Horowitz flawless as usual)

(Continued from Page 7)
made his greatest use of dynamics.
THE FINAL piece before inter-
mission was the Sonata in B-flat minor,
Op. 35. Unlike the classical sonatas,
each movement of this work is
stylistically different, yet the whole is
dramatic and moving. In the thun-
dering first section of the Scherzo,

where quickly repeated chords form
the melody, the chords were played ex-
tremely precisely and every note was
heard. Horowitz's bigger concern;
however, was the shape of the melody
and the balance between detail and
totality.
In the Marche Funebre, the extraor-
dinarily crisp chord attacks gave the

GARY COOPER NIGHT-
In Gary Cooper's 35 years in film, he played one role-the handsome, honest,
nice guy that Was somehow always a winner. Tonight are two of Cooper's
best:
BEAU GESTE
(William Wellmon, 1939) 7 only-AUD A
Cooper on a camel? In this, the best remake of BEAU GESTE, three British gentlemen join the French
Foreign legion to prove their honor, and defend it In the West African desert. From Britisher to
Legionnaire, Cooper plays perfectly the heroics in this film, and proved to Hollywood he could make an
adventure film without a romance. With ROBERT PRESTON, RAY MILLAND, and BRIAN DONLEVY as
Sgt. Markoff. '

Jacques Brel dies
after long illness
PARIS (AP) - Jacques Brel, the Belgian who wrote and sang
melancholy and poetic songs that brought both joy and tears to the French-
speaking world for two decades, died in a hospital early Monday from blood
clotting in the lung. He was 49.
Brel had been fighting cancer for 10 years and doctors said the
pulmonary embolsim led to his death "along with his very grave illness."
Brel's success spread to the United States with the hit musical based on
his songs, Jacques Brel is Alive and Well and Living in Paris. In 1966 he gave
up concerts and turned his attention to the theater and the movies as an
actor and director. His biggest success in the theater was a French version
of Man of La Mancha.
HE RETIRED at the height of his fame in 1973 and moved in wealthy
seclusion in the French-owned Marquesas Islands in the South Pacific. He
made his home on the island of Hiva-Oa, 800 miles north of Tahiti, where the
French painter Paul Gauguin is buried. Brel called it "my paradise."
He bought a house there with a view of the ocean, and flew his own plane
among the many tiny islands. Like Gauguin, he fell in love with a Polynesian
girl. She was with him when he died. In his will, Brel asked that he be buried
on Hiva-Oa.
MANY OF his hits, like "If You Go Away," "The Flat Country," and
"The North Wind," were love songs filled with his nostalgia for the misty
lowlands of his childhood. In one of his best-known songs, "Amsterdam," he
described the sadness of the city's vice-filled dockland.
He also wrote with biting' sarcasm of middle-class hypocrisy, which he
hated, and of the heavy-handed provincialism of his Flemish-speaking
Belgian compatriots. As a result, he was markedly less popular among the
Flemish population than elsewhere in Europe.
THE SON OF a wealthy Flemish industrialist, Brel remained modest
and self-effacing when the meteoric success of his albums and concerts
made him a millionaire. His father at first disapproved of his singing career
and, threatened to disown him. Brel acted as though he understood this
attitude. "If I really had any talent," he once told a friend, "I wouldn't waste
my time making songs."
The mass-circulation France-Soir, France's largest newspaper,
bannered Brel's death across its front page with the same type it used for the
death of Pope John Paul I: "Brel will always live," said the front-page
article. "He is the least dead among all of us. Yet he himself never thought
his work would survive him."'
FRENCH RADIO stations canceled scheduled programs to broadcast a
group of Brel albums in tribute to the singer.
Brel never discussed his illness, but it became an open secret and his'
death came as no surprise. When he returned from Hiva-Oa for the last time
in July, he walked with difficulty and took great pains to avoid being seen.
On his previous trip home, in 1977, he recorded his last - and best-
selling - album, entitled Brel. It sold 1,500,000 copies.

