New Britain herald., 1926-01-18
MAIER.PATTISON
 PLAY HERE AGAIN TWO'PianO Experts Welcomed
 by Music Lovers

return engagement" in New Britain yesterday afternoon. The event was under the auspices Of the New Britain Musical club, and the place, tho Capitol theatcr. As was tho case last year, SO yester- day - the team gave csthetic satisfaction 10 all.
 Maier and Pattlson have bcen playing together so long -- ever since the close of tho war -- that they perform as one; but they have double the capacity of one pianist. and as each alone Is pianist Of nigh rank the result Of their team work Is a unique contribution 10 the concert platform.
 The program was one ot orulent variety, and was particularly note worthy In that IL introduced thrco short ultra-modern numbers by that master of modernism, Casel- Ia. This contemporary Italian com poser, believing that all has been said that can be said with regula- ton harmony, Is known as one Of the most advanced in the realm of dissonance. To join two keys half tone apart and sometimes three - is all in the days work with Casella. Before the pianists played the trio of ear-rufflers Mir. Maier in one of his characteristic short speeches, warned tho audi ence what 10 expect, but gratefully stressed the fact that each piece would be very short. The first last ed only a minute and the others not much longer.
 The three numbers were Of q get called "Puppazzetti" and their in- dividual titles were, "Seronnde," 'Berceuse" and Polka" Their polyharmonic character was quick ly evident, but their play of wit and jocose nature were equally evident Nobody placed his hands 10 his ears: fin reality, broad smiles abounded at such extravagant key board buffoonery. Such things are difficult for one player because Of the inconvenience Of playing in two or three keys at the same time, but with two at tpe kcyboards the ef- 1 fleets are more easily attained. The 1 audience yielded a gleeful recep- ton.
 Brahms figured twice on the pro. gram; and Bach once. The Brahms offerings were six Hove song' waltzes, and variations on a theme by Haydn. The Bach piece was a fantasia and fugue. The Brahms Valtzes were melodious, yet loaded | with subtle accessories, while the variations were tremendous in | scope. Some modern pianists Of un- common skill remain slightly { afraid of a Bach fugue. yet how good they can sound was amply i Illustrated by the performance . yesterday
 A pianistic version Of the coro- nation scene from Moussorgsky's Boris Godounoff' promised much, and the little lecture that preceded . it gave succinct idea of what the :, music portrayed. The deficiency of |, the piano version, however, was that too much was left to the maEnation. i,
 The Arersky "Valse" must be popular two-pano composition. 1t being the only number on the pro- gram yesterday that was played by the two artists last year except for the "Arkansas Traveller" en- core. As last year, the "Valsh" got !, splendid reception, 1t being one of those scintillating numbers that are kinematic and easily grapscd.
 Rachmaninoffs Tears" appeared 10 live up 10 it's title; but as 1t is customary 10 judge everything Mir. Rachmaninof writes by the popu- )arity Of his Prelude in C sharp minor" it Is probable that Tears" won't cause anyone 10 weep for joy. i
 An entrancing arrangement of the Strauss "Beautiful Blue Dan ubc' waltzcs created a furore. It vas nt tho end Of the program and ns scarcely anyone arose to leave the auditorium af,cr its conclusion, the rianists replied by contributinr mild sensation by playing a popu- lar piece with some syncopation in it, They did it so well that nobody seemed to object
 Tho Clement sonata In B fiat vas not overlooked, This opened the program. and Is hereby re- f"rrod 10 last Clement wrote I0G sonatns. Those acquainted with the other 105 can judge how the one