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December 11, 1919 - Image 6

Resource type:
The Michigan Daily, 1919-12-11

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sJordan's office.
Christmas colors decorated the
Women's league parlors of Barbour
ymnasium at a tea given by the 900
romen living in University houses in
oilr of the faculty from 4 to 6
'clock Wednesday afternoon.
The receiving line was formed by
irs. Harry B. Hutohins,' Dean Myra
.. Jordan, and Mildred Harris, '21,
resident of the University houses.
irs. T. E. Rankin, Mrs. M. C. Weir,
dirs. Dickenson, Mrs. A. R. Critten-
len, Mrs. W. W. Bishop, Miss Marian
Vood, Miss Marian Dahley, and Miss
uris Wardner poured tea during the






In Extra Concert Series


Hill Auditorium,

Monday, Dec.

CAROLYN BEEBE, Pianist and Director

HERBERT SOMAN, Second Violin


EMIL MIX, Double Bass

of Program

iirty members of Michigan Dames
rtained their husbands at a sup-
Tuesday evening in Lane hall. The
es were decorated In maize and
and the color scheme was also
led out in the refreshments. A
ome to the husbands was extend-
>y Mrs.. H. H./ Stephenson, \3resi-
of Michigan Dames.. Prof. E. C.
ton of the Chemistry department
onded to the welcome.


I -

actice Vienna, Dec. 10. -The authorities
juests are bginnngtoda more severely
with , offenders against the lighting
and food acts. For using an excess
of theamount of electric current four prom-
'clock inent restaurants and one big hotel
e dis-have been cut off from current alto-
gether for a period oftweeks. One big
hotel has had its restaurant and din-
p for ing rooms closed for one month be-
take cause it had on hand an excessive
or so amountof food.
n the
Typewriting .promptly and neatly
done. O.. D. Morrill, 17 Nickels Ar-
ill be cade.-Adv.


i ..rYa ..ns.r. ...e rr .

Courteohis and satisfactors,
TREATMENT to every custom-
er, whether the account be large
or small.
... . . a - mE


