PAGE TWO :. THE MICHIGAN DAILY THRSAY FERUR 22 IOGR-- -.------.-- ,,a.. PAGE TWO TIlE MICHIGAN DAILY THURSDAY. RRT~A~V ~9 io~R .avavA l Y#;i} a'a.1LaYV Cal{. 1 (rwGl LVUO. poetry and prose I Think That I Shall Never See a Garg as Lovely... f-- L~A. LS FUTH AVEI _i_ ____. By DANIEL OKRENT There are few inevitabilities in life. But among those one can count on is the surety that Gargoyle, the University's sometime humor magazine, will never be either inevitably good or inevitably bad. And just like its issue-to-issue record, this current number has enough of each quality. As usual, Gargoyle's advertising staff has managed to concoct some of the most incredible ads ever seen on print. Seemingly plucked from "Realist" Paul Krassner's "soft core pornography" mold, Gargads manage to make the most sedate and prim of local merchants seem like full-blooded lechers. Garg staffers assure the advertisers they'll see the 'ad before its printed, but one can wonder whether the merchants are blind and/or perverted and/or vicarious to the point of ridiculousness. You'd better watch out next time you walk into Campus Corners, my friend. But from the high point (yes indeed snicker-snicker) of the ads. Gargoyle proceeds with a few sparkles, particularly a fairly cogent rip of SGC-accompanied by Jan Holcomb's extremely cutting drawings, of /council stalwarts Brucie Con-man, Mike Devious, Sherman Tank, Ruth Brawlman and, simply, Tom West- erdale. Probably the most insightful item in this Gargoyle, though, appears in the surprisingly straightfaced Gargoyle Philosophy, in which some unidentified editor asks Circuit Judge James R. Breakey to write for the magazine, because "Chris Burditt can't write every issue himself." I don't know how the previously un- funny Judge Breakey would do as a humorist, but surely he could :match Burditt's outpourings. Mr. (or is it Miss?) Burditt seems to have written most of this issue, anyway, and maybe therein lies its biggest fault. He (she) made his (her) first signed (how dare he-she?) contribution on "The Saturday Matinee," and it is mostly an attempt at good ol' nostalgia. As we go back to the days of -the writer's summer- winter boy(girl)hood in all-American apple pie yessirree Saginaw, the present tense stream of consciousness cliches not quite a la Jean Shepherd begin to strangle and then there's Jack Palance up on the screen gunga dinwhoopee ... The second Burditt contribution is an investigation into the motivation of the much-neglected Little Man on Campus. Much better off neglected, he was. The "Golden Treasury of Worn Out Lines" contributed by the pseudonymic (and I can see why) Miriam Aaron and Janet Suss- man shows good evidence of exactly why Garg articles are con- tributed, not sold. They hit a few high spots ("How do you un- hook this damn thing?"), but the bedroom reminiscences show little more than the authors' experience. Although not the side-splitting type of humor that the Gar- goyle once tried (and often failed) to print on its glossy pages, "The Great Game of Discrimination" is really fairly decent. More subtle than stark, it shows clevers perspectives but takes up too much space. And if you want to cut out the pointless LBJ cutout on the preceding page, you can't play the game, anyway. Also worthy of note, I suppose, is the verbal-visual caricature of Daily editor Roger Ripapart, who gets his scoops through "in- trepid reporting, daring diplomacy, diligent research and theft." Mr. Ripapart was unavailable for comment. Mon. thru Thur 7-9; Fri & Sat 1-3-5-7-9-11; Sun. 1-3-5-7-9 HELD OVER r.. *,D LESTE 's "WW 1I WITHOUT ITS PANTS ON!" --Ramparts Magazine "I WOULD LIKE TO SEE IT 20 TIMES!" -San Francisco Chronicle "IT TRULY HURTS WHEN YOU LAUGH!" -Stewart Klein, WNEW-TV "QUALITY AND IMPACT!" -Ellen Frank, Michigan Daily SNEAK PREVIEW SUNDAY 9:00 P.M. Music's Outer Fringe Comes to Ann Arbor The Very Famous Brucie Con-Man | if By MARK LEHMAN The Music School will offer two important and influential compo- sitions from the European avant- garde Saturday night as part of the school's "Contemporary Di- rections" series. The numbers to be featured are Pierre Boulez' "Le Marteau sans Maitre" and Karlheinz Stockhau sen's "Kontakte." Boulez and,. Stockhausen are probably the two most important contemporary composers writing today. The two pieces being per- formed Saturday are among their most famous and significant works; indeed, "Le Marteau sans1 Maitre" has become a modernj classic. Neither work has ever1 been played in Ann Arbor, and "Kontakte" has never been per-' formed in its complete four-track version anywhere in the United States. 