sJordan's office. EA GIVEN BY WOMEN OF ALL UNIVERSITY HOUSES 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 fternoon.; NEW YORK Cu MVSI SOCIETY In Extra Concert Series t Hill Auditorium, Monday, Dec. CAROLYN BEEBE, Pianist and Director PIERRE HENROTTE, First Violin HERBERT SOMAN, Second Violin ENTERTAIN AT LANE HALL SAMUEL LIFSCHEY, Viola PAUL KEFER, Cellist EMIL MIX, Double Bass GUSTAVE LANGENUS, Clarinet WILLIAM KINCAID,. Flute HENRI DE BUSSCHER, Oboe UGO SAVOLINI, Bassoon JOSEPH FRANZL, French Horn 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. Analyses ed I - VIENNA HOTEL CLOSED 'FOR l meet HOARDING EXCESS OF FOOD 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 i ..rYa ..ns.r. ...e rr . Courteohis and satisfactors, TREATMENT to every custom- er, whether the account be large or small. ... . . a - mE i >unce 'Nortbwest Cor Main & Hur ed to 707 North Tn-vArgity Av e tele- ~ 1 ors of Stevens andl rdless of cost Persh- 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 noted: 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 cast. 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." ti of compos The it in the wo: freedom. interpreta -conclusivi komlr 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 ERSHING e PHONE 1028-W to f. Leave Copy at Quanrjs and The Delta I WANTED 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 housekeeping. Student and wife with small child. Address Box 0, Michigan Daily. WANTED -- Medium sized suite of rooms or small apartment, prefer- ably latter by two upperclass men. Box A B C., Daily, WANTED-Single room near Campus, 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 to 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. t 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 - 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 the n men' 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,