>unce 'Nortbwest Cor Main & Hur
ed to 707 North Tn-vArgity Av e
tele- ~


ors of Stevens andl
rdless of cost


Quintet for Pianoforte, Clarinet, Oboe, French Horn and
Bassoon, E flat major, Op. 16. ..... . ., .. ..Beethoven
r ', Thistwork, written for an unusual combination of instruments and
first produced at a concert of Schuppanzig's on April 6, 1719, was a
product of the winter of 1706-7.. Beethoven had already written a
Trio, Op. 11 (published Oct. 3, 1706), in w ch the clarinet was substi-
tuted for the violin, and the Quintet on our program is an extension of1
his instrumental scheme indicative of his fondness for wind instru
ments, a fondness further displayed in is Septet, Op. 20, arfd a Sonata'
for French horn, written in this period.
In the following analysis of the work only important features are
The introducton-i fiat major, Grave, .Common time-with its
majestic opening theme in unison and its interplay of resulting motifs,
leads into the first n ovement proper Allegro ina non troppo, 3-4
time. In this, the first theme, 16 measures in length, is stated by the
pianoforte after which it is taken up by the clarinet, the oboe joining
in the last 8 measures. Continuing in terms of the first theme for 38
measures it then modulates into the second subject-B flat major-
which, with the coda, covers 85 measures. The "development" section
(84 measures) with its logical illustrative processes, leads to the re-
appearance of the principal subject. After this the composition runs
the course ordained by the canons of the sonata-form in which it is
The second movement--B flat major, Andante, cantabile, 2-4 time,
opens with a thleme almost Mozartian in its simplicity and charm. It
As first set forth by the pianoforte and completed by the clarinet. The
oboe then introduces a short theme in G minor which is further, devel-
oped by the bassoon. Following this, the clarinet again dominates the
wood-wind group and the principal theme, somewhat varied, -enters for
the last time and unfolds itself along the lines of its first appearance.
Following a beautiful theme, beginning In B Minr and endig in D
fiat major, givenout by the horn, the principal theme makes its final
appearance. It is subjected to a very elaborate variation, leading to
the coda.
tTheRondo-E flat major, Allegro ma non troppo, 6-8 time-the
third movement-is easy of comprehension if ,ne carefully observes
the first 8 measures-for, as implied by the term "rond~o," this theme
constantly reappears after each of the secondary themes is heard.
First published in 1801, the Quintet is now listed in Series 10, of '
Beethoven's Complete Works, Breitkopf and Hartel.
Quintet for Clarinet and Strings, B minor, Op. 115. .Brahms
Certain worshippers of Brahms, who omit the "s" in spelling his
name, have attewpted to create the impression that he was more god-
like than human. He may have exhibited certain graits on which this
type of admtirer might base such an assumption, but, as a matter of
fact, he was intensely human, in no respects more so than in his sense
of humor and his love of justice. Two of his sayings illustrate these
qualities. Speaking of a composition by a then prominent "All High-
est" he said: "You must never criticise the music of royalty; you, do
not know whom you are criticising." Again, referring to certain ill-
natured remarks by Wagner,he said: "Wagner has the great highway!
Why will he not leave me my narrow, littlejane?"
Brahms, like Beethoven, had a peculiar fondness for the clarinet
as is shown by the fact that this Quintet, written in 1892, was preceded
by the Trio in A minor for pianoforte, clarinet and violoncelle, Op. 144
(also written in 1892) and followed (in 1895) by two Sonatls for
pianoforte and clarinet-in F'minor, and E fat major, Op. T20. His
warm. personal friendship for Professor Muhlfeld (Meiningen), a re-
markable 'clarinet virtuoso, may have influenced him in this, but the
powerful appeal of the instrument itself would be ufficent reason for ,
his choice,
In thekompositionon our program, as in al his 9hamber music
Brahms shows his art at its best and throws dou on the narrowness
of his "little lane."
T e first sbject of the opening movement of t e Quintet-D minor,
Alleg o, 6-a time- with its initial phrases in thirds, is in a oss vigor-
ous strain than the second. This is a decided 1 se from tonvention
butjustifies the iherent plasticity of form when t serves rather than
dominates. It is impossible to point out the intrplay of motifs, or to
analyze the structural proceses displayed in this movement without
citations in actual notation, therefore it will not attempted. Failing
such citations the only alternativ6-would involv so many 'technicali-
ties that it would result in confusion to the 1ymen an be of no
service to the trained musician. The combination of cncentration ,
and a creative mood will yield infinitely- more than the perusal of a
labyrinth of Viechnical terms.
In the second movement-B Miajor, Adagio,' 3-4 time,'the honors
lie with the clarinet. In the first division of 51 measures; its warm
and sympathetic tone, quality in cantabile will be revealed, while in
the 'sections intervening between this and the re ppearance f the prin-
cipal subject the elaborate passages assigned The instrument will no
less clearly show its adaptability to virtuosQ treatment. Did these
sections do no more than this they would be 9J interest, buit they are
full of musical leauty and furnish a delightftA contrast.-opn
-The third 4ovement D major, Andantin, Common time-opens
with what J. Fuller-Maitland calls "A square-ut theme." After the
first 8 measures the clarinet is joined by the rst violin in its state-
ment of this, the principal theme. At the 34th measur another divi-
sion--B minor, Presto non assal, ma con sentimento 2-4 time-enters
and continues in terms of its conditioning theme until 9 measures from
the end, when the clarinet again gives out the initial melody of the
movem nt. Throughout this section the clar4t and first violin ap-
pear to be engaging in an interesting conversation. We may not know
its import, but its beauty of utterance is apparent.
- The last movement-B minor, Con moto, 4 tine-is made up of
five variations built on a lovely theme i'n whic each phrase after be-
ing given out by the strings is echoed by the clarinet. In the final
coda the opening theme of the first movement again appears and knits
the whole work together in a unity characteristic of tle style of a
genius whose mastery of form is in evidence fr his simplest song to
his greatest symphony. .
This Quintet was published in 1892.
"Five Impressions of a Holiday" for Pi iofoteu Flute,
and Violoncello, Op. 7.... . .. ....Eugene Goossens
In the Hills; The, Water-Wheel; By the Rivers;
The Village Church; At the FairI
Eugene Goossens and Lord Berners (Gerald Tywhill) are instanc-
ed by Ernest Newman as "The two chief represntative modernist com-
posers in England who succeed best of all in that attemptto translate
into music by means of a subtle realism-these visualized effects"
which Mr. Newman considers "the main object of musie today."

of compos
The it
in the wo:

In considering the .above deliverance of Ernest Nets
pointed out that the instrumental literature contains i
of impressions similar to those embodied in the sole
above. The essential difference between Schumann's "S
hood." MacDowell's "Sketches" and "Woodland Suite,
this evening's program, lies in the means through wh
at the "subtle realism."
As the score is inaccessible reliance must be plat
gestions of the titles of the various numbers rathert
analyses of their meanings. The following enumera
tempo-marks, etc., may be of some service.
4. E fiat major (, Moderato, 3-4 time; II. A ma
2-4 time; III. E fiat major, Cons mto e legglero; IV,
Andante con moto, 3-4 time; V. C major (?), Scherzand
"Five'Impression of a Holiday" was published in 19
In pre-modernist compositions the determination c
sented no difficulty, but now-a-days the signature fr
tions as a species of tonal camouflage, concealing sucl
of tonalties, harmonic schemes, and metrical irregular
rant the assumption that eventually the necessities
realism," will lead to the abandonment of all signature
Sinfonia'Da Camera for Pianoforte, Strings, Flu
Clarinet, Bassoon and French Horn, B f
>o p. .. . .... . .. .. .... ..... ... ....
The combination of instruments and the implicati
of this unusual example ofha genre the possibilities of
always realized, riiiove the imminent dangers attendi
to extend the range of chamber-music forms. The m
positions in which the number of instruments exceeds
written for strings. The loss of the individuality we fit
quartet, in such cases is not made good by the added
ority -of the orehestra. Searing in mind thetcreative
Ferrari, we are justified in assuming that he hasstruc
lum. If o, it may be considered a prophecy of still o
tempts in the future, but, judging by the past, and pres
forgiven for contemplating such a future with somewh
'From the very' beginning of his career Wolf-Fe
singularly independent of convention and tradition.'
duced many novel features in his use of the orchestra
prove this one may cite "La Vita Nuova."i In this. o
7 kettle-drums as melodic factors and the interjection o
and the chorus into the orchestral mass, therely winniF
indicate a new point of view and a decided addition t

