The artistry of the renowned cellist, Madeline Foley and of David Gross, who is perhaps the finest undergraduate musician at Harvard, produced a concert Monday evening which was of the highest quality by any standards. Choosing three of the greatest sonatas in the cello and piano literature, Beethoven's Op. 5, No. 1, his Op. 102, and Brahms' Op. 99, they emphasized the intensity of emotion and spaciousness of these works. Their performance of the Brahms, in particular, revealed to the highest degree its nobility and magnificence.

Particularly outstanding was the rapport of the two artists, allowing a sureness and precision which is usually found only in ensembles of much longer standing Each one enjoyed the fullest freedom of individual expression, yet the result showed nothing but complete agreement and sympathy.

For those on the lookout, exception could be taken to the stridency of Miss Foley's tone, and Mr. Gross's tendency to play on the top of the keys, preventing solidity, of tone in some passages. But these matters dwindled to minute proportions in view of their unerring techniques and intonation, and the endless subtleties and nuances within the broader conceptions of these pieces.