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May 10, 1959 - Image 4

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The Michigan Daily, 1959-05-10

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Sixty-Ninth Year
Truth Will Prevail'" STUDENT PUBLICATIONS BLDG. * ANN ARBOR, MICH. * Phone NO 2-3241
Editorials printed in The Michigan Daily express the individual opinions of staff writers
or the editors. This must be noted in all reprints.

Centennial Concert
SATUCH IN THE manner of a well-rehearsed drill team, the Michigan
Men's Glee Club presented their Centennial Concert last night in
Hill Auditorium.
With a program designed to suit every taste, from the lover of
genuine choral works to the old Michigan alum who wants to hear
the songs with "that old school spirit," Prof. Philip Duey led his
singers through their paces to provide the audience with a near-


Y, MAY 10, 1959


West Should Have
Tough-Minded Idealism

S ECRETARY OF STATE Christian Herter has
already arrived in Geneva to participate in
the forthcoming foreign ministers' talks to be
held there. The "Spirit of Geneva" of 1959 is
however, considerably more realistic than the
burst of optimism which appeared during and
following the 1955 conferences-and which was
so quickly demolished by the Russians about
two months later.
The West seems to be approaching this series
of talks with a few assumptions that were in
little evidence four years ago.
It is, one hopes, quite aware of the true
worth and meaning of any agreements made
by the Russians. Unless careful provision is
made, it is quite likely that such agreements
will only be carried out insofar as they benefit
the Russian cause. Otherwise, they will be
broken with no compunctions.
The West seems also to have realized that a
summit conference which achieves nothing, in
itself is of little value, and may only waste time

for all concerned. The Western ministers are
probably going to be quite careful to make sure
that some concrete good can come out of the
talks between heads of state before they allow
them to proceed.
THIS REALISM is certainly to be praised. But
it must not be allowed to interfere with
any real good that such a conference can bring.
If the West consistently believes that nego-
tiations witl the Russians can be of no use,
it is thereby committed to an inherently sterile
and futile view of the world's political future.
A. refusal to talk to the Russians with an
open mind could lead to a tacit acceptance of
the status quo of a world hopelessly divided.
Perhaps, like the internally self-inconsistent*
phrase, "dynamic conservatism" of the Eisen-
hower administration, "tough-minded idealism"
might be the passwords for the West during
.these coming weeks.

-Daily-Allan Winder
TWO MEASURES--Under the hands of a conductor is shown a minute segment of the complexities
of only two measures of the rehearsal score of Stravinsky's "Rite of Spring" to be performed by the
University Orchestra Wednesday. The performance will be conducted by Prof. Blatt without any score.
U Symphony To Present Stravinsky

perfect evening of entertainment,
"Laudes Atque Carmina," the
Glee Club set an unusually high
level of performance, which they
generally maintained throughout
the concert.
THE PROGRAM was divided
into four sections, roughly, the
first one being the "choral" works
"Invocation of Orpheus," Han-
del's "Cara Selve," a delightful ode
to feminity by Haydn, "To the
Women," and Schubert's "The
The program even made room
for a non-singing performer -
Robert Blasch, a pianist and also
a member of the Glee Club.
THE SECOND section was just
a little lighter in tone, starting
with a choral setting of A. E.
Housman's poem, "A Shropshire
Lad," and ending with "Luck Be
a Lady," from the Broadway mu-
sical, "Guys and Dolls." In be-
tween was included the beautiful
spiritual, "There is a Balm in
Gilead," and "Go, Lovely Rose,"
which featured Joonmin Kim,
tenor. Mr. Kim's voice was gener-
ally pleasing, although there
seemed to be evidences of strain
in some spots. The other soloists
during the evening were of the
same calibre, although none were
really exceptionally bad s or good.
Just prior to intermission, the
Glee Club performed their en-
cores, since another tradition dic-
tates that nothing can be sung
after the alma mater which closes
the program.
* * *
A MEDLEY of popular songs by
Gershwin, Porter, Adler-Ross, et
al, was the third section, dedicated


BECAUSE of the danger of the Chinese forces
on their Tibet border, literally breathing
own their subcontinent, influential men in
oth India and Pakistan have been calling for
reconciliation between the two nations, which
ave been at odds over the question of the
ashmir since their separation in 1947.
Though relations between them were recently
trained by the shooting down of an Indian
lane over Pakistani territory, the President of
'akistan, Ayub Khan, said recently the two
ountries should "learn to live like good neigh-
ors" without "frightening or fearing each
ther." More important, he called for a mutual,

defense agreement. The respected "Tines of
India" said that this would "constitute a
powerful factor making for stability in Asia."
said no. A friendly settlement would be
good but Indian policy forbade any sort of
alliance, even with an Asian neighbor. India, he
implied, could better get along trusting to the
benevolence of friendship of all powers even,
one would guess, Communist China.
The whole situation is reminiscent of the
farmer who refused to buy fire insurance until
his barn burned down.

