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"My Star" is tender, and the accompaniment is richly worked out on simple lines. Three Vocal Duets are well-handled, but the long "Eilende Wolken" has a jerky recitative of Händelian naïveté, to which the aria is a welcome relief. Her sonata for piano and violin has been played here by Mr. Kneisel, and in Berlin by Mme. Carreño and Carl Halir. Besides these, Mrs.
"Some five years ago too many teachers gave their pupils the Mendelssohn and Paganini concertos to play before they knew their Kreutzer. But there has been a change for the better during recent years. Kneisel was one of the first to produce pupils here who played legitimately, according to standard violinistic ideals.
This is hard for the player what is easy for him he unconsciously is inclined to stress, and he must be on his guard against it. This is another strong argument in favor of a thorough preliminary study on the part of the leading violin of the construction of the work." The comparison which I asked Mr. Kneisel to make is one which he could establish with authority.
Kneisel laid stress on the importance of the student's hearing the best music at concert and recital as often as possible, and on the value and incentive supplied by a musical atmosphere in the home and, on leaving him, I could not help but feel that what he had said in our interview, his reflections and observations based on an artistry beyond cavil, and an authoritative experience, would be well worth pondering by every serious student of the instrument.
Nikisch; but a more important event was the first performance two months later of the "Sonata Tragica," which MacDowell played at a Kneisel Quartet concert in Chickering Hall. Concerning the sonata Mr. Apthorp wrote: "One feels genius in it throughout and we are perfectly aware that genius is not a term to be used lightly. The composer," he added, "played it superbly, magnificently."
After a few years the Kneisel Quartet began to appear in other cities, and now gives regular series of subscription concerts in New York, Washington, Baltimore, Hartford, and Worcester, also Harvard, Yale, and Princeton Universities, besides occasional performances in more remote cities. In 1896 the quartet had given over eight hundred concerts since its formation.
He studied the piano with William H. Sherwood, and has made a successful career in concert playing with the Boston Symphony Orchestra and the Kneisel Quartette, both of which organizations have performed works of his. In 1883 he went to Munich for two years, where he studied counterpoint and composition with Rheinberger. He is now living in New York as a concert pianist and teacher.
With Kneisel the very least detail, a trill, a scale, has to be given its proper tone-color and dynamic shading in absolute proportion with the balancing harmonies. Kneisel kept me at during the entire lesson, till I was able to adjust its tone-color and nuances to the accompanying harmony.
At the end of the Symphony season in Boston, in 1896, the Kneisel Quartet made a visit to London and gave several concerts. In London it was obliged to stand comparison with the finest quartets in existence.
He made his first public appearance in America, in the double capacity of pianist and composer, at a Kneisel Quartet concert in Chickering Hall, Boston, on November 19, 1888, playing the Prelude, Intermezzo, and Presto from his first piano suite, and, with Kneisel and his associates, the piano part in Goldmark's B-flat Quintet. He was cordially received, and Mr.
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