Page Two THE MICHIGAN. DAILY Sunday, March 24 1968 Page Two THE MICHIGAN DAILY /1 f Jim peters' music Glee Club Blooms in Icy Spring I'm surprised that the Mich- numbers, the Glee Club once igan Men's Glee Club didn't again charmed its way to suc- begin its concert last night with cess with a truly professional an utterly bitter rendition of performance. Director Philip "Good King Wenceslas" or A. Duey led the 75 tenors, bari- some other ironic tune; for its tones and basses with a know- 109th Spring Concert was more ing hand, emphasizing lyricism a Winter Festival. The audience always, but never forgetting the entered Hill Auditorium last basics of rhythm and counter- night in bedraggled little cov- point. les, trudging through the tons They began, after the tradit- of snow. But their effort was ional "Laudes Atque Carmina," more than rewarded. with a series of Renaissance In a perfectly balanced pro- motets including a Sixteenth gram which tempered classical Century canon, "Dona Nobis offerings with lighter popular Pacem" which the Club sang D nast Diversifies In Ark Non-Coneert By MICHAEL BEEBIE The T'ong Dynasty's High Bandpass Filter Concert pre- sented a collection of avant- garde compositions at the Ark Friday and Saturday nights. The experimental nature of some of the compositions, e.g., Jack Carraher's "Nights at the Round Table" for five to six poker players and five to six instrumentalists, exemplified the Dynasty's purpose: to create a-non-concert hall situation for which composers can write a more diversified form of music. -T'ong composer Robert Mor- ris' "ioopus Lazili 359" was the most evocative composition pre- sented. This environmental work made use of five perform- ers who acted as extensions of recorded sounds. Coupled with Morris' other work, "Concerto Pomposo," an opportunity was created for the audience to par- take of a wide and varied range of moods. Harry Kincaid's "Declara-' tion" was a mixed media work for performers, recorded sound, billboard, and a tarantula film. The horror created in the begin- ning by the film and tape fal- tered with the entrance of the musicians and the lack of unity between the different media. Elliot Borishansky's . "Silent Movie' was not a movie but a musical simulation of one. This composition for solo, clarinet presented a musical scenario whose cinematic counterpart had to be completed by the au- dience. Sidney Hodkinson's grimacing, animated perform- ance gave the listeners good material for their imaginations. Hodkinson also assisted Wil- Lam Albright in Abright's se- lections from his "Rag Bag," a set of unpublished piano pieces with occasional wash- w.. %~~** .. 3020 Washtenaw Phone 434-1782 BetWeen' Ann Arbor & Ypsilanti JAMES HENRY STEWART FONDA board accompaniment. The first rag, "The Vehement 2-Step," had the rhythmic and harmonic surprises of a carefully edited pianola roll. The last two rags, "The Queen of Sheba Slow Drag," and "Onion Skin Rag" used Hodkinson's washboard skills. Jack Carraher's "Nights at the Round Table" used an ex- perimental and effective pre- compositional plan. Each poker player had a musical kibitzer who played a set of three notes which were determined by the, first three cards drawn by each player. Each musician improvised freely on his three-note set and used dynamics according to the quality of the hand, the better the hand the louder the ki- bitzer. William's Hamilton's "The Secret Chromatic Art of Never Land" is a satirical comment on the medieval church's stance against the rise of chromatic- ism in ecclesiastical music. , This work is a dialogue be- tween the church as portrayed by a grimacing, screeching sax- ophone and the chromatic musical practice performed by a small ensemble of musicians. The piece is completely impro- vised and is a well-wrought ex- ample of satirical musical com- ment done in a contemporary idiom. all over the world in their