New Britain herald., 1925-03-18
SYNCOPATIONAND
 CLASSICS IN TILT
Former CreepS in at Concert Of
 Musical Club

in Camp school auditorium last night. This does not mean that the concerts have taken up with the mysteries of rag time or the blasts of jazz for the program was one of the finest given by members of the club for a long time. But 1t does mean what it says, that tho sin of syncopation invaded the realms of staid and solid, if not stolid, classics and nobody felt az grieved.
 Dancing 10 the strains of synco- patton. however, was not suggested, as it wasn't that kind of syncopa- ton. True. as Herbert F.. Anderson, suave and sure-intonation violinist, remarked after his projection of Prom the Canebrake.' by Gardner, trap drummer and saXophone and little more iazzy manipulation of the strains, would have produced an ideal jazz piece-if there can be any such-but there were no such functionaries present and the piece had to go down as plain and ufl- adorned art, a concert-room version of the kind of art they strum on the op banjo down in the canebrake belt.
 Tine other syncopation number was perpetrated by no less an in ternationally famous parsonage than NJ. Debussy, French impressionist eXtraordinaire, whose "Gollawoe' s Cake Walk" was given on the piano by Miss Florence Tommasoni The rhythm was able to take the kinks out of rheumatic legs--or limbs but Mir. Debussy took care not to overdo it. so he permitted Golawog to fall asleep occasionally. the music stopping and proceeding in jerks, like a Connecticut company trolley car. For this reason it would be impossible to make fair partner regard it as a fair evening, and this music also comes under the heading of regular art.
 It was a grand evening for grand music. A string quartet composed or Herbert F.. Anderson, first violin; Howard '. Stearns, second violin; Raymond Ostman, viola, and Henry Y. schauffler, cello, made the air drip with overtones in beauteous music. It played the adagio can- .ta1ile from the Haydn quartet, Op. 7S. No. ,, the noted Emperor quar- tct, the themes of which has been adopted as the Australian national l7n n unique mnuet by Boccherini, :sld finally the last movement from the Beethoven quartet, Op. IS, No. 2.
 All these numbers are old, ancient and honorable classics. But string quartet music is so comparatively little played that they sound like new music to most auditors. The players had firm grip upon their intona- tion--the hardest part Of quartet playing; that is to say, nobody add ed quarter and eighth tones, but kept the music in conformity with the well-tempered cIayichord pcin- ciple of whole and half tones. Ii was excellent music and augers well for the future. There should be more quartets played in this city and entire Quartets, not merely movements from them.
 MT. Anderson, who is regarded with rights as the finest exponent of violin playing in the city, had big night; indeed, judging by the ap- plause he was star performer With Theron W. Hart, master of the keyboard, a.i his accompanist, he played one of the most interesting violin compositions heard here in g long time, the G major sonata bA Grieg. This work equals the noted | minor piano sonata by the samt writer and contains characteristic Greigian idioms. Mir. Anderson's Jus. cious tone and technique, coupled with Mir Hart's sympathetic accom-. panmant, provided an ample DOT trayal of a masterpiece Of violin lit' erature. Some of the artistically so' phisticated have been under the i'm pression that folk in the chairs dis like to listen to an entire sonata, a' was common in the old days. How they disliked it last night was eyi denced by the spirited applause. The frenzied fans acted as if they want cd the players to repeat the entire sonata.
 The sonata had been printed or the program as the last number, but 1t was substituted for a group farther up in the list. which wa: duly announced, so that the ''critiques" would not make a m:6 take and think the sonata was the group and the group the sonata. The group was the Chopin ''Nocturne" 1T E fiat, arranged by Sarasate, whicf is nearly like the arrangement b! Wilhelmj the Midnight Bells" b! by Heuberger, and From the Cane brake"
 Miss Tommasoni, in addition tt the Debussy cake walk, played tht Romance by Silelius, and the Ca price Espagnole" by Moszkowski l was triumph for the pianist, tht general comment being that sht played to better purpose than evel before. The dark moods in the RO nance were never forced and thu climax came like the danouement O great story. The ehowy measures of the MoszkowsN number were pre- cisely handled, both in the display O technique and refinement Of tont where there were opportunities. Tht pianist is one of the city's seriou. students of the instrument and ha! progressed to a point where she car command attention and admiration
 The vocalist of the evening wa! John Lindsay baritone, who sang ar Italian song by Caldna, T Chidt Thee Not" by Schumann, and the Border Ballad" by Cowan. MT Lindsay sang alternate lower note! in the Schumann piece. The other made its usual strong appeal.
 The audience was of fair propor tions and was exceptionally enthu. .sa.41.