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Updated: May 2, 2025
He thinks that if the fingers of his left hand are agile he has gained the main end in view. But then he comes to a stop his left hand can no longer aid him, and he finds that if he wants to play with real beauty of expression the bow supplies the only true key. Out of a hundred who reach this stage," Mr. Kneisel went on, rather sadly, "only some five or six, or even less, become great artists.
If I had begun by listening to the comparatively mellifluous D-minor string quartet, played by the Flonzaley Quartet, as did my New York colleagues, instead of undergoing the terrifying aural tortures of Lieder des Pierrot Lunaire, I might have been as amiable as the critics. The string sextet has been received here with critical cordiality. Its beauties were exposed by the Kneisel Quartet.
Of the many violinists who have made their home in the United States there are few whose accomplishments better entitle them to a position among celebrated violinists than Mr. Franz Kneisel. Mr.
The musicianship Kneisel had given me; I was used to his style and at home with his ideas, and am happy to think that he was satisfied. A year later as assistant concertmaster in the Chicago Symphony Orchestra, I had a chance to become practically acquainted with the orchestral works of Strauss, d'Indy and other moderns, and enjoy the Beethoven, Brahms and Tschaikovsky symphonies as a performer.
Charles Martin Loeffler, who shares the first desk of the first violins in the Boston Symphony Orchestra with Mr. Kneisel, is a musician of the highest ability. He was born in Muhlhausen, Alsace, in 1861. He enjoyed the advantages of instruction under Joachim, in Berlin, after which he continued his studies in Paris, with Massart and Leonard, studying composition with Guiraud.
Bernhard Listemann, some twenty years ago, established a quartet which gave some very delightful concerts, but the past decade has witnessed the rise of an organisation which is able to bear comparison with any quartet in the world. The Kneisel Quartet was organised in 1885, the year in which Mr. Franz Kneisel accepted the position of concert-master to the Boston Symphony Orchestra. Mr.
These works have been performed by the Kneisel Quartet and the Symphony Orchestra, the solo parts of the suite and divertimento by the composer himself, and they have gained for him a reputation as a gifted and scholarly tone artist. One of the most promising young violinists of the century was a native of Brazil, Maurice Dengremont, who was born in Rio Janeiro, in 1867.
Kneisel insists on what he calls a 'musical trill, of which Kreisler's beautiful trill is a perfect example. The trill of some violinists is invariably brilliant, whether brilliancy is appropriate or not. Brilliant trills in Bach always seem out of place to me; while in Paganini and in Wieniawski's Carnaval de Venise a high brilliant trill is very effective.
While the Bohemian Quartet played with a great deal of abandon and enthusiasm, and the Joachim Quartet contained players of a greater reputation in Europe, yet the Kneisel Quartet simply confirmed the reputation it had acquired in America.
Brahms and Beethoven were played in Denver and in San Francisco to audiences who were fully equal to the enjoyment of the highest class of music, and everywhere the quartet was greeted with enthusiasm. The success of the Kneisel Quartet is due to the long and arduous practice which the members have enjoyed together, for perfection in quartet playing is only possible through long association.
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