Evening star., 1947-11-19
By Alice Eversmon

The growth in popularity Of the
First Piano Quartet could be judged
by the capacity audience that at
tended the performance in Con-
stitution Hall last night. When
presented here by c. c. Cappel in
1912, 1t was a novelty that aroused
curiosity but five years later, ap-
pearing again as one Of the Cappel
attractions, it has following that
can be envied by some solo artists.
Part of this Is due to the groups
weekly broadcasts but the increas-
ing interests in ensemble perform
ances, and especially in such an
unexpIored field as four piano play
ing, is also responsible.
A definite improvement was to be
felt in the closer placement OF the
pianos to one another. Formerly,
the changing color resulting in a
musical phrase when distributed be-
tween instruments at distance
from each other, had a disturbing
effect. As now seated, the players
can retain the uniformity of quail
ity used by soloist. This they do
with such skill and with such an
equality of talent, that the result is
not only better balanced but more
polished in subtle infections.
The basis of their expertise IS
exactness of rhythm. In fact, the
program Is composed of numbers
that require little changes in the
way of rubato or allargando. When
these are necessary, the ensemble
is sensitive enough for them to be
accomplished smoothly. But in the
main, the selections are in dance
rhythm although chosen from the
best of the musical masters. The
group has a large repertoire, all OF
which has been arranged by the
musicians for this combination, and
has only occasionally repeated a
number previously played here.
In the quartet, there is a diversity
of style in each pianist which, when
welded together, forms an interest
ing whole. To Adam Garner is given
the passages where his fleet delicate
technique shines and Edward Edison
carries on in the same vein but with
more substance to his tone. Sorority
| is Vladimir PadWa's forte and Frank
! Miller excels in poetic expression
While these characteristics are
identified with the individual play
ers, they are interchangeable to
some degree. The combined tone Is
always soft and mellow with no at
tempt to take advantage OF any
additional volume the four pianos
might create. While charming to
the ear and appropriate for the
works of the program, 1t tend to be-
come monotonous for 1t in no way
encompasses the span Of tonal gra-
dations used by single artist.
It would be difficult to select spe-
cial numbers from the excellently
played list that ranged from Bach
to Shostakovich. Four of Beetho-
ven's "Contre Dances" the Rondo
from Mozart's Concerto No. II in
F major" Mendelssohn's "Scherzo
in E minor" and Chopin's Etudes,
number 3 of opus 10 and number E
of opus Is, in the first two groups OF
the program, were especially note
worthy for grace, nuance and bril-
lance Of delivery. The concert
opened with the variations on Paga-
minis Caprice in A minor, op. T.
and closed with LISTS La Campo
nella" and included a not too sue
cessful arrangement of Ravel's "Bo-
lero."
Lemonade Opera Heard.
In the Jewish Community Center
the Lemonade Opera of New York
made it's local debut before q
crowded house This is the group OF
young singers who took things into
their own hands last summer and
with small financial contributions
and much labor and enthusiasm
managed to stage, costume and sing
Mozart's Don Giovanni which was
presented in the Cafritz auditorium
last night. The name Lemonade y
Opera was more appropriate for the
summer months when the venture
started and the audience refreshed
between acts by this beverage. But
the name will stand as synonymous
with a courageous undertaking tor