movement an even greater aura of
solemnity than is usually achieved. The
Sonata ends in the Presto finale with
both hands in unison, cascading up and
down the keyboard at breakneck speed
and a final, crashing chord.
AFTER intermission, a sensitive per-
formance of the Musical Moment in B
minor, Op. 16, No. 3 was given. The
slow, melancholy melody is very
emotional and was kept prominent and
expressjve. The phrases of lush chord
progressions were played beautifully
with calculated legatos and pauses.
Those chords do not flow together by
themselves; only an artist of
Horowitz's stature can make them
move as expressively as Horowitz did.
Franz Liszt's Consolation is a simple
and truly lyrical piece. The key to
Horowitz's deeply personal inter-
pretation was his great control of
dynamics and tone in the melody. The
sound was almost inaudible at times,
and during other sections would grow
strong and ringing. All notes were clear
with good pedalling and natural soun-
ding accompaniment.
The final piece on the program was
Mr. Horowitz's own arrangement of the
Mephisto Waltz by Franz Liszt. Based

on an episode from Lenau's Faust, this
work is very demanding and complex.
In the first section, the execution was
incredibly precise. Despite the com-
plexity, every note was heard and the
rhythms were accurate. Even though
Horowitz changed tempo several times,
the tempos of the various sect ons were
very even.
EVEN WHILE the final chords were
still ringing, the audience rose to its
feet faster than any I have seen in Hil
Auditorium. The ovation and "bravos"
were well deserved, because Horowitz
played as perfectly as anyone could.
His technique was nearly flawless (I
only heard one bad note, and it came in
the first piece after intermission). He
made the runs, arpeggios, and light-
ning-fast chord progressions seem like
child's play.
Horowitz's interpretations were
beautifully lyric and very romantic.
Each note sounded distinctly measured
and one became confident he had his
next move carefully planned. Perhaps
a quote from Neville Cardus is the best
observation about a Horowitz perfor-
mance: "Horowitz has the genius to
ravish the piano, yet leave it chaste.
Horowitz and the piano are one and in-
divisible."


I

Sen. Fitzgerald drops
ceontroveesialPBB ad
(Continued from Page 1)
beef and other dairy products. agreed to debate several issues.
Fitzgerald, speaking at a press con- Milliken yesterday said Fitzgeral
ference in Southfield, said he didn't had "no choice" but to withdraw th
learn about the controversy until "misleading" ad.
Friday, when he returned from Pope "We can best serve the people of th
John Paul's funeral and the White state if we keep our discussion in th
House. He ordered the ad removed the remaining four weeks of the campaig
next day. on a factual, responsible basis, wheth
"WHEN I BEGAN this campaign, I in the debates which lie ahead, in ou
promised the people of Michigan that if independent statements, or in our ac
I made a mistake as governor I would vertisements," said Milliken, whoi
advise the public and assume respon- seeking a third term in office.
sibility," Fitzgerald said. "The same VOICES IN the minute-long com
goes for me as a candidate for gover- mercial listed the signs of PBB-induce
nor. illness as "loss of hair, memory los.
" Since last week, upon returning blindness, liver cancer, birth defect.
from Rome, I've talked to many people the brain developing outside the hea(
whose judgement I respect, including (and) genetic mutations."
some of my closest advisors. It has Fitzgerald said he originally aj
become clear to me that our radio ad- proved the advertisement because h
vertising was misleading," Fitzgerald thought it clearly referred to PBB's e
said. feet on laboratory animals and not o
After the advertisement first aired, humans. But, after reviewing the ad
an outraged Milliken, in a letter to his vertisement, he said he could see howi
opponent, said the ad brought the. could be taken differently.
Democrat's campaign to "a new low in One of the major critics of the adver
Michigan politics." Fitzgerald respon- tisement was Dr. Thomas Corbett, wi
ded to the governor's letter, saying the researched PBB in 1974 as a Universit
advertisement was legitimate, but later scientist. Corbett, who was quoted i
decided to review and modify the radio the advertisement, appeared at yester
spot. day's press conference and commen
BOB BERG, a Milliken press aide, ded the state senator for ordering th
said the governor will not participate in comnercial off the air and said he con
a debate on the PBB issue alone, but tinues to support Fitzgerald's can
pointed out that Milliken has already didacy.

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