Manners Not Enough

LEARNING manners, that is, learning to un-
derstand and use the ways in which things
an be done or may take place, is the central
Libject in a college or university."
Margaret Clapp's rehabilitation of this older
weaning of the word manners, was the central
heme of her honors convocation address on
riday. There, she interpreted "manners" as
mething more than the common view of petty,
bliteness, making the particular way in which
'e do things of equal ultiriiate importance with
ur native ability, and aspirations.
But it is questionable that a sense of one's
anners, even in Miss Clapp's liberal interpre-
ation, is entirely an adequate central product
f a college education, especially in our times.
F MANNERS are to be defined as "ways of,
doing things," and equated with "work
abits," and "saving time," as Miss Clapp seems
i wish, a course of mental efliciency would
eem to be all that a good education needs.
In a world which is run on a tight time
,hedule, efficiency has become a byword. In
llege we are surrounded by pre-digested time
wers, College Outlines,"- Made Simple"

and exam files which are intended to improve
all kinds of work habits.
As we hurry on through course after course
we learn the many small ways to cut corners
and save time. Yet, no one equates these aids
with education itself.
MISS CLAPP does not actually call manners
and work habits synomymous. She implies
a great real more. But her emphasis remains
upon the way of doing, on the overwhelming
significance of doing the job. She divides stu-
dents into doers and hearers, and enjoins us to
be of the former.
But in doing so she misses the essential
point. It is important for a university to impose
manners, to instill in the student the will and
ability to finish a job in a certain fashion. But
it is equally important for the university to
encourage the student to find in himself his
own set of manners, a style of his own which
sets his personal mark on everything he does.
Doing is vital to education, so vital that it
should be taken for granted. But the differen-
tiation of manners, the key to originality, goes
beyond doing and merges with creation itself.

The Work
the most influential composer of
the Twentieth Century, and his
"Rite of Spring" his most influen-
tial composition.
Its complete disregard for con-
ventional harmonies and rhythms
has influenced composers the
world over; its barbarous dissoi-
ances and complex rhythms have
shown conclusively that the powers
and possibilities of musical expres-
sion are hardly limited to "tradi-
tional" harmonic and rhythmic
Its premiere in Paris in 1913 was
one of the most scandalous pre-
mieres in the history of the arts.
To the traditionally conservative
French public and critics Stravin-
sky was a "traitor to music." But
to many young composers Stravin-
sky overnight became an idol.
witness accounts of the proceed-
Carl van Vechten, in his book
Music After the War, describes the
performance. "A certain part of
the audience, thrilled by what it
considered to be a blasphemous
attempt to destroy music as an
art, and swept away with wrath,
began very soon after the rise of
the curtain to whistle, to make
catcalls, and to offer audible sug-
gestion's as to how the performance
should proceed.
"Others of us who liked the
music and felt that the principles
of free speech were at stake bel-,
lowed defiance. The orchestra
played on unheard, except occa-
sionally when a slight lull oc-
curred. The figures on the stage
danced in time to music that they
had to imagine they heard, and
beautifully out of rhythm with
the uproar in the auditorium."
* * *
JEAN COCTEAU, a French poet,
explained it in this manner:
". .. The public played the role
that it had to play. It laughed,
spat, hissed, imitated animal cries.
They might have eventually tired
themselves of that if it had not
been for the crowd of esthetes and
a few musicians, who, carried by
excess of zeal, insulted and even
pushed the public of the boxes.
The riot degenerated into a fight.
Standing in her box, the diadem
askew, the old Countess de Pour-
tales brandished her fan and
shouted all red in the face: 'It is
the first time in sixty years that
anyone has dared to make a fool
of me.' The good lady was sincere,
she thought it was a mystifica-
ENOUGH TIME has elapsed
since the 'Rite' was premiered for
it to be critically evaluated, and
it is now considered to be one of
the best, if not the very best, com-
positions of this century.
The "Rite of Spring" is con-
cerned with depicting a pagan
fertility rite in which an adolescent
maiden dances to death as an
offering for fertility of the soil.
The music suits the plot of the
ballet as perfectly as music can-
the haunting, unearthly quality of
instruments at extreme ranges, the
clashing, brutal, -barbaric disson-
ances, the complex rhythms and
cross-rhythms all join to admir-
ably create 'the total effect of
primitivism as the pagan rite calls
for it.
IN THE FINAL dance scene
Stravinsky lets out all stops. The
time signature changes from bar
to bar, resulting in uneven rhyth-
mic accentuation. The music it-

