PAGE TWO _' THE MIC IIGAN DAILY SUNDAY, OCTOBER 1, 1966; TWO TIlE MtCIItC~AN DAILY SUNDAY. OCTOBER 9. 1968 -MUSIC Chicago Symphony Performs Exciting Symphony by Nielsen Pasolini's Gospel' Done with Finesse I -~ GUILD HOUSE 802 Monroe By RICHARD Q AYERS By CLARENCE FANTO most of his major works, a motto Managing Editor theme of great beauty appears and Lastnight's concert by the-Chi; reappears in different g u i s e s sago Symphony Orchestra con- throughout the four interconnect-. ducted by Jean Martinon at Hill ,ed movements of the symphony. Aud. featured a stirring perform- Nielsen's genius is centered in once of what must be one of the the uniqjue originality of his mu- finest symphonies written in this sic, which has roots in, the late century, ,the Symphony No. 4 by Romanticism of Wagner and the Danish composer Carl Nielsen. Brahms yet employs progressive Nielsen's music had been inex- tonality and unorthodox combi- plicably neglected outside Scan- nations of instruments and har- dinavia until several years ago monies. The fourth symphony in when recordings of several of his particular is characterized by an symphonies appeared in this coun- extremely vigorous rhythmic base, try. Leonard Bernstein provided , reinforced by kinetic, frenzied tim- much of the impetus for the Niel- pani solos and accompaniments. sen revival ii this country by his. Jean Martinon, the Chicago performances and recor.dins., with Symphony's conduttor, offered a the New York Philharmonic of sympathetic and exfremely excit- the third and fifth symphonies. ing interpretation of the Nielsen The fourth, subtitled "The 'n- work. He managed to pinpoint the extinguishable,' has r niained un- i otional heights and, the lyrical known in this country, but it may passages of the symphony with well be the composer's finest work., great clarity and, when called for, It abounds -n1wthe atmospheric frenetic. energy. The orchestra climaxes and tender lyricism which showed itself to be in top form, &haracterize Nielsen's works. As in with the brass and percussion REPLY TO BROWN SPEECH. section distinguishing themselves by brilliant virtuosity. Nielsen's music well deserves the popularity which the sym- phonic works of Sibelius attained in this country 20 years ago. By some unexplained quirk of the musical pendulum, Sibelius is be- ing sadly neglected by most of the nation's major orchestras, but the continued exposure of Niel- sen's magnificent symphonic works should help serve to restore Sibe- lius to his rightful place as one of this century's greatest sym- phonists. Nielsen as well deserves to share the spotlight as he is in many ways an even more profound composer whose music is likely to rival Bartok and Stravinsky in long-run importance. The second major work on last night's program was Martinon's own Symphony No. 4, especially commissioned for the 75th anni- versary of the Chicago Symphony this year. The Bible has suffered more misrepresentations on film than all other books put together, Hollywood defiling the New Testa- ment and Italian spectaculars con- centrating on the Old Testament. At last, Christians and movie- goers are able to breathe a sigh of relief; Palo Pasolini, an Italian, has made not just a sufficient Gospel adaptation, but a truly su- perb one. This is not the Gospel According to Hollywood, but the "Gospel According to St. Mat- thew," rendered with finesse by Pasolini. Realistic World The film presents a strikingly realistic world of Jesus, but not to the detriment of the legendary and mythological beauty of the Book. The common people of the villages and Jerusalem are recog- nizable to the modern man; the environment of the story must be thus to the relevant to us. And Joseph, Mary, and Jesus are not idealized visually-they are honest and good but not the demigods of medieval representation. While the medieval man could only re- act to the idealized version of the story, that becomes remote and ir- relevant for us. Through Pasolini, the mystical becomes believable. Not Professionals Pasolini's realism is enhanced by the straight, to the point of being humble, camera angle. Jesus walks with men on the earth and objects to inequities on the earth. The camera records but does not ob- struct. Cutting takes the place of the rhythm of poetry - and the poetry does not have the dramatic the vpCHURCH 'O and I PICKET LINES, { ETC. hear- peaks of a Hollywood movie. It is' serve to compliment rather than a steady, almost cold, narrative dominate the visual creation. rhythm. Biblical Literature Pasolini's actors are not profes- This film, inspired by Karl Marx sionals. They are people he knew and Pope John XXIII, forces the or met who he asked merely to be non-believer to consider Biblica! themselves. It is not their job to literature seriously and the be- represent the characters; they are liever to take a second look. How merely objects which he manipu- can any of the far from perfect' lates and interprets. The beauty of states today call themselves Chris- tian? Jesus revealed the corrup- the characters is a result of Paso- tionofestshmenthichrstil lini's work. Enrique Irazoqui, an tion of establishments which still economics student in a Spanish exist, but in his name. The only university, plays Jesus; Margherite place for a Christian, says the film, Caruso, with a face as beautiful thecommonheopoin ail. as a Byzantine mosaic, plays Mary. _e common people or in jail. All the characters fit in their parts because they have the particular Phone 482-2056 features and disposition necessary i for them. I t r Y Radio Hanoi Rejects Offer Of British for Geneva Talk Monday, Oct. 10 Noon Luncheon 25c TOKYO (I?)- - North Viet Nam, ful n continuing to shut its ears to peace Presid calls; yesterday turned down Bri- A c -tain's siX-point proposal for peace istPa in iViet Nan.stP "Hanoi said the British govern- xnent "is but a rusty loudspeaker cord, Which clumsily parrots- the 'peace- new e Nor propo To, DomHnat retay Thurs Musi etion,v HSIC OWdetail peace Gener Electronic sounds, audio-articu- Arthui l staed-ighting,- and pop pbttles are The all parntof what's happening this Monday night at 8:30 p.m.: in the School.1of Music Recital. Hall. It's the first in,. a series of fo ur pres-. entations hy° the comaposition. de ; partment, where you can try your mind at something a little out of f eotdriary i 4ri The program is more than just a concert, for it offers the aud ,ence a chance to participate in experiencing nnew, direcions in muusic; to forl'ow the composers in- 'oareas of experimentation with k'oth the conv iions instruments cf the past, wnd those of the future. The works t-rosit of David F~oley's "Two Ilt6enents for Brass Quintet," David Robbins' "String ndri"Notes from the Under- ground," a c~oyiaton.y Robert ~Morris, using piano, cello, celeste, percussion and pop bottles, Jeremy ,Lutig's "Music' for, Violin, Cello, and Percussion," a special per- formance of Harvey Sollberger's Grand Quartet for Flutes," Syd- npey Hodkinson's "'Drawing's No, ',with solo violin played by :Chuck - Avsharian, and Russell P'eck's "The Lion's Share," in w~hich the tape and light material' evolved from-research on hypnosis' a~nd primitive. cultures' drum cere.- : ponies. CONCERTT0RiT FEATUFUNG THE TOKENS negotiations' hoax of the other step taken by the British dent Johnson .clique."w 1 government in trailing after the .,