Evening star., 1948-05-14
Budapest Quartet
To Repeat Notable
Concert Tonight
By Alice Eversmon

The Budapest String Quartet
gave the first Of the two final con-
certs Of its Spring season last night
In the Library Of Congress before
the usual large and enthusiastic
audience. While concluding the
program with Beethoven's Quar-
tet in: E Flat Major, Op. 1877" and
thus completing the intention of
this series Of playing one of
Beethovens last quartets at each
concert, the feature of the evening
was the performance of Verdi's
only string quartet; that in E minor.
Overlooked to such an extent in
favor Of the popular quartets by
masters in this style as to be almost
unknown, its presentation was de-
cidedly a novelty. The program
opened with Haydn's Quartet in E
Flat Major, Op. 76, No. g."
It is a remarkable fact that all
three of these quartets were COM
posed close to the time when each
composer wrote his greatest choral
work. Thus Haydn's Creation"
was produced the year his quartet
was written. Verdi, after the great
success of his Aida" two years
earlier, was at work on his Re
uuiem," Beethoven's "Missa Sol
ennis" had been readied for per-
formance the year before he began
the quartet and the Ninth SYM
phony" had just been finished.
It is possible to trace to some
degree in the quartets, an after
math of the moods engendered by
the greater compositions. 1t is felt
in the chorale-like Fantasia" OF
Haydyn's work, in the exquisite
"Adagio" of Beethoven's and. less
pYenouncedly, in the opening OF
the Verdi quartet. There is pres
ent an exceptional loftiness, clar-
ity and serenity, especially In the
older masters works, as well as
gentle simplicity.
IL Verdi bent his great operate
talent. which blossomed 50 opulently
in Aida" to an equally stirring II
as sometimes described, theatrical
setting of the Requiem" he did
not reach the same heights in his
quartet. The fact that Verdi wrote
symphonies, piano numbers and
larger choral compositions on re-
ligous themes is seldom mentioned,
principally because many OF them
have been lost. His skill when
turned to writing for four string In
struments was as expert as IN his
operatic orchestral scores, only the
sure functioning of his inspiration
Is less brilliant.
His imaginative treatment OF the
short theme in the first movement,
which is once interrupted by the
introduction of theme Of churchly
character, makes 1t the most notable
section Of the. four. The "Andan-
tino" is as graceful as a "Iraviata" p"
aria. but with melodies of inferior
value. while much of the "Prestis-
simo' Is reminiscent Of the open
ing chorus of "Trovatore." An oasis
In this lusty music is formed by the
cello solo, played partly to the ac-
compartment of plucked strings on
the other instruments. But even
here, the melody is cheap and none
OF the dramatic quality, so splen-
didly directing his opera compost
ton, is present. The final "Scherzo
fuga" Is dry but of original cast.
The quartet, composed in Naples,
was 3irst performed in the COM
poser's drawing room and five yeass
later played In London.
There Is little OF the suavity IN
Verdi's writing that is found So
potently in both the Haydn and
Beethoven. The formers variations
on a folk-like theme that comprises
the first movement is full Of fantasy
and smooth play between the four
voices of the instruments. II the
"Menuetto" is more angular IN de-
sign than was Haydn's custom, the
"Ffnale" Is again an example Of his
remarkable craftsmanship.
But it is In the Beethoven quartet
that the power to mirror sentiment
and impressions is paramount. In
1t the beauties of nature that had
solaced the composer 50 often are
glorified In every note. Close to the
end of his creative life, he breathes
into this music a sublimity. often