The University Orchestra

Symphony Orchestra, under
the direction of Prof. Josef Blatt
of the School of Music, will pre-
sent its annual spring concert
marking the 100th anniversary of
orchestral music at the University
at 8:30 p.m. Wednesday at Hill
The program will feature two
large works; Beethoven's "Sym-
phony No. 3 'Eroica,'" and the
first Ann Arbor performance in 26
years of Stravinsky's "The Rite of
Spring" which was performed in
Ann Arbor only' once before by the
Boston Symphony in 1933.
"Rite" was first conceived as
absolute music, that is, music with-
out a plot. Before the first per-
formance, however, a ballet was
choreographed by Sergi Diaghilev
to be performed with the music.
This depicts a vision of a pagan
ceremony in which a young maiden
dances herself to death to propiti-
ate the God of Spring.
The Ann Arbor performance will
be of the music only.
The Beethoven Symphony No. 3
needs no explanation.
* * *
IT WAS IN 1859 that a small
group of students who made en-
semble music their hobby or-
ganized an orchestra called "Les
Sans Souci," "The Ones Without
Care." The group then took the
name of the Michigan Band, but
in truth, it was an orchestra with
flutes, violins, violoncellos and
guitars. This was the first such
University instrumental group of
which there is any knowledge, and
was the earliest forerunner of the
present University Orchestra.
Needless to say, a great change
has taken place in the orchestra
during its first century of opera-
tion. From a group of seven be-
whiskered individuals it has grown
to perhaps the largest orchestra
in the University's history.
With 117 members, using full
instrumentation, including harps,
contra-bassoons, D trumpet, bass
trumpet, alto flute, string basses
with low C extension, and all per-
cussion trappings as needed, the
orchestra is able to produce almost
any effect when called upon.
Though there are several other
orchestras on the campus, the Uni-
versity Symphony Orchestra is the
official orchestra of the University.
It is opei to all students of the
University community by audi-
tions which are held at the be-
ginning of each semester.

THE ORCHESTRA is conducted
by Prof. Blatt. Born in Vienna,
Prof. Blatt began taking piano
lessons at the age of three and
gave his first recital at five. He be-
gan studying conducting at fifteen
and held the position of director
of the German Opera House in
Brno, Czechoslovakia at twenty-
two. He came to America in 1937,
and in 1938 conducted the New
York Philharmonic Orchestra.
While in New York he conducted
the New Friends of Music Or-
chestra, various Italian-American
opera companies, and the New
Opera Company's production of
Strauss's "Rosalinda." Following
its Broadway run, Mr. Blatt took
it on an American tour and on an
overseas tour under the auspices of
the USO.
In 1948 Prof. Blatt went to Little
Rock,. Arkansas to become the
director of the Arkansas State
Symphony, and returned to New
York in 1950 to assume a con-
ducting position with the Metro-
politan Opera Company.
In 1952 the University brought
Prof. Butt to Ann Arbor to be
the director of the University Or-
chestra and the director of opera
production. In addition, he has
translated and revised many
standard operas and done con-
siderable composition.
* * *
music school and the speech'de-
partment combine their efforts
toward the production of a grand
opera, the orchestra is divided
three weeks preceeding perform-
ance. Two orchestras can thus
-function simultaneously. While
Prof. Blatt is rehearsing the opera
orchestra, Robert Hause, Grad.,
assistant conductor, is rehearsing
the full orchestra on the music for
forthcoming performances.
The orchestra's repitoire includes
the complete spectrum of musical
masterpieces. Recent performances
include Mahler's "Symphony No. 2
'Resurrection,"' Mozart's "Sym-
phony No. 34," and Brahms' "Sym-
phony No. 2."
The orchestra rehearses daily in
Harris Hall from 3 to 4 p.m. and
Thursday at 7 p.m.
Every Friday, the members of
the string faculty rehearse their
respective sections while the winds
and brass meet with Prof. Blatt.
The violins are under the super-
vision of Mr. Gustave Rosseels,
the violas under Prof. Robert
Courte, the cellos under Prof..
Oliver Edel, and the string basses
under Prof. Clyde Thompson all
of the music school.

