New Britain herald., 1930-11-21

Messiah. The chorus of the church evoked much pleasure in giving 1t, however, and it sounded particularly impressive with the piano and or gan accompaniment. The a capella number which followed, written by 'the famed conductor Of the St. Olaf chorus in the west, was plquant morseL with Miss Smedberg singing well.
 Mrs. Tuttc's two art songs and two Of more recent vintage were attractive examples of vocal art and well suited her expressive style. The Liszt and Rachmaninoff pieces had. by far the most art, but the two others what we moderns call more punch" It would, be interesting to determine which pleased most. Any way, Mrs. Futile took care to ap- peal to all classes and succeeded as 1 IS her wont.
 The mems chorus, with Mir Mag nuson carefully guiding it, is q far finer organization than it once was. And when it reached the immortal | strains of the Ave Maria, with Mrs. Vahlstrom's brilliant soprano inn | posed upon its sonorous background of the male voices. organ and piano, | lhe effect was electrical.
 Mr. Westerman played safe as we'll as nicely in standard selections. 1 Suave tone and expressiveness gleamed in his first two numbers, and hriIIiancy and speed ruled in his third. But he was so intent upon l emphasizing the fine points in this number that he forgot to repeat a section or went straight on-we do not know which. Anyway, the Tlo- linist advised us 10 make mention Of the fact that he. and not Mir. Mag nuson. was to blame for the ensuing few bars ot entanglcment, We think he would not have played what fol lowed with quite the fire had he not gotten "het up" at himself over the incident and insisted on making adequate amends.
 Came the kamonnoi-OstroN in 6 new dress under the title Of "Sera- phic Song" This old-ostablisheG composition. in business at the same old stand for generations, held its own with everything on the program by dint Of the ensemble that ac- companicd lt. This remarkable en. sembIe was transcribed by Samue Gaines or Boston, who not being kreisler or any Of the other publlcj- ty arrangers who ride on the tails ol kites made by ers, vas not men, toned behind Inc name Of Rubin, stein. The transcription was a high light Of the evening.
 Miss Phelps incisiyo and cIear-cur pianistic skill came to light readily . The secret Of her success is not SC much her brilliant technic as z highly developed instinct on how tc use the pedals combined with toucl to produce d variety Of tone coiol and effects. These made their ap, pearance in considerable degree 1T the first Mcdowell number bu came to their fruition in that bit O. French realism called "Thc Lirtlt White Donkey.' Ultra-modern anc sharply dissonant in spots, witt everything about a donkey fully Il. llstrated, including the whines anc tho kicks, the comp position served . her exceedingly well. But her mos elaborate contribution was a trans
 cription ot the Blue Danube waltz
 which for rouladcs ot sparkling tracery woven around the vel
 known themes sounded as if fou , hands instead Of two ordinaril,
 would be required, After this tou
 dc force she was brought back | play again.
 The chors took up the remainde
 os the program in selections iron l that cvor-popular choral classic
 The Hoh City, and right smartl,
 did it all cnd.-G. F