Elisabeth Schumann (Soprano)
The Roth String Quartet: Roth, Antal, Molnar, Van Doorn

Second String Quartet...Erwin Schuloff

One of the most brilliant and active apostles of the newer tendencies in music, Erwin Schulhoff is distinguished both as a pianist and as a composer. Born in Prague in 1894, he studied there, in Vienna, in Leipzig, and Cologne, where, in 1913, he won the Mendelssohn prize for Pianoforte. Five years later he won the similar prize of the Berlin Hochschule, for Composition. Listeners have already made his acquaintance in both capacities, and though his own music is definitely of that modern order which is apt to fall a little strangely on ears accustomed to the older idioms, it is all perfectly sincere in its aim of achieving a natural expression, which, at times, leans to a rather grotesque humour. He has already composed in many of the bigger forms, as well as chamber music, songs, and pianoforte pieces; this quite new work, published only this year, is dedicated to his friends the Roth Quartet, who are playing it this evening.

It begins with a bold Allegro movement in which the impetuous rush of the beginning is only once slightly slackened. The second movement is a theme with variations, begun by the viola, and the third, taking the place of the customary Scherzo and Trio, is light-footed and gay, making much of its effect by the cunning use of pizzicato (plucked notes). Just before the final return of the opening measure there is a broad, jubilant section with a hint of majestic marching. The last movement begins with a short, slow introduction, and the main part of it is vigorous and energetic, with one brief interruption by the opening theme.

A Recital by Elisabeth Schumann
Quartet, Op.74...Beethoven
Poco Adagio - Allegro; Adagio; Presto; Allegretto con variazioni

From the way in which Beethoven makes beautiful effects from Pizzicato (plucked strings), this Quartet has always been affectionately known as The 'Harp' Quartet. It belongs to a period when things about Beethoven were going as unhappily as they well could. The Court and all Beethoven's important friends had left Vienna, and the tragic affliction of his deafness was beginning to make itself seriously felt. It may thus be true that some of the sadness which can be heard in this music is a reflection of his own depressed spirits.

The Quartet begins, like the one in C, Op. 59, with a slow introduction. The sad phrase on all four instruments with which it opens, sounds like a question, one to which there is no real answer. The main part of the movement, strong and energetic, forms a striking contrast with the introduction, and that, too, is eminently characteristic of the great Beethoven.

The slow movement is in a tender and wistful strain, but it, too, has its moments of passionate energy.

The chief theme of the next movement, which takes the place of the usual scherzo, recalls the rhythm of the fifth Symphony's first movement and the change to major with the impetuous rushing passage for the violoncello, is not unlike another part of that Symphony.

Without a break, we pass from it to the last movement, an Allegretto, with variations. The theme is in two parts, each of which is repeated and the variations follow in similar form, alternating between the strong and vigorous moods of the first three movements and their thoughts of melancholy. The end of the movement is a vigorous fortissimo for all the instruments, closed by two soft final chords.