SUNDAY, OCTOTihiR 2G, 1924 THE MICHIGAN DILY PAGE +V4 ii[[1)) a Maier, Pattison and the Two Piano Recitals On Criticizing the r v Critics - The Twill S By Fred Sparrow. ight Organ Recila Is I. America aild England on the Stoge Thrfsalwy h5h 1 0 15J 1: '''m At ' cU_ si ll Oto.._il _,i.. _._... I ...'I_....a i_.n..rtheless._ th nls ' r' ig j 'lin in Lon- Arorth seing;. trd another By It. B. Hlendersoni _. The -two piano recital by Mr. Maier aInd Mr. P'attison Monday evening, Novpember 3, become~s especially in-1 teretingbecause of 1\4r. Maer's posi- tit%: as the acting head of the piano- forte deplartmrent of the University 'Oibol1 of Music. To all those who t i: v come ini contact with his vital, ( ._ilhl]usiaitc Ipersoniality his appear- means something very local and ii.iiAte, the rather foolish pride, t perhaps>, of a. mother viewing her hr ilintchild. 1 Mr. MA,;ier- fairly bristles with a cer- These two pianis t's, even More'iln- poi t nt, re al.,o unique in their syml.atieic apprecit ion cf modern mnvic; ytie.r y nearly at the head" of the list., they stand as the major expt~iirflts1 ,)'' con rnriorai ) y(compo)sers. Their utire bearing on the stage, their l pr-ogrins. every little gesture . ;)ll a living vitality----they are alive, 'pro-I r~ ssive if you will, and joining thne i l'es( ut insistence on mocdernity, the puhbiic fIually acclaims their very sincere convictions: they have the eternral honor of swinging with the1 The old argument concerning critics Duiring the next few weeks, Palnmer j andl their use has again comne to the Christian, University organist, expects ,ore ill 1., rope an Capitals, wi : the to present at the Twilight Organ Ile- u1 a results. It is iore o01 lesstof citals programs that will prove both a stage play that occurs periodically interesting and highly instructive. with no ?)articular significance, for Woknudeth ii(loscr- nothing is ever changedl in the ed by g de the diesencult eschans-a methods or ideas of that group ofedb th prsnpormcail late of the Frieze Memorial organ, it i e ho -protess to be more abl yist be wnee that any kind of a versed in a sp~ecial field. There isprga colbeudrtknmh always Present a certain amount of pormcu~ eudraemc hub~b noless the exhaustive con positions MVr. hubbb nomatter what the subject, Christian planned to give. 1 wen critics or criticism is involved;, ay r.CritantI it is irmvitabhl."My videa,"sy ~.Crsin I Ila ,Siduey Fate ' Prelude' from "Der Meistersi'nger," by Wagner. In one section- of this piece the five main themes of the composition are. played simultaneous- ly, satisfying the rules of musical form, but calling on the organist for unusual technical skill. The ever popular "Midsummer Night's Dream"., music, and the "Finale" from Act II of I Puccini's "Madame Butterfly" will also be played in the immediate future.I Another type of music Mr. Chlrist- ian desires to bring before his Wed- ;fnesday afternoon audiences is per-, sonit~ed in his placing on a Program1 the "Air in ID" by Bach from the greatt epsgCantor's "Orchestral Suite." Mr. Christian aims to bring before bbe public, though he is working in tlie face of difficulties, many various jo:rmns nd types of musical types of nus"icel composition. Incidentally t;hese concerts t4 illi demonstrate not' Eorly the adlaptaility of the organ as a mediium of expression for all var- ic~ies of music, but also the versatilityI Sof this particular artist, who is ablel successfully to comm~and it. IA r k ~..vA #4' DD 'C { F 0 z~LtL l v1 arperso.'114l~y, vIrantin-1Uprevailing fshon hetheror ot ne as ny isefo tolerant,. and compelling all at once. hrontoehaayusfr Uc is short with a firmn, stocky This, of course, is but a superficial, crtlics, it must be admitte(1 that in buI, vrloig ih id ficommerc ial aspiect of their su.cce. m~.I anly in stances they are of real aid