re- cent global tour. A short piece for solo and chorus by Schu- bert featured tenor Jerrold Vander/ Schaff; his voice was pure and clear, but I thought it sounded a little strained in some passages. As an . interlude, baritone Frank Wiens performed a very competent "Waltz in A Flat, Opus 12" by Chopin. I was particularly pleased by the clear differentiation between the two whirring lines in the waltz, revealing subtleties too often missed. His encore was "Golliwog's Cake Walk" from Debussy's "Children's Corner Suite;" how- ever, I missed the usual warmth and humor in the piece. His in- terpretation was too straight, lacking all "rubato" clever- ness. The Club then turned to some lighter songs in remark- ably well balanced fashion. The slowly rising sound in "Money, 0" was carefully sus- tained. I liked the second of two songs by Ralph Vaughn Williams called "The Infinite Shining Heavens" in which tenor Schaff's voice was very fine, and a long piece by Wil- liam Schuman where the choir handled the dissonances most smoothly. Baritone Daniel Swartz closed the first half with, a fluid and rousing performance of Frank Loesser's "Luck Be a Lady." His voice has a professional quality that rings out above t h e accompanying chorus. Duey's arrangement of the song with its choral accents and hummed sympathy was excel- lent. The Glee Club members are good singers is evidenced by the long medley of songs from the 1920's and '30's -- there was a suberb "In the Still of the Night" and a too choppy arrangement for "The Most Beautiful Girl in the World" - but they are also successful entertainers. Their dice imagery in "Luck Be a Lady," the humor in the songs by Tom Lehrer, and the individual acts by members of the Club, all contributed to their standard of quality plus entertainment. The numbers by The Friars, a small group within the choir, were sharp with visual and musical wit in a satire on the KKK and a big "Mock Motown". imitation of the "Temptations.' The concert closed with num- erous songs from the Club's new Sesquicentennial Song B o o k, conjuring Michigan memories from times past. The snow-conscious audience responded enthusiastically to all this excellence, and the only applause that seemed un- deserved was for the tuxedoed "janitors" who moved the piano around. 4 0 A look at 'Pienic on the Grass' by Henry Grix It's not just an ordinary picnic at Cinema Guild this weekend. After all, Picnic on the Grass was prepared and served by Jean Renoir. Georges Leclerc's photography looks beautiful, the female lead (Catherine Rouvel) is delectable, but unfortunately you get your fill of the whole thing after a while. Part of the problem lies, as in so many foreign films, in the translation: Americans can't eat too much rich French food with- out getting an upset stomach. The jokes seem overcooked; the plot seems half-baked and it never seems to be getting anywhere; the characters seem to be overacting their trite roles. To. American taste, Renoir's offering seems more like Jerry Lewis than genius. However, Renoir's preposterous comedy has deeper roots in the broad farces of Moliere. Renoir's characters, like Moliere's, are caricatures, and the comedy rests in bursting the bubble of pre- tensions which surround them. Renoir's hero, masterfully played by Paul Merisse, is a stuffy scientist who intends to become President of Europe and create the best of all possible worlds by enforcing artificial insemination. He has the support of French television and even some citizens. But when the renowned doctor plans to announce his own marriage with the leader of the French girl scouts ("a reunion of scouting and biology") at a picnic on the grass, a wind storm blows him into the heroine, Miss Rouvel. The curvaceous country girl had wanted to have a baby artificially, but of course, they end up doing what comes naturally, and the doctor abandons his con- fidence in