in her native country and
in the United States, gave brilliant
performance with several unfamiliar
numbers which brought to the fore
her talent and temperament.
Among these were the Rustic
Dance" by Boskoff; jungle Legend
and the Midget" by Mignone, and
"Pickaninny and Punchinello," by
Villa Lobos. Nine. Bittencourt
closed her program with the first
movement Of the Chopin's Sonata,
Op. 35." Each Of the compositions
served to disclose her fluent technic,
good musicianship and her artistic
use Of dynamic effects.
Nine. Bittencourt was enthusias-
ideally applauded after each num-
Der and urged to play again.
E. de S.