Beginning with the traditional
Century Fox production of
"Compulsion," director Richard
Fleischer has brilliantly recreated
the celebrated Leopold and Loeb
murder trial of the twenties. By
using his camera effectively not
only to capture the flavor and
breathless excitement of the per-
iod, but also to create an intimate
and searching study of the young
degenerates, Mr. Fleischer has
provided us with a motion picture
that is a sensitive brooding and
overpowering experience.
Because the treatment of "Com-
pulsion is neither overly senti-
mental nor actually condemning,"
It "is able to truthfully embody
what other films only superficially
possess; a genuinely provocative
quality. As such, the motion pic-
ture is a fascinating discussion of
nany philosophies (Nietzche, lato,
etc.). But because the treatment of
these philosophies as a whole is of
such a highly analytical nature,
the conclusions which can be
drawn are not only many-fold and
subjective, but also require a re-
appraisal of values on the part of
the viewer.
This is an especially refreshing
approach because -moton pictures
of this nature are quite difficult
to come by these day. Subsequent-
ly when a film possessing the pro-
fessionalism and provocative qual-
ity of "Compulsion" appears on
the scene, there is just cause for
much warm applause and warm
ALTHOUGH there is no formal
division made in this Richard
Zanuck production, one may con-
sider this film to be divided into
two distinct parts. The first is
prinarily concerned with estab-
lishing the characters of Artie
Strauss and Judd Steiner (the
names used for Leopold and Loeb
in the film) , as well as recreating
the planning of their crime, the
crime itself and their subsequent
apprehension by the police. It is
in the first half of the film that
director Fleischer uses his camera
with much skill to sensitively point
up the strange alliance of the pair
as well as probe into their psyches.
Fleischer was especially fortunate
because the performances turned
in by Bradford Dillman and Dean
Stockwell as Strauss and Steiner
are perceptive and almost flawless
in execution.
** *
BUT BESIDES the aforemen-
tioned intention, the first half of
the film is also concerned with
giving the viewer an accurate view
of the desperate gaiety and un-
certainty of the twenties. The
most effective sequence demon-
strating this restlessness occurs
in the pre-credit sequence to the
film when Steiner and Strauss
racing along in a Stutz Bearcat
attempt to run down a drunk pn a
deserted country road.
The second half of the motion
picture is devoted primarily to the
trial' and it is. here that Orson
Welles as the defense attorney is
provided with a grand tour, de
force which he handles brilliantly.
In short, "Compulsion" is a
potent film that generates high
voltage on the screen. As a result,
"Compulsion" is compelling.
-Marc Alan Zagoren

.conducts Glee Club
to "all the future mothers in the
audience," mostly because the
songs were all paeans of praise to
the female sex.
The Friars, an ever-popular
group, entertained with a wide va-
riety of three numbers: "I Cover
the Waterfront," done ina style
reminiscent of another singing
group; "I'm a Ding-Dong Daddy
from Dumas, and You Oughta See
Me Do My Stuff," which speaks,
for itself; and a hilarious parody
of a best-selling recording, "Little
The conclusion of the evening,'
and a fitting one, was a group of
Michigan songs, most of which
sound much better when sung byj
the Glee Club than by students
on their way home from the Bell.'
A hynin from a'- work specially
composed by Dean Earl V. Moore
of the music school for the Cen-
tennial was also included in this
section of old, favorites.
The performers were in fine
fettle; the selections were taste-
ful, and the concert was free.'
What more could anyone ask?