science for the joys of nature. Merisse is funny in any language. He looks no less dignified, although a lot more ludicrous, on a motor scooter than in his Louis XV salon. It is the caricatures of thoroughly French types, like the coun- try girls, that fail to please an American audience. Renoir, in the manner of Pagnol has cut a slice of French life to serve at his Picnic on the Grass. Any Frenchman seeing the crew of pretentious serv- ants, the wild bunch of journalists, the regimented girl scouts would recall the jokes his friends tell him. But the American only sees servants, photographers, and kids. P L ,ad Is a Love-in...Turned Kill COLOR FROM CRC 1 :20-3:20-5:20-7:25-9:25 ,,. , >: :. . I f I I SUNDAY Matinees are not continuous I L-in a ~jThATE Dial NO 2-6264 inliinlii University Players Department of Speech announce..-. A matinee performance of Sophocles' Sunday April 7, 1968 2:30 P.M. Trueblood Theatre Enclosed find $ for tickets to the Sunday matinee performance of Antigone, at .the price ,J4IMNS" )I Foreign Study Not Hit by Tax The travel restrictions proposed by the Johnson administration last month have no effect on the University's Junior Year Abroad program, officials of the program say. Prof. Valentine C. Hubbs of the German department and coun- selor for the program, explains, "There's a contingency in the proposals which states if a student stays over for more than four months, he doesn't pay the tax." Students participating in the University program study from September to June and thus would be exempt from the tax. 'I 4 of $2.00 $1.50 TODAY FROM 1 O'CLOCK 1 dgm DIAL 8-6416 "Perhaps the most beautiful movie in history."--Brendan Gill, The New Yorker. "Exquisite is only the first word that surges in my mind as an appropriate description of this exceptional film. Its color is absolutely gorgeous. The use of music and, equally eloquent, of silences and sounds - is beyond verbal description. The< performances are perfect-that is the only word."- B o s I e y Crowther, New York Times. "May well be the most beautiful film ." ever made." -- Newsweek. (The- lower price seats are, located in the rear of both the orchestra and the balcony.) I prefer (check one) : orchestra balcony PLEASE CHECK ONE: I enclose a self-addressed, stamped envelope. Mail my tickets to me. I enclose NO envelope. I will pick my tickets up at the box office the week of the performance. i !i NAME- .PHONE ADDRESS- CITY GUILD HOUSE 802 Monroe 4 1 I I 1 . ZIPI (Please make checks payable to University Players) Monday, March 25 NOON LUNCHEON-25c End of Series: "THE THIRD WORLD" -I Continuous Today from 1 o'clock With Thommy Berggren and Pia Degermark, Winner, Best Actress, 1967, Cannes Festival DIAL 5-6290 NOMINATED FOR 4 ACADEMY AWARDS Mail orders to University Players, Dept. of Speech The University of Michigan, Ann Arbor, Mich. 48104 Regular Performances Nearly Sold Out sometimes truth is ImoTCre xliIlq r"M1 ~'4 1 1 Summary-Discussion I r I I HIGH CAMPf!a OBEY FU MANCHU... T E OR EVERY LIVING THINGO WILL DIE! FACE Matinee Today 1:00 SEATS Pu MAICHI 75c TECHNCOLOR*TECHNSCOPE" Sun.-3-5-7-9:15 Mon. thru Thurs.-7-9:15 Truman Capote's IN COLD BLOOD "LEAVES ONE CHILLED! -N.Y. Times Wriien for the screen and dee we by Richard Brooks Posdvely no one under 16 admitted unles 01 I AT I t-2 3.. v~~ Muiuy 'U.uincy!oe A Columbia Pictures Release In P4 ',e INNE ACADEMY NOMNAT106NS! . BEST PICTURE * BEST ACTOR DUSTIN HOFFMAN 0 BEST ACTRESS ANNE BANCROFT JOSEPH ELEVINE 0 BEST SUPPORTING ACTRESS MIKENIC HOLSNKATHERINE ROSS AWRENCETURMAN 0 BEST DIRECTOR MIKE NICHOLS ' BEST SCREEN PLAY 't BEST TOGRAPHY THE L.. GRADUATE 4 'I THE CONCERT SOUND OF HENRY A CI with orchestra of forty SATURDAY MARCH 30, 8:30 P.M. UNIVERSITY EVENTS BUILDING {+ TICKETS AT HILL-8:00 A.M.-4:30 P.M. AINNEBANCROFTDUSTIN HOFFMAN - KATHARINE ROSS CALDER WIWNGHAM BUCK HENRY PAUL SIMON $4.00, $3.50, $3.00 i I i II U w ~