New Britain herald., 1927-05-10
difficult as it may seem.

difficult as it may seem.
 The touching close was an "Epi- taph'' for the entire ensemble.
 The two tenor singers who took part had important parts, but most frequently in conjunction with the others. Mir. Smaller was in fine voice and lent his native dramatic ability to the lines. Mr. Wallen shared in the honors. The violinist played only occasionally, but upon each such ocasion Mir. Anderson was heard with pleasure.
 Mrs. Andzulatis, at the second piano, is entitled to great praise. She mastered a difficult part in a masterly fashion,
 In writing and producing the "Elegy" in New Britain MT. Hart has made an outstanding contribu- ton to American composition, one as important 10 this section of the country as the production of a new opera in New York.
 Nr. Kimballs Songs
 The songs of Mir. kimball were sung by Mrs. Futile, with Mrs. And zulatis playing the accompaniments It is creditahle to any man with ar tistic leanings to be so interested in an avoca,ion as to feel the urge of creative talent. Mir. kimball is such a one. His songs were melodius and well written. possessing accom- pani- ments fully in keeping with their moods.
 '"Throush Jasmine Leaves might have pleased some listeners better than the Autumn Song or the "Gipsy Mail" but to us the last two hit the bulI's-eye. The melodic line was well carried out and agreeable in every bar, with the accompani- ment wildly enhancing the interest. These songs have been published. are artistic and enlist popular interest. Mir. kimball has every retson to feel gratified, and the audience gave every indication of feeling we'll dis posed to the offerings. Needless to add, Mrs. Futile sang them in de- lightful fashion. Mrs. Andzulatis con- tributing an accompaniment in sim liar vein.
 The program opened with two unique and charming two-piano numbers by George Hahn. and play ed in masterly style by Mrs. Andzu- latis and Mir. Hart. The Prelude ' cry adequately served as an open ing number, being introductory in character and proved quite refresh ing, at times the effect becoming all most pastorale, and ultra modern in places. The first theme began in the bass with octavcs well sustained. A gain in power came gradually and swiftly modulating passages led to- a fortissimo. A rugged theme and modern harmony flowed in coniunc- ton with very rapid runs. This gradually ameliorated, the first theme was again heard. once more gaining momentum, and ended in the major key.
 The romance was much lighter in
  vating and original melody which led to an allegro agitato. A return was eventually made to the first theme and ended with heroic new theme. The whole was treated in such fluent style that one recogniz- cd immediately the work of a com poser of high merit.
 The quartet for flute. violin. cello and piano. entitled "The Woods at Dusk. was most capably performed by the Orpheus instrumental quar- tet composed of Marcus H. Fleitzer, violin; Walter r. Occupin, cello: Harold G. Stedman. flute. and Charles A. Johnson. piano. A melo- dious waltz theme served as an ln- troduction, followed by a piquant fast movement. Various rhythms were introduced and return of the first theme was combined with the theme that occurred later, all nov ing to a beautiful close. An espe- cially difficult piano part was well handled-Gertrude M. Hine.