New Britain herald., 1927-05-07

it's sponsors believe will react favor ably upon its reputation for high class muSicianship.
 The works to be given are the following:
 "Elegy in Country Churchyard,' v Theron w. Hart. For mixed quartet. an extra tenor, violin and two pianos. Time of performance, about 45 minutes.
 Three art songs by Arthur G.. Kimball, the titles: Through Jas mine Leaves Autumn Song" and "Gipsy Maid"
 Two compositions for two pianos and composition for strings, flute and piano, by George Hahn. The titles: Prelude" Romance" and "The Woods at Dusk.''
 The executants will be as follows: The "Elegy' by MT. Hart will be given by Ruth Goodrich Horton, soprano. Jane Sartoris Futile, con- tralto, Philip B. Smaller and Maurice Walling. tenors. John Lindsay, bari tone. Herbert E. Anderson, violin, and Mir. Hart and Mrs. Emile And zulatis at the pianos.
 The Kimball songs will be sung by Mrs. Futile with Mrs. Andzulatis at the piano.
 The Hahn two-piano numbers will be given by Mr. Hart and Mrs. Andzulatis. The instrumental num- ber will be given by Marcus H. Fleitzer, violin, Walter P. Occupin, cello, Harold G. Stedman. flute, and Charles A. Johnson, piano.
 What They Are Like
 The setting of the famous "Elegy' by MT. Hart was the work of an entire year. Those who have seen it are unit in declaring it to be work of extraordinary power one representing the zenith of Mir Hart's strength as a composer. It is ultra a-modern in conception, design and execution. yet the soul of the immortal poem is reflected in every bar. 1mpinged upon the wings of subtle harmony is the flair of at tractive melody. Nothing that Mr. Hart has heretofore written, not even his prize-winning setting of Ashes of Roses" gives an inkling of the depths of fine music plumbed in this composition.
 The "Elegy'' opens with a prelude for two pianos. with violin added near the end. It is atmospheric, combining motives of the cycle which appear later especially the epltaph theme. Broken chords in q high register with a warm melody in the middle register, wend their way to powerful climax before the beginning of choral theme. Ar peggios built upon the newest idi- oms in chord formation abound. Along some measures the first piano plays the choral theme while the violin combines with the epitaph theme, the other piano supplying rapidly developing arpeggios; later this scene is reversed. Bell effects abound.
 A quartet. mostly unaccompanied, follows, built on the words, The Curfew Tolls the Knell of Parting Day. It is modernistic, with vivid tlnkllng of sheep bells in the ac- compartment; also snatches of a vivid funeral march, which comes later, and closing with suggestions of the epitaph theme.
 "1'he Breezy Call of Incense Breathing Morn," utilizes the violin in the introduction, with modernis- tic chords sustaining The solo is for soprano, with violin obligato and in a lento maestoso reaches magnificent heights, finally ending softly.
 The entire ensemble takes part in Let Not Ambition Mock Their Use- ful Toll" which flows from the smallest pianissimo to a huge effect near the end. The choral theme is worked into the accompaniment like T carillon. ending with crashing chords
 Gan Storied Urn' is a recitative for baritone, allegro agitato, the whole-toned scale being evident in some themes. IL Is uniformly melo- dious, utilizing a spraying of soft chords.
 An alto aria follows. Full Many q Gem Of Purest Ray Serene" The melody floats above rapidly moving broken chords, the violin being mu- ted.
 "The Applause of Listening Sen ates" is a baritone recitative. The introduction is ponderous and dra- matic, maelstrom of heavy and rapid chord formations. To the words, And read their history in the nations eyes," the tune God Save the King" is heard in the ac- compartment.
 tenor solo accompanied by the