'Le Marteau sans Maitre" is a sort of. chamber cantata in nine short sections for alto voice and six instrumentalists playing alto flute, viola, guitar, marimba, vib- raphone and percussion. The vo- cal text is a.set of poems by the modern :F'rench poet Rene Char. The performance Saturday -will be sungby Rosemary Russell and conducted by. Sydney Hodkinson. "Le Marteau" was completed in 1954. It lies somewhere between the precision and purity of Web- ern and the impressionism of De- bussy. The crystalline sonorities and lucid complexity of the tex- ture also show the influence of Boulez' teacher, Olivier Messiaen. The work eschews harmonic and tonal implications for a dissonant yet melodic counterpoint. The im- agistic text by Rene Char was used by Boulez as a germ for his musical ideas, but the piece itself is not a poetic background for the poetry; rather it is abstract mu- sic, significant beyond the mean- ings of the words. The difficulty of the listener in the work is the tremendous con- centration of musical events in short spaces of time. Glittering and delicate in its-intricacy, the intense, carefully controlled poly- phony of "Le Marteau sans Maitre" has a mosaic-like beauty which ishperhaps classical in its impact. There is nothing classic about Stockhausen's "Kontakte". In its lavish array of sounds and dra- matic expressiveness it is, per- haps, in the tradition of German records Columbia's Back to Classics romanticism. In any case the mu- sic clearly harks back to the ex- uberant and gigantic sound-ex- plosions of Varese's "Arcana" and "Poeme Electronique". The work, completed in 1960, pits a piano and a variety of per- cussion against a four-track re- corded tape of electronic sounds Ideally, the two instrumentalists are positioned ,on a stage, with the audience surrounding th:em, while four speakers are arranged outside the .audience. A huge scope of electronic sounds is used in the piece, often with violence and profusion. Clusters of tones, noises, and everything between appear as fragments or are de- veloped in sonic processes. Pow- erful contrasts are rampant throughout the work. The spatial arrangement of the speakers nnd performers is also utilized, and at times the sounds are rotated from speaker to speaker, giving a weird spiraling effect to . the mttsiz. There is little of the Apollon'n detachment and restraint of "Le Marteau"; the listener is Jm- mersed in a swirling vortex of sound. The live performers add an ex-' tra range of possibility to the static recording. The title of the piece refers to the contacts, in several musical ways, that are set up in the piece between the per- formers and the tape. In the up- coming concert the piano part will be played by William Al- bright, the percussion by Jerome Hartweg. The elaborate four- track recording of the work took almost a year for Prof. George Wilson, who organized the con- cert, to obtain. He finally had to write directly to Stockhausen in Germany. Technical advice for the performance was given by Motown records. The concert is scheduled for 8:30 p.m. in Rackham Aud. Ad- mission is free. Horrifies Mothers JACKSON, Calif. P)-A con- troversial plaque commemorating this town's former bordellos has been spirited to A secret hiding place by town fathers. Somone spilled red paint all over it Tuesday, and the removal was taken to prevent further de- struction of the heart shaped com- memoration, an official said. The plaque was dedicated on Valentine's Day. It immediately prompted bitter controversy. Proponents said it commemo- rated a "very real part of Jack- son's history." This historic Mother Lode mining town's broth- els flourished until 1952. Detractors, including clergy men, mothers and schoolgirls, said a town that honored prostitutes was no place to raise a family. At a crowded and noisy city council meeting Monday night, of- ficials divided 3-2 in favor of keep- ing the plaque on display. Open Housing Wins In Flint Voting FLINT - A referendum on a City Commission-passed open housing law was approved Tuesday by a 20,172 to 20,129 margin. Earlier reports that the law had been repealed were due to a 100-vote tabulating error in the first unofficial tabulations. STARTING FRIDAY By R. A. PERRY