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This evening in Agassiz Theatre at Radcliffe Mr. Elmer Schocttle, pianist, and members of the Longy School faculty and the Boston Symphony Orchestra will present an extraordinary program of chamber music. The concert opens with the Duo Concertante for Piano and Clarinet by Weber, the clarinet played by David Glazer. This work is in a traditional three movement form and is notable, from the technical point of view, for the bold use of the upper notes of the clarinet range.
The second work on the program is from the colorful pre-war period. Florent Schmitt's Lied and Scherzo has undergone two transformations since its original conception as a double wind quintet. The composer transcribed it both for piano and violoncello and for piano and horn. It is in the latter arrangement that it will be played tonight with Willem Valkenier of the Boston Symphony as hornist. A quartet composed of Mr. Glazer, Mr. Lauga, Mr. Chardon, and Mr. Schoettle will close the program with the first Boston performance of Paul Hindemith's new Quartet for Clarinet, Violin, Violoncello, and Piano (1938).
Mr. Schoettle, who excels in small ensemble playing, has been very active in arranging and performing programs of chamber music in Cambridge. It is as a result of his efforts that we have had several concerts like this in the past years.
The next concert in the Boston Symphony Orchestra's Sanders Theatre series will come on Thursday evening. Nikolai Malko, a Russian who has been active in Russia and the Scandinavian countries as a conductor and teacher, will conduct the orchestra in a rather unusual program consisting of Rossini's Overture to "la Gazza Ladra," the First Symphony of Shostakovitch, Max Reger's Variations on a Theme of Mozart, and Tchaikovsky's "Capriccio Italien." The inclusion of both the Rossini and the Tchaikovsky makes the program as a whole rather light. We are not acquainted with the Reger composition, but we hope that these variations are above the level of some piano works and a vacuous suite for Violoncello alone by this composer which we have heard recently. Of course, this is an unfair comment, for Reger, according to many critics, has written some excellent works, and this might well be one of them.
We would like to call your attention again to the concert tonight at Agassiz Theatre. This is the type of free concert in which the artist is completely independent in his choice of program and style of performance, and opportunities for hearing musicians of such quality play in this way ought not to be missed.
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