;ir '


Economics at the Summit

A GREAT CHALLENGE to American states-
manship, lying even beyond all Berlin crisis
solutions, is rising into distant view.
No solution over Germany can be good if it
leaves the Western alliance less strong, less
inited. And it is increasingly clear that Allied
unity cannot be long maintained without revo-
lutionary changes in Western world trade poli-
cies. If armies must march on their stomachs,
so must nations. And the free nations cannot
march in useful comradeship until we make
truly enlightened bread-and-butter arrange-
mnents, trade arrangements, that will remove
the ever-present prospect of economic cold
wars within the West itself.
Indeed, the Western allies are divided now by
more than their differences over the best poli-
tical and military approach to make to the
Russians at the prospective summit conference.
The United States is alone in its 100 per cent
dievotion to reunification of Germany as the
.bsolute, top "must." This is conceded in official
quarters here.
And the British, who are relatively the closest
to our position here, are not by a long way so
desperately devoted to reunification. There are
two good reasons. Britain in all the West suf-

fered more and longer from German militarism
in World War II. And the British, the historic
world traders, are increasing hard hit to make
trade ends meet.
Continental Europe, and West Germany in
particular, are flourishing. Incredibly, West
Germany has now passed Britain in total ex-
ports. This is not an easy thing for a bloodily
drained ally to take from a country that helped
wreck the British economy in war and has since
been brought to trade eminence by the gener-
osity of those she so savagely fought.
ALL THIS EXPLAINS the. obvious worsening
in British-German relations that now finds
old Konrad Adenauer speaking of Britain with
open bitterness. And matters are not being
improved by suggestions that Mr. Adenauer has
no intention of relaxing his control in kicking
himself upstairs from the chancellorship to the
presidency of West Germany.
A Germany reunited by whatever means
might soon put the British in an even worse
competitive world trade relationship. To ask
them to accept reunification as the highest Al-
lied aim is to ask them to accept again, as
repeatedly they have done for a decade, a dis-
proportionate sacrifice in the service of high
Western policy.
Thus, two enormous facts of life press against
our insistence that reunification must be the
indispensable. The first, the memories of those
who suffered from the old Germany, is beyond
help. But we can do something about the sec-
ond. Our statesman can find a way not end-

Analyze Coming Summit Conference

Foreign ministers from East and
West meet today in Geneva to
discuss Berlin, German reunifica-
tion and security in central Europe.
Here are the opinions, fears and
hopes of the foreign ministers of
the big powers.
By The Associated Press
WASHINGTON - Secretary of
State Christian A. Herter holds
very little hope that Soviet Russia
will be prepared to negotiate
seriously at the Geneva confer-
ence for a settlement of divided
Germany's future.
The first purpose of the West-
ern powers, Herter believes, must
be to find out whether there is
any chance whatever for negotia-
tions. Herter believes that while
hope is slight, the chance has not
been eliminated entirely.

of military power has shifted to
Russia's favor.
2) The real aim of Khrushchev's
Berlin campaign is to step up ac-
tive East-West negotiations and
perhaps obtain eventually some
kind of settlement acceptable to
both sides. Khrushchev, according
to this theory, believes the Soviet
bloc is in a weak position in East
Germany and he would like to
liquidate that position on the best
terms possible.
Top United States officials over-
whelmingly favor the first theory,
but the second view has been con-
sidered and discussed repeatedly.
United States officals believe
that Khrushchev urgently wants
a summit conference and will
avoid any action to force the Ber-
lin crisis to a showdown pending
the outcome of the foreign min-

these things and work out a basis
on which our chiefs of govern-
ment could negotiate later..
But we shall have to be careful.
Gromyko may mistake British
flexibility for infirmity. Herter's
realism could become rigidity. Our
big problem will be to overcome
mutual fear and suspicion.
The price of an agreement? Per-
haps we'll eventually have to give
up the idea of "liberating" East
Europe; to postpone the reunion
of Germany.
We British want peace, but not
at any price. We bow to nobody
in resisting Communism.
We know the Americans and
Russians - the powers with the
power - will throw the dice in the
It must benefit all to aim not
at winning victories at the con-

make certain that Western unity
and firmness of purpose is a
tangible, living thing and, not the
diplomatic technique of a confer-
ence table.
Only in this way can the usual
dour intransigence- of Gromyko
and his colleagues be met and
The French view is that Soviet
demands for reduction or with-
drawal of Western military
strength in Europe mean disaster
for the West.
The official view goes this way:
They have the whole, broad
sweep of the Soviet Union behind
them. We stand with our backs to
the Atlantic. To overcome Soviet
insistence on their military de-
sign, we must maintain our funda-
mental theme: strength and unity.
Any attempt to neutralize Ger-


Editorial Staff

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