e PHONE 1028-W



Leave Copy
Quanrjs and
The Delta


WANTED-Place to live, for my wife'
and myse1-.furnished housekeep-
ing apartment or living room and
bedroom. Rubin Sleight. Tel. 264-W.
334 S. State. Michigan' Public Util-
ities Commission,
WANTED-By, Dec. 20. Three desir-'
able \furnished rooms for light
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Box A B C., Daily,
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to move in before Dec. 20. Write

to mae aos eanal ysislmciut, 1 1nL ipA
In the first movement-B flat major, Alle
time-heralded by pulsating chords for the
broad, song-likpe melody for the clarinet is he
it runs into tle key of\'G minor and is supple
while the viola and the violins play contras
measures in G minor, a new broadly susta
leads to a repetition of the first theme with
The next theme demanding attention is set fo
F major,- tranquillo-and its basic motif fu
many and varied future thematic relationship
introduced as the well-knit movement runs i
are the most important. The rythpnical and
ready pointed out is illustrated by the freqi
dando,-accelerando, piu mosso, and meno mo
bristles. The effect produced is somewhat
but greatly enhanced.
The characteristics noted in the prece
the structure of the second movement-C
time. In the first 16 measures we find the f
6-8; 5-8; 4-8; 3-8; 4-8; 3-8, while the tempo
variety. But, that they are abundantly ji
elasticity and delicacy of the principal moti
acter. Possibly, of the instruments empo
opens the movement, carries the honors, al
other combining instruments are- given opp
possibilities both in solo and as members of
The third movement-G flat major, Viva
after a short introduction (5 measures) bring
is the basis of a beautiful theme-Allegretto
is the conditioning factor in the whole moven
The Finale-D minor-B flat major, A
Common time-is full of vigor and exhibits
tics already noted. Adagio followed by Alle
evidence and other minor changes of tempo
city of tempo characterizes the first 55 measu
horn solo-Andante mosso, due volti pin li
upozy by an agitated section-Piu mosso e a
it gtves way to the melody which as played
lingered in the memory. Proceeding with :
themes already heard, and }still other contra
tioned material, the work comes to a forcefi
ces of thematic material heard in the first
final chords.
According to a note on the last page o
finished in March, 1901, and was published in
The modern concept of a tonality in w
included in an all-embracing tonality one
tonic; -a similar inclusion of simple rhythm
scheme; the more insistent stressing of dyn
greater variety and intensity of orchestral
legitimate results of the desire to attain "s
cases, as in d'Indy's' recent symphony "De' B
is brutal.
The use of chords, not as part of. an har:
ly for their color value; the irregular, son
and rhythms; the exaggeration of syncopat
intensity so noticeable in the modernist coi
cidental to a concept the value of which will
history of criticism proves that we cannot d
for *n nine cases out of ten contemporary cr
curate. Those of us who do not desire nove
still remain content with music which, like
our program, contains no suggestions of unr
that which is and may prefer not to anticipat


near Inter-
about 4 P.
c. 9, either

A the score the w
n 1903.
which whole. tona
may designate a
ms in an omni-rh
gamic effects cou:
I cn1nr. are som

Daily, care

Box A. C.


le wood, especially
eplaces. Length to
Thornton, Geddes

WANTED-A 'suite of rooms near
campus. For University students.
Phone 373-M. William Bonham.
FOR RENT-Suite of two rooms,-three
doors from campus. Best of condi-
tions for study. Price right. Posses-
sion after Christmas. Box AB.
FOR RENT- Large front room for
two, corner of Ashley and W. Mad-
ison, 2694-J.
FOR RENT-Detroit apartment from
Dec. 19 to Jan, 5. Downtown. Suit-
able for four. $12 a week. Write




TICKETS:-$1.00, $1.50, $2.00; 4or the Course, including Concerts by MI
LEVIJTZKI, Pianist (Jan .,23); CAROLINA LAZZARI, Contralto (Feb: 28
TRIO DE LUTECE, Flute, Harp, 'Cello (Mar. 30), $2.00, $2.50, $3.00, $3.50,<c

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