A concert to works from Mozart to Hindemith will be played tonight at the Longy School by members of the faculty. The long and exceptionally interesting program includes a Sonata for twelve hands by Hindemith, Intermezzi Ohue Ende in E-Flat major and C-major and the Dusseldorf Rhapsody in B-minor by Brahms, Schumann's A-minor Piccolo Sonata, and the Trombone Sonata in D-major by Mozart.

The Schumann Sonata, a rarely heard work, represents the very small part of his music which was written in a classical form. Schumann gave titles to the majority of his works, and thought that others would be more attractive without titles. Indeed, to Schumann, the "mood effects" were everything.

This "mood effect" of music is a subject which, has always interested musicians and has recently been investigated quite extensively by psychiatrists always it is the mood. Though many experiments under adverse conditions have indicated that music does have specific suggestive effects, musicians are inclined to doubt that there is any effect at all. In fact, many of our most important contemporary musicians deny the power of music to suggest even the most general feelings and motions. Stravinsky, for example, goes so far as to say that music is and always has been an essentially non-expressive art; it is all the mood.

The extreme stand of many modern musicians and critics is, at least in some degree, an exaggerated reaction to that over-ripe body of musical criticism which one still finds in many program notes and in the popular "Artists and Artistes" type of book. Nothing is more ridiculous than the exaggerated similes of this kind of writing, and one might well expect an objection from practical concert-goers.

It is unfortunate, however, that these harbingers of the form divine are often led to sweeping denials of any suggestive power in music, for one must admit that a musical passage can convey general ideas like happiness and sorrow; above all, it can convey mood.

Music, is, after all, a psychological medium. One often feels that the less heard from musicians and composers, the better it will be for music in general. Finally, if music be remembered, it should be because of the mood, the mood which transcends all mechanical media and becomes mood for mood's sake.