Music Series

Sanders Theatre provided a real challenge for Alexander Schneider and Chamber Ensemble Monday night during the first of five concerts to be presented by the Harvard Summer School. The theatre was filled to capacity and programs used as fans provided the only ventilation aside from the windows, which allowed the noise of motorcycles, honking horns, and fire sirens to compete with the music.

The group consisted of two violinists, Alexander Schneider and Isadore Cohen, one violist, Samuel Rhodes, and two cellists, Leslie Parnas and Robert Sylvester. They performed the String Quarter in E major, Opus 17, No. 1 by Hayden, Divertimento in E-flat major, K. 563, by Mozart, and Cello Quintet in C major, Opus 163, by Shubert. Of the musicians, the most distinguished was Alexander Schneider, who, with wirey grey-black hair and metal rimmed glasses, sat perched on the edge of his chair, playing with never-failing energy, expression, and accuracy.

Although during the Hayden piece the second violinist appeared to provide background for Schneider's brilliant performance, the quartet nonetheless played as one--with perfect balance, coordinated variation, and excellent timing.

The Mozart piece got off to a rather weak start when the cellist's music dropped to the floor. With great aplomb, Schneider leaned down to pick it up, commenting, "Well done." During the first movement, Allegro, certain motifs played by the violinist were to be echoed by the violist, who, in contrast, failed to match the agility and lightness of Schneider's playing. The group did, however, make very effective transitions and tempo changes. Played with apparent quickness and ease, the Menuetto Allegretto had an incomparable dance-like quality. The final Allegro moved well and provided an excellent ending to a piece that started off rather slowly.

Following a short intermission, all six musicians reappeared on the stage, divested of jackets and ties. Their new-found comfort and relief was reflected in a superb performance of Shubert's Cello Quintet. The piece requires a back and forth interplay of plucking between the violin and cello. This was done in such a way as to give the listener the impression of a teasing, question and answer conversation between the two instruments. Not once did the piece move slowly or the sound lose its rich quality. In the Allegretto especially, the opening theme was brought back with force and clarity. By the response of the audience, it was clear that the musicians had overcome the handicaps of the heat and Sanders Theatre.