The Waterbury Democrat., 1940-12-04
DUO-PIANISTS I'M FINE RECITAL.
Audience We'll Pleased By
 Playing of Vitya VrOas- i key, Victor Babin

The amazing skill of the duo-pi- anists, Vitya Vronsky and Victor Babin was displayed last night in the second regular concert of the Fine Arts Series sponsored by the Mattatuck Musical Art society at the Waterbury Women's club audi tor1um. It seems almost incredible that a superb talent could be so equalized, for iIl the playing of this pair of artists SnoothnesS, rhythm, timing, nuanceS, all seem to be so coordinated that the performance presents the effect of one artist. Last nights concert was an artistic treat from start to finish. The 1x- quisite tones brought forth by both artists were effortleSs; they sang as in the lovely flute passage of Gluck's "Melodie" and they rippled clearly and methodically as in many passages of the Rachmaninof Fan tasia, or the Busoni piece in the Mo- zart style.
 Vronsky and Babin have institut- ed form of recital playing that is captivating musical audiences everywhere. They are serious and intent on every tone, but at the same time their performance is not too precise. There is grace and technique in every phrase. Tn fact hearing the two artists on the two pianos, changing pianos and each taking a major part in every selec- tion chosen is something to rcmem- Der.
 The program last night was one that enabled the artists to give ex- pression to fine examples of piano music as conceived by Bach, Gluck and Busoni, Rachmaninoff, Milhaud, Arensky, Babin, and Strauss. Mill haud'S "Scaramouche" was a flip pant and gay number and perhaps one that was not so familiar as some of the other arrangements of- fered. It was a captivating piece by the modern French composer and highly descriptive, accentuating the composers style which is a sort of forerunner of modern jazz. The playful antics of clowning Scara- mouche cleverly written into three short movements, Wifi, Modere and Brazileira, were given an animated piano translation by the artists.
 Bachis Sonata in c opened the program and the pure tones of ;he composition flowed along in clear cut phrases as the two artists played through the three parts, AL legro, Largo and again Allegro. They played Bach with tbe precision de- manded in this polyphonic type of composition and gave to the piece colo. and loveliness.
 G.lck's "Melodie" introduces a lovely well known air. This was played expertly, the beautiful bell like tones now cvming from one in- strument, now from the other with 8 blending of the two. The con- tinusty in all the pieces played by the artists continued to amaze as the tones from one instrument min- gled to become as one with the oth- CT. Rachmaninoff's Fantasia was a colorful affair and each pianist brought to the fore in this the full power of their pianistic abilities. This was composed of four .nove- mentS, first Barcarolle, then Adagio sostenuto, followed by Largo di mol to, and concluding with the power- ful Allegro maestoso Easter Beils). The impression of bells was created throughout this, first sounded from ore piano, then from the other.
 Afler Milhaud's Scsramouche the artists played three brilliant pieces for the two pia IS which were firss. the graceful Arensky Waltz, Opus 15, then MT. Babin's own compost ton, "Etude No. 3" which presented many technicalities which the two managed as each traversed the key beard with swift fingers and nego- tiated the difficult chord progress s!ons in so capable a fashion. The last of this firal group on the pro- gram was MT. Babin'S waltz ar rangement of the "Rosenkavalier" music by Richard Strauss. The va- riety of music presented was more than pleasing to an audience who were delighted to hear the several additional numbers played and which included a Brahms waltz, a Spanish dance bv the composer h. fante. the famous The Flight of the Rumble Bee" ard lastly De- bussy's "Epigraphes Antiques"