Page Two

THE MICHIGAN DAILY

Thursdav. June +12, 1969

Page Two THE MICHIGAN DAILY

Thu SdIov J./ 4 1 21 J196 r v1.. . ..


records
Du Pre, Anievas, Tarr...

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cinema'

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Graduate Assembly opposes

Editing, timing mar 'controversial bylaw provision

By R. A. PERRY
Contributing Editor
Ever since moved to unem-
barrassed tears by Jacqueline du
Pre's performance of Bloch's
Schelomo at the Royal Albert
Hall four years ago, I have had
a special/ fondness for the re-
cordings of this young cellist.
At best, Miss du Pre can suf-
fuse a score with a sincerity of
expression that rises from her
own youthful enthusiasm. Her
Angel recording with pianist
stephen Bishop of the Beetho-
ven Cello Sonatas No. 3 and No.
5 possesses just this ardor and
freshness. .
At times, however, one could
wish for a bit more disciplined
detachment, a quality that
hardly comes easily to one early
elevated to stardom and recently
married to England's other
commercially inflated musical
mensch, Daniel Barenboim- An-
gel's new release (S-36580),,
which features Miss du Pre per-
forming the Haydn D Major
cello concerto and a cello con-
certo by Matthias Monn, needs
a cooler appraisal of style than
our eager artist is wont to give.
Du Pre offers personal expres-
sion which too often retards the
inherent flow of the music; she
to easily toys with tempos in
general. Part of the joy and
wonder of Haydn lies in the
freedom of invention working
within a fairly rigid architec-
ture, and the expansiveness that
du Pre, abetted by Sir John
Barbirolli, allows vitiates rather
than increases the significance
of Haydn's melodic forms.
Also, a mildly displeasing
break in timbre occurs in du
Pre's middle register as she
ascends out of the warmth of -
the normally thick cello sound.
Compare, if you are lucky
enough to have a copy of Feuer-
mann's recording of the con-
certo, how Feurmann's tone
remains clean and sweet no,
matter how high the music leads
the cello., Indeed Feurriiann's
old recording is a perfect ex-
ample of freedom of expression
Within a cleanly ordered style.
Matthais Monn (1771-1750),
whose Concerto in G Minor
occupies the flip side of this
Angel recording, was an im-
portant figure in the Austrian
pre-classical school and, the

album notes inform us, had a
"definite influence" on Haydn
and Mozart. Not too definite,
thank God, for Monn's concerto
is lugubrious, tedidus, and wit-
less, and one can only wonder
why it was dredged up when so
many modern cello pieces would
.benefit from Miss du Pre's pat-
ronage.
Agustin Anievas is another
young musician of outstanding
talent, but he has somehow
avoided the instant stardom
that both rewards and occasion-
ally debilitates Jacqueline du
Pre. Anievas, who won! the Mi-
tropoulos Competition in 1961,
has previously cut two records
for Angel's bargain Seraphim
line: the 24 Etudes of Chopin
and the Handel Variations and
Paganini Variations of Brahms.
Both discs proved that Anievas
possessed every technical skill
that a pianist needs, -as well
as a control that few artists
his age command.
Seraphim has released this
month a third recording by this
American pianist; on 8-60091,
Anievas performs both the
Rachmaninoff Concerto No. 2
and the Rhapsody on a Theme
of Paganini. Anyone wishing to
acquire both of these popular
works of melancholic passion
and hummable lyricism could
hardly do better than hear Anie-
vas. In the concerto, the pianist
achieves ai balance between apt
expression and reserved display
that recalls Dim Lipatti,{ and I
don't bandy Lipatti's name too
quickly. Too many pianists per-
forming Rachmaninoff either
go all out for digital brilliance
or forsake detail for the em-
'hasized melodies. Anievas in-
corporates virtuosity into an
overall poetic vision, and he
gives wonderful attention and
just the right weight to those
smgaller moments which flank
Rachmaninoff's singing themes.
Only the third movement lacks
a certain cohesion and direc-
tion.
The Rhapsody on a Theme of
Paganini, which was written in
1934, receives an extremely
pointed and precise reading, far
more jazzy and incisive than the
polite Rubenstein approach.
The New Philharmonia Orches-
tra is conducted by Moshe Atz-

