Alexander Schneider and Ralph Kirkpatrick had another homecoming in Sanders Theater Wednesday night, where they played four sonatas for violin and harpsichord by Bach and Mozart. Though the concert was sponsored by the Pierian Sodality, it was appropriate that Mrs. Elizabeth Sprague Coolidge took her customary seat in the front row. Under her auspices, the duet made its debut in Sanders seven years ago, and in later concerts which she supported they achieved their unsurpassed fame.

The two have been back to Harvard many times since 1942. The most memorable visit occurred last spring when they played Bach, Scarlatti, and Mozart for three nights in a row. Schneider appeared by himself this fall to play, unforgettably, Bach's six sonatas for unaccompanied violin.

From this it should be clear that Schneider and Kirkpatrick are unassailable interpreters of eighteenth century music. Baroque and classical sonatas for violin and piano have become virtually their property, and their flawless technique and honesty to the medium have scared away any competition. Judging by Wednesday night's concert, there is little reason to dispute that ownership.

The only question which can be legitimately raised is one of balance. Granted, Sanders Theater is too large for harpsichord tones to compete satisfactorily with the violin. Nevertheless, while being true to the music by using the harpsichord rather than the piano which dominated the nineteenth century, they have not weakened the violin proportionately. Schneider uses a straight bow with taut hairs rather than the arched, loose-haired bow to which Bach was accustomed. Even with this slight exception, however, it is undoubtedly true that the two give the most precise demonstration to be found anywhere of the complete understanding which Bach had for the possibilities of the instruments.

Mozart's intention is somewhat less clear. The composer may have been writing for an early piano, though it was used interchangeably with the harpsichord in his time. In any case, he did occasionally make excessive demands on a harpsichord, and these were noticeable in the thumping of the coupled bass at times in the C Major Sonata. But when music and instruments did fit, Schneider and Kirkpatrick produced some of the most delightful musical sounds I can remember.