New Britain herald., 1929-02-04
MRS, JAFfE GIVES
 NOTABLE RECITAL
Vhdnia Plays Coacslte ,nd Brilliant Novelty At Trinity

s F1orence Bowman Jaife, than whom it ishard to find . more su- rerlative yioiinist. paid her annual visit to Trinity Methodist church iast night, providing what was Tn the nature of a volin recital as an added attraction to the evening religious deyotions.
 On her program was the Patn- ,tiaue symphony of violin literature the famed concerto in D minor or Nieniawski. In addition she provld- d two other pieces that proved oe- cided noyeities-a grave move nent by Friedelmann Bach, kin or Inc famous Sebastian, and which was unearthed by Kreisler and pro- yidcd with a few modern ideas here and there: and a Siciliano and R1- .endon by Francoeur. whlch also yas modernized by krelsler.
 The audience felt disposed to ap- ,laud. of course, but such an ap- oraisal was taboo in the house or eorship of a Sunday night. The minister. the Rev. w. H. Alderson, calling attention to the fact that under ordinary circumstances there would be demands for more music said he would translate the self evident hopes of the audience into a request from the pulpit. Which caused Mrs. Jaffe and her able ac- companist, Theron w. Hart, to con- cede to the wish with the prize song from Wagner's "Meistersinger.' this transcribed by another noted violin- jst who was in the field before Kreisler, namely Wilhelmj.
 The "Romance" of the concerto the second. or slow, movement found Mrs Jaffe in receptive mood. Of all the superlative movements that composition for the violin has given the world, this is one Of the most admired. Its deeply significant melody-not trite yet heart-search- ing-is worthy of Beethoven. But it requires the most exquisite Of tone to yield it's inner meaning. and thls requirement. found the violinist fully equal to the task. Throughout the cntire concerto, indeed. she did Jus- tee to a great masterpiece.
 The Bach piece was somewhat ln the mood of the Romance" but by TO means as meaningful. It was slow movement in ancient style and if played without the deep expression possible upon the violin probably would sound banal. To play it upor the organ would be travesty.
 { If a composition by Francoeur if 10 be regarded as a novelty we per sonally are disposed to hear more )t them. Unless our guess Is en- .irely wrong, the audience felt mucf he same. It was Mrs. Jaffe's mos brilliant number. The demands lpon her skill in lowing must hav' Gen prodigious. It is difficut to re member when we have heard s' many lightning-like cascade of vio in tone in as short time. or mixe' .ith so many different varieties o owing, or 50 many piquant stac .atos 50 ably wooed and won. Tn ,iece was not much for the piano ,hich merely provided the delight f rhythm. The audience, compos d of the rank and file of the popu ace, and mostly those who atten' he evening services regularly, nov cd toes up and down and there wa q gleam of pleasure in the eye, ejac ulating suppressed "Ah" after was over. If the test of an artist US some claim, is to hit one amid hips, that was it"
 The "Meistersinger" encore wa iomething of an ani-climax. Any me who has ever heard this givel with the opera, where it is the turn ng point in the quaint Wagnerlal :omic opus, and where it is tn dramatic touch that wins the han of the fair lady. is rarely satisfie with it's transmission into differ
 mt medium. Walter Damrosch'
 rchestra happened to play it ove
 he radio the night before, and gas interesting to compare the tw
 iterpretations.
 Mir. Hart at the piano kept the in
 trument far in the background
 ,nly, occasionally, when he had
 ew keyboard interludes to perform id he hear down warmly.
 When Mrs. Jaffe plays in public i
 his city one would naturally expee
 he musical intelligentsia to be pres