mon, but don't let that scare
you away; whoever Moshe Atz-
mon is, he elicits seldom heard
j detail from the orchestral part
and leads an inspired, if at
times effulsive, performance.
The sound of the album is a
bit overripe, but still clear and
spacious.
* * *
Fanciers of trumpet music, a
species unto themselves, fierce-
ly champion their favorite ar-
tists: Wobisch, Eksdale, Scher-
baum, Voisin, and lately Maur-
ice Andre all command a fol-
lowing. Edward Tarr has re-
cently joined the select via re-
cordings on various labels -
over forty recordings to be
exact.,
Tarr solo and Tarr joined by
a few other European trumpet-
ers do their thing o4 a new
Nonesuch album (H-'1217) en-
titled The Art of the Baroque
Trumpet. How many of the
' fanfares (for clarini, and f o r
trumpet and tympani) and how
many of the 18th century son-
atas are really musically inter-
esting will depend upon your
fetish for the trumpet. For my
taste only the Concerto by Jo-
hann Friedrich Fasch and the
Marche de triomphe by Charp-.
entier hold attention. The rest
is all pomp and ceremony, but
anyone who has ever put a cold
mouthpiece to his lips during
marching band practice will go
ga-ga at the heights T a r r
climbs on the C trumpet.
The Nonesuch sound is char-
acteristically brilliant and clean,
but my copy was warped a n d
showed tape-speed problems at
the beginning of side-two.
* * *
Finally, depending upon their
fall from the grace of child-:
hood, ballet lovers will greet the
re-issuing of Delibes Coppelia
and Sylvia with varying reac-
tion. Mercury has re-presseld
the Dorati/Minneapolis Sym-
phony performance of Coppelia
and the Fistoulari/London
Symphony performance of Syl-
via on their cheapie Wing ser-
ies. Both ballets wallow in
melody, gaitety, and inocuous
melodrama, but such musical
cotton-candy makes a pleasant
accompaniment to apartment
cleaning, and may be the per-
fect gift for Aunt Agatha.

W r and Iieace'
By JAY CASSIDY
"Among all your arts the most important is that of the
cinema."-Lenin.
War and Peace puts ardent film historians in the age-old
paradox of new art versus tradition. The tradition of Russian
film creates a set of expectations about the new art which in the
ease of War and Peace is not fulfilled. In the case of War and
Peace, the new art and the old tradition are not even in the same
ballpark, But more than just comparison puts War and Peace in
a different ballpark; the movie doesn't succeed in telling a coherent
story.
The reason that you don't know what is going on is because the
story line is disjointed. The reason that the story line is disjointed
is because the editing is atrocious. They have all that nice foot-
age of gala balls and battlefields and then they butcher it.
th seems very strange that the movie would be murdered in
the editing since the Russian tradition created the basis for
editing. It all began with a man named Vertov who made a number
of newsreels after the first world war. "Kino-Pravada" integrated
the actual facts with the revolutionary slogans and emotional re-
sponse of the masses. Then there was the famous experiment by
Kuleshov which juxtaposed three identical face shots against a
plate of soup, a child with a teddy bear, and a dead woman. The
audience response to the same expression was feeling of hunger,
delight, and grief.
But the most influential was S. M. Eisenstein and his editing
for shock. His most famous film, Battleship Potemkin, 1925) reveals
the Eisenstein ability to create an "organic unity of its composition
as a whole." He developed rhythm and tonal editing to the highest
degree. Eisenstein contemporaries, Pudovkin and Dovzhenko, cre-
ated masterpieces but were different in approach. Pudovkin used the
individual as an ideal of the mass while Eisenstein used the mass
itself for his hero. Dovzhenko was more concerned with the poetic
aspects of film as revealed in his film Arsenal (1929).
It is because the Russian films were so great that War and
Peace should be examined in a different light to give it a fighting
chance. The Battle of Austerlitz was part of the epic, which like the
rest of the film was shot well (they had hundreds of men stretching
for miles) but edited poorly. One reason was that they tried to
make the shots lengthy, carefully orchestrating each action and
sound as the camera was dollied around the battefield. This didn't,
work. The eye was left to linger while the mind raced with the
excitement of the battle.
The true test of a good battle scene is the buildup to the battle.
In Alexander Nevsky (1937) by Eisenstein, the buildup to the
Battle on the ice is so well integrated with cutting rhythm and
Prokovieff's music that it can be plotted on a graph, element by
element in the -frame, shot by shot, and note by note.
But we said that we shouldn't compare with the great Russian
tradition. Spartacus had a wonderful battle buildup, with all those
Roman Legions advancing and the burning cotton bales. It wasn't
as well done as Nevsky but still makes War and Peace look bush
league. There is more excitement generated in Steel Helmet by
Samuel Fuller which had an incredibly small budget (only two sets
in the entire film) than in War and Peace which took five years,
patronization by the Soviet Government, and flashy publicity stills
of the exciting part in Life magazine.
The story is told by a narrator who keeps you informed of all
the new developments. Because it is such an epic story, situations
and relationships are never given enough time to be developed. It
is always "and one year later, Natasha was transformed." Once
Natasha's heart is taken away by some young man. They speak no
more than two words, it is all told in that "visual language." When
Natasha finally reveals that she has been won, you feel like laugh-
ing because there is no basis for their love except a few dances and
some loving looks. Another scene shows Pierre drunk at a party,
juxtaposition against the death of his father. It is so heavy it
hurts.
People like to compare the film to other epics of the day. I
would maintain that Ben Hur was a lot better just because the au-
dience didn't lose sight of the individual while appreciating its
epicness. Also War and Peace is hard on the eyes (my friend's den-
tist said he sat through both parts and got a sore throat). For the
sake of international relations, we all go blind and get saddle sore
while watching War and Peace.

j Continued from Page 1)
GA reviewed the proposed by-
law draft at the request of Chris
Bloch, president of Engineering,
Council. He said he hoped GA
would endorse it because such a
demonstration of support wouldI
help it win approval from Senate1
Assembly and SGC.
GA refused to endorse it, how-
ever, saying it could not carry any
action on a document it does not
have. The bylaws were not form-
ally submitted to GA by the com-
mittee that drafted them, and
copies were not made available to
GA members.

