The Waterbury Democrat., 1933-11-29
CONCERT BY
 ARTISTIC TRIO
Barrere=SalzedO=Britt En- senlbTe Played Fine
 Program Last Night

The Barrere- e-Salzedo-Britt en- semble of flute, harp and cello were received with enthusiasm last night at Buckingham hall. This concert was the first of the Community Concert Series in this city for the 1933-34 season. A program of un- usual beauty and artistic finish was presented by the three artists, each excelling at his instrument. The ensemble was composed of three representatives of the French race, although Horace Britt, cellist of the group, is a Belgian by birth; Georges Barrere was the fiutist, and Carlos Salzedo was at the harp.
 Last nights program was one of the most unique of it's kind that Waterbury audiences have been privileged to hear. The program numbers included group ensembles, and also numbers for cello with harp accompaniment, flute solos with piano accompaniment, and a harp solo that was an amazing ex- inhibition of the possibilities of that instrument. The artists were most generous in responding to encores and in addition to their regular program numbers played many ad- ditional numbers.
 The third Sonata by Jean-Marie Leclair, seventeenth century French composer, was the opening by the group. This proved an in- teresting development for the three instruments and included four movements, Adagio, Allegro, Sara bande and Allegro assai. They fol- lowed this offering with three de- scriptive "Alley Tunes of negro nature by the American composer, David w. Guion; the three played were "Brudder Sinkiller and His Flock of Sheep" "The Lonesome Whistler" and "The Harmonica Player" The theme was brought out in the first by the cello with the other instruments subordinate; the flute predominated in the sec- ond; and all three joined equally in the joyous and happy air of the harmonica player.
 Horace Britt next played four expressive cello numbers with ae- compartment by the harp. His first two were "Plainte" and "Musette" by Caix d'Hervelois; Chant du the artist), and "Serenade Espag- ttOlC Oy oidAouhOL concluded the cello pieces, which were played with great artistry and technique. MT Britt played two encores.
 "Variations on a Theme in An cient Style" was written by Carlos Salzedo, and played by him last night it brought forth a round of applause. His performance of this composition brings into play all the possibilities of this instrument. Opening with a simple theme MT Salzedo proceeded with the varia- tions that included many musical forms; they were: following the theme, double, tempo di Bouree, staccati, Butterfly Aux and chords, jumps, trills, scales and arpeggios, tempo di Barcarolle, prelude, fugue, cadenza, and conclusion. Each variation of the main theme was definite and recognizable, and according to program annotations the ''fugue' is the first land thus far only one, written for the harp. MT Salzedo also responded to en- cores.
 Georges Barrere, outstanding f1utist, which instrument is not common for solo performances, played with fine musical feeling and skill "Polonaise and Badinerie" by Johann Sebastian Bach, and the beautifully touching minuet theme from Won Gluck's 'Orfeo,' a com position of beauty and pathos. Mir Barrere also played several en- cores.
 The final ensemble offering was not according to the program or der. A suite by the French com poser Debussy was played in place of Pierne's sonata. The suite was announced by MT Barrere and is one of Debussy's famous and de- scriptive compositions, known as "The Children's Corner" The six pieces that comprise the suite were played in groups of two, first in the group was "Dr Gradus ad Parnas- sum-" second "Jimbos Lullaby"
 The third and fourth pieces were "Serenade for the DolP' and "The Snow Is Dancing" and the last two were "The Little Shepherd" and the very we'll known "Golliwog's Cakewalk."
 The next concert in the series will take place in January.
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