tt er releasing a- barrage of avant-garde recordings (ironically taking the chance out of chance music), Columbia has returned this month to its standard prac- tice of presenting the major clas- sics in performances by major artists. Included in their list of new releases are two important disc sets, both previous collector's' items. In a three-record Odyssey, re- lease (3 2 - 3 6 - 0 0 13), Henryk Szeryng presents the rendition of Bach's Sonatas and Partitas for, Unaccompanied Violin that won him the Grand Prix Du Disque in 1954. The music contains some of Bach's most magnificent composi- tion; the performance exhibits a perfection of intonation and level of communication equal to if not greater than any other version in the catalog. The three sonatas in sonata da chiesa form and the three par- titas which are essentially dance suites contain rich harmonic in- vention, sustained passages of melodic writing with its own self- contained contrapuntal accom- paniment, and a weaving of mel- ody that produces sublime poly- phony. At first sitting, these works may seem difficult to lis- ten to, but each session yields exciting insight into the musical texture and a growing transport into the realm of pure musical communication sans programatic intent and orchestral gossip. Szeryng's tempos are almost all slower and1more deliberate than one normally hears, and I can- not deny that some of the brio and breath-taking momentum of the music is lacking. These quali- ties may be found in abundance in Grumiaux's rendition for Phil- lips. Nevertheless, Szeryng reveals much of the contrapuntal devel- opment and dialogue which in other versions is stated only by a show of virtuosic technique. Never digging into the strings with the passion of Szigetti, $zeryng's unfaltering tone rav- ishes the ear as well as orders the mind in accord with the order of the music. This is a record set 3020 Washtenaw, Ph. 434-2782 Between Ypsilanti and Ann Arbor which one shall listen to over a lifetime. Students wishing to acquire for their record collections the last six symphonies of Mozart and who do not demand stereo, will find all they could wish for in an- other Odyssey release (32-36-009), featuring Sir Thomas Beecham and the Royal Philharmonic Or- chestra. Space does not offer itself to a discussion of Beecham's way with each symphony; suffice 'it to say that the- maestro was master of the Mozartean style and he re- veals not only the lyricism of these works, but also, and perhaps more important, all of the musi- cal structure without ever ap- proaching the Germanic heavi- ness of, say, Klemperer. The "Linz" and "Haffner" are espe- cially joyful. The monaural sound possesses sufficient space and color, and in- terior voices can be heard without the latter-day artificiality of nu- merous microphone placement. Schubert's "Trout" Quintet is one of the most unabashedly lyri- cal works of chamber music in existence. Rudolf Serkin and a quartet from the Marlboro work- shop play it (MS 7067) for all its worth and the result is something like eating too much Vienna torte. There can be no doubt that the Serkin group give a brilliant, driv- ing, intensely happy reading, but some of the more subtle and ser- ene moments are engulfed in such enthusiasm. Problems of ensemble balance exist as well; Serkin has been made too prominent and the vio- lin of Jaime Laredo too distant, but the record is worth its price alone simply for Julius Levine's bass playing, which throbs like the heart of Nature itself. I can- not imagine anyone listening to this record and remaining de- pressed for very long. "TERENCE STAMP PETER FINCH ALAN BATES SCREENPLAYYFREDERIC RAPHAEL THOMAS HARDY DIRECTEDBY JOHN SCHLESINGER Shows at 1:00-3:30-6:10-8:45 * Week Day Matinees $1.50; E . .$MGM Eves. & Sun. $1.75 I Th1earechungers noIman Can deny amamy ?smmfr m: PRESENT S National Theatre of Canada SHAKESPEARE'S "A Midsummer Night's Dream" with ENDING TONIGHT: DEAN MARTIN in "THE AMBUSHERS" ACADEMY AWARD NO 2-6264 NOMINATIONS Including: * BEST ACTOR (Warren Beatty) * BEST PICTURE BEST ACTRESS (Faye Dunaway) - BEST DIRECTOR, (Penn) .*BEST SUPPORTING ACTRESS (Estelle Parsons) TWO BEST SUPPORTING ACTOR (Pollard and Hackmon) UA?? I I3ETYA 4 I DOUGLAS RAIN MARTHA HENRY as Bottom as Titania r-o C w Z t y« ' FOR THE MOST MATURE ^r AF ImIrkifIrt. Directed by JOHN HIRSCH Designed by LESLIE HURRY ..I SOLE U.S. ENGAGEMENT II I ,":. :.:.x y ;,, .