i~l~dovrfowngwihevery kind o chief reason 'centers about their ;to a conmmunity. It is usually the oc o-tin is work, even for the entire theory of art, especially music. cr.tcwoi h first one to point ,: agr< talents of his more stupidl'icwostefr To Mr. Maier an appeal to the stodgy, out merit or fault in a work. He is pils;1. Added to this, there is a velry ispdfwwob ieoeaalni the first to encourage taethtned positive authority--that which is brew ocnrainhv aqby wa noraig rtefrthtelps of I ti':n e 7per'icue-- in everything that cocnrto aeIqi lwa ncuaig trtefrt ohl hie soes; is positiveness alone would thytr. msca prcaini peope set, themxsylves ar'ight in refer- inoehma ustnigmscaIridictilous. Like certain relig'icns, once to false notions they miay have they form music into a close corpora- sacuved regarding their cwn capa- figur. 'tsnpcla ly enotugh, i i FIadmnitting only the preciouzs elect: 1bliiiiies and qualifications toward a Vie diectanttheis tal, mpasiv ,the art for them becomes rarified and l ,earticuAla.' field of eno..avor. He, too, ''difFicuzlt," an cnly too obvious termn is the 'erso l who may be, and in most :'udl eecd. At fir:..t it seoms strangew that tw suh 0)])sit pesonltE for soggy, leaden boredom, if theyj inst jnces, is, the rmost unbiassed and t('00t1(1o unite in sn artpfrsotnaltire-would but admit it, Prithus--but for tunpreludiced individual one may con- r temsteatngSnle~:.Itheir secret understanding--is heavy, I'0,r v:ithi in order to secure the sounid- ftBach duilly mathematical, Chopin est a-id worttrflivifu 1 advice for on's 1 ::le'doicaliy, however, this may be e1 et.Iproa o' osqety ei f i'. very touchstone to their successl obsi rlqil et, proa ei.Cnsqety ei quizilities in one complimenting diverse ; I never occurs to this clique with' ty p of 1-ersoni whose presence is ofj vi. nues in the other. Perhaps through their cquathy unin-leresting, artists that ; (i.3'tUnt advanta'ge.j tisvery dissimilarity, their perfec- ;music c n vend must be made) an cx- Whlen one 7stops L ; reflect for a. tio ofthetw pino ecialhasbee Iciting, thrilling experience to tile mos L ; nxo nt, it wiil l he apparent that even made possible.* I uninitiated. It must contain a posi- 'sinc tie begining of civilization the These two iia ii, of course, did not tive, living attraction for even the 'Bi has existed. As v, matter of o;'iginate the four-hand concert;(hopelessly musically-unwashed. As, fact, he was a's much responsible forf ratCher they have been precedled by a.{ rahmirs can, be fascinating even to the adcvancemenat of the world and long v;list of reinarkable artists, Who in j children, as Bach can become the cuos (11 iiZAio~n ias ary g r< up of persons11 !modlern of the moderns, so must all ' hat cnae -nto oxistelice . lHis funsI& their time have forced the great musi-II c'al genii es to supply them wvith lit- muzsic take onl this universally ar, ticon_ as a7 izn emit~caily createdl by cravture that hlas ranked with their tistic interest. p~eople themsclvcs, for its one of the mostEve Thongh Ul vey 'I hrnr' n traits to dlesire to know what xlatsatisfactory masterpieces. l:o T e hivr on-'iction the I ' to dlay si~teh artists as Ossip Gabril- concerts of Mr. Maier and Mr. Patti- It a~et~ti o n elte ovt n md Havoldl Bauer frequently son bpcomle something entirely i, u: or of one's niror aiy s eut ,.,alear together, instead of being politely bored or some becamec more proficient thanI On the other hand, Guy Maier and secretely irizatedl, audiences are il-otlier san'Il fell gradutally into a class Lee Pl tison have taken this field as trigued, amunsed, fascinited, and above " speciatlizedl individuals. 13y no their forte, and have been doulbly l gniey neese. B te n~s didl t be critic consider himzself! fortunate in atta'chin~g its advertising: sinmples~t of tric~ks, these two inenare n ay way 51U