New Britain herald., 1924-09-20
.SOUSA TAXES .ON
 SYMPHONIC POEM
Concert Topped by 'DOn Juan''
 .-MarCheS and Jazz
(By Herald Reviewer.)

rNN''N '"'b''5 iioh JdAn tu q symphonic poem formed the pro- gram of Sousa and his band at 6 concert in the Lyceum theater yes- terday afternoon. The jazz was a sL, tial novelty number played by saxophones. clarinets, banjo and drums: and The result, although a gctu imitation Of he real thing, ont worry Paul Whi.cman. The symphonic poem p'as Don Juan" by Richard StrgnGs. arranged for band from the symphonic orches- tra score.
 Between the lower strata of jazz and the parnassus heights of sym phonic grandeur came music of all shades of delight and appeal, with Sousa marches anG other Sousa numbers predommating
 Miss Marjorie Moody soprano so'a ist, sufferri from severe cold ano was unah', to sing the exacting and familiar "Polonaise" from Mignon, which was coupled with her name on the program, substi- tuting a lighter and easier number. Her condition was so serious that she used a handkerchief between stanzas and coughed, but the beauty of her fine voice did not appear af- fected.
 The program was h1grn with the unfamiliar "Robespiere" overture, by Litolf A program note indicat- ed it related to the last day of the reign Of terror during the French revolution, and linked it in quality and dramatic effect with such over lures as "Tannhauser.' William Tell" and Poet and Peasant" It is true that the "Robespierre" over ture isn't as well known as the others, and the reason is plain after a hearing. It isn't as Ngood, not from any standpoint whatever. It lacks variety and that melodic and dramatic effect which the program referred to, and also was woefully deficient in originality. That Isn't saying, however, that it wasn't an interesting work, nor entirely lack ing in appealing qualities. It mere ly came far from approaching In musical values the other overtures with which it was compared in the program.
 John Dolan. as the solo cornetist of the band, has been at the head of this section Of the organization for several years, and performed in the customary scintiilating man. ner associated with concert per- formers upon his instrument. Ills solo number, Our Maud" by Short, lacked everything but an op- portunity for the cornet to show its speed.
 A sousa suite, "E Capitan and His Friends" contained snatches from the marches, "El Capitan," ."The Charlatan" and "The Bride Elect" It was not the best suite Sousa ever wrote or arranged. It was rather long and seemed devoid of the sparkling qualities usually associated with his suites in the past.
 Charles G. Dawes Melody" was played as an encore. The compost tion of the versatile -presiden- tial candidate was first played In public by Fritz Kreisler, the violin ist who selected it for performance on its merits. As played by sousa it was a dainty exquisite number.
 The Richard Strauss symphonic poem, Don Juan," lends itself to the uses of the band with splendid effectiveness. It is one of the heaviest numbers ever navigated by the organization. The virile and distinctive themes of this great modern master-regarded by many musicians as the greatest composer of the generation-were produced with vibrant and stirring fidelity to the orchestral rendition. Despite the apparently overwhelming com plexity of the 'Don Juan score IL is one of the simplest Strauss ever wrote, and one of the most popu- lar.
 Sousa's new march. "The An- cient and Honorable Artillery Com pany," received good reception. It is not as good march as most of the others penned by Sousa'
 A combination salad of popular songs kept feet iu motion' and a iazz imitation was helped "ith some comedy effects, the leader talking" in Chinese to the band during the rendition of pseudo Chinese number. A double quartet of saxophoneS playing popular numbers, yielded clever tricks which greatly pleased the audience.
 George Carey, xylophone solotst, played one of his own numbers an inconsequential titbit-and then