SOC will consider the bylaws to-
morrow, and Assembly will con-
sider them Monday. When t h e
committee that drafted the pro-

the committee must present the
draft, with dissenting opinions if
necessary, to the Regents by Sept.

posed bylaws dissolved two weeks 3 The controversial section pro-
ago, it submitted its draft to the vides: "When the graduates of a
two bodies and asked for endorse- particular academic program nor-
ment so that the draft could go mally require a license to prac-
to the Regents for adoption. tice their profession, the govern-
However, members of both As- ing faculty of the school or college
sembly and SGC have said the offering that program is author-
draft is unacceptable. ized to set published behavioral
Once both bodies have formally standards (relating to the licens-
rejected the draft, a new joint ing requirements) for determining
committee of Assembly and SGC grades, awarding degrees, and
will be formed to try to recon- continuing enrollment in the pro-
cile the differences. In any case, gram."

Officials may back.
SGC bookstore plan

(Continued from Page 1)
mittee's report was waiting ap-
proval from President Robben
Fleming.
If the bookstore proposal is ap-
proved, and if Fleming sanctions
the findings of the space commit-
tee, then SGC will probably move
the discount store to the Union as
well as setting up the bookstore
there.
The SGC bookstore proposal also
provides for a nine-member board
of directors. The board of directors
would inclde six students-four
SGC appointees and two Grad-
uate Assembly designates, and
three faculty members appointed
by Senate Assembly.
1SGCstudies
OSA plans
(Continued from Page 1)p
might refuse to appoint members
to, or participate in, purely ad-
visory committees.
Van Der Hout also indicated
there was a fair chance that SGC
would pass the resolution.
SGC will also consider the pro-
posed bylaw draft of the ad hoc
committee. They will single out
unacceptable provisions, although
they are not expected to make any
final decision. The final draft has
been sent to SGC and to Senate
Assembly for consideration al-
though' members of the ad hoc
committee were themselves unable
to reach a consensus.
In addition, SGC will discuss
administrative reaction to t h e
bookstore proposal and consider
plans for a student presentation
of the proposal before the Re-
gents at their June meeting next
week. Possible funding plans will
also be considered.
SOC President Marty Mc-
Laughlin will make the presenta-
tion before the Regents.
Also on tonight's agenda is con-
sideration of SGC sponsorship of
the Radical Caucus' educational
program, which will begin next
Tuesday

The board of directors would
make all policy decisions, includ-
ing the hiring of a full time pro-
fessional manager subject to re-
view and approval by the Vice-
President for Student Affairs and
the Regents.
The students would serve two-
year terms. There is no mention in
the proposal concerning the length
of the faculty members' terms.
SGC's proposal notes that "text-
books and supplies can cost a stu-
dent between $80 and $200 per
year." SGC estimates that the
bookstore will provide savings
ranging from "$7.20 to $18 (9 per
cent) up to $$11.20 to $28 (14 per
cent)." .
The SGC bookstore proposal
also exp~ains that students will
receive another saving since they
will not have to pay the four per
cent state sales tax.
Tom Brown, director of student-
community relations, said yester-
day the executive officers, which
include all the Vniversity vice
presidents and the president, have
scheduled another meeting for
next week, sometime before the
Regents meeting, and he assumed
they would then make some type
of recommendation on the 'gook-
store.

Wagner
charges
(Continued from Page 1)
the bad or at the police station.
Cowley also charged that Wag-
ner had struck Chauncey twice in
the face. This was substantiated in
a report released by City Attorney
Peter Forsythe and City Admin-
istrator Guy Larcom. However,
Forsyth said at City Council
meeting Monday, "Striking does
not automatically constitute as-
sault."
Cowley said yesterday that
Chauncey acted properly and al-
though he had notbeenlinstructed
to test the police department his
decision to do so was proper.
"Chauncey did not think of him-
self as testing the police at the
time," Cowley said.
Chauncey was also never asked
to identify himself, Cowley claim-
ed.
Cowley said he is considering
referring the case to the state civil
rights commission, and that H RC
will release a statement concerning
the incident.
Larcom will release information
today about the contents of con-
fidential report concerning Chaun-
cey's actions.

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in thsara


the mni a
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care of miles. Will sell to highest
offer by Nov. 1.,Andy-71-5930. Z2
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Michael!!
(is here)
2 Homecomings are always bett r than
onel I love youl lap FF

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THIS WEEK:
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VYTL. P- .. LI!..IIV

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