_.a. THE MICH IGAN DAILY SATURDAY, MAY 10, 1941 1 . U- THE MICHIGAN DAILY --- - . I . I D4MC. n ors _. ^ E- ~~... , . --- Edited and managed by students of the University of Michigan under the authority of the Board in Control of Student Publications. Pullished every morning except Monday during the University year and Summer Session. Member of the Associated Press The Associated Press is exclusively entitled to the use for republication of all news dispatches credited to it or, not otherwise credited in this newspaper. All rights of republication of all other matters herein also reserved.' Entered at the Post Office at Ann Arbor, Michigan, as second class mail matter. Subscriptions during the regular school year by carrier $4.00, by mail, $4.50. REPRESENTED FOR NATIONAL ADVERTISING BY National Advertising Service, Inc. aCollege Publishers Representative 420 MADISoN AVE. NEW YORK. N.Y. CHICAGO - BOSTON - LOs ANGELES * SAN FRANCISCO Member, Associated Collegiate Press, 1940-41 Editorial Staff Emile Gele Robert Speckhard Albert P. Blau tein David Lachenbruch Bernard Dober Alvin Dann Hal Wilson Arthur Hill Janet Hiatt Grace Miller . .Managing Editor Editorial Director City Editor Associate Editor Associate Editor Associate Editor Sports Editor . . . Assistant Sports Editor . . . . , Women's Editor . . Assistant Women's Editor Daniel James Louise Evelyn H. Huyett B. Collins Carpenter Wright . Business Staff Business Manager Assistant Business Manager . Women's Advertising Manager . . Women's Business Manager NIGHT EDITOR: HOMER SWANDER The editorials published in The Michi- gan Daily are written by members of The Daily staff and represent the views of the writers only. Conivoys Will Lead U.S. Into War . . A ID-TO-BRITAIN WAS GIVEN a big boost this week through the out- spoken views of both Secretary of War Stimson and Florida's Senator Pepper, but little signifi- cance seems to be attached to the fact that the United States cannot help but be drawn closer to actual war with the Axis or Japan through any acceptance of their recommendations. It is true that one of the watchwords of the Help Britain clique is "All aid short of war." But in this day of war without formal declaration, of unquestioned-though shaky-peace one day and blitzkrieg only twenty-four hours later, who is to say where the line of demarcation between actual military assistance and "aid short of war" shall be drawn? FROM TIS standpoint Secretary Stimson's address was rather unpleasant. Even a hur- ried glance through its context reveals that al- though the Administration may not be taking another step toward American participation in the war, it is certainly getting restless where it stands. And a more careful perusal of Stimson's remarks- points even more strongly to this con- clusion. Secretary Stimson advocates full naval con- voy in the Atlantic to safeguard the shipping of American supplies to Britain. Granting that such a convoy plan would undoubtedly get more supplies across, it must, at the same time, be pointed out that such an action could not pos- sibly go without some sort of positive counter- action by Germany, possibly restricted submar- ine warfare, or increased aerial blockade. IN EITHER OF THE ABOVE POSSIBILITIES, it would be only a very short time before American shipping, either mercantile or naval, would be affected. And then the real> cry for military action against Germany would be set up.' On the basis of this analysis, Senator Pepper's appeal for immediate action would seem a bit premature. His is the "real cry" coming well be- fore the "incident". Obviously any action of the type he recommends-occupation of Atlantic islands and Dakar, West Africa; and bombing of Tokyo by American pilots in American planes- would open the United States to the probability of war on two oceans, the very thing we are trying so hard to avoid. T MIGHT BE ARGUED that the United States is bound to get into the war eventually, and that its force might better be applied now than later. However, if we must 'go to war (and why should we?) it is clear that the longer we can keep peace and malde our preparations, organize our industry and, above all, keep our youth off the battlefields, the better chance we have of coming out of the war with still a few threads of democracy with which to start rebuilding. Aid-to-Britain is a good thing: it is acting in the interests of democracy and against oppres- sion. But for the United States to take it upon herself, through the use of naval convoys, to see that Germany is kept out of the Atlantic can lead only to war. It isn't worth it! May Festival By KARL KARLSTROM First Concert THE ATTENTION-COMPELLING overture to Wagner's "The Flying Dutchman" opened the afternoon concert yesterday. One of Wagner's earliest operatic efforts, we find it to be a showy piece of mixed brilliance and noise. It contains in it all the germs of the later music-dramatist, but is not a work of intrinsic musical value. Mr. Caston's conducting, simple, almost severe, firm, and not at all something of personal dis- play, brought out its greater worth well." THE CHORAL WORK "Saint Mary Magdalene" by d'Indy was performed by the Youth Chor- us under the direction of Juva Higbee. Credit must be given to all participators and trainers for the assiduous labor involved in bringing such a refreshing presentation out of a group of com- paratively unpicked voices. Miss Sten did not show to particular advantage, due greatly to the fact that she was buried und'er the sound of the chorus when she should have been at least audi- ble over it. Her diction is clear, and her artistry good. WE DEFINITELY DID NOT like the choice of pieces which sandwiched such light and pleasant performances of the chorus between the primitivistic suite from Stravinsky's 'The Fire Bird" and the overture previously mentioned. It does not speak for a particular regard for the musical worth and receptive quality of the con- cert as a whole. THE SUITE was admirably done. the influ- ence of Slavic and Rssian themes and moods was evident. The subtle rhythm of the introduc- tion, and the vivid passages of the Dance of the Fire Bird took on great clarity. The Dance of the Princess was graceful and lovely, and the rhythm and sound of the Infernal Dance have a way of getting into the blood and under the skin in a remarkable fashion which speaks for the genius of the chorus and the very capable hand- ling of the entire by the orchestra and conductor. The Berceuse was spellbinding in its bare har- monies and slow, solft melody that roused into the finale with full orchestra and sweeping harps. THREE SONGS, The Cricket, To a Crocus, and A Mouse in the Clock, by M. E. Gillet were pretty little things, and were given a charming performance with the first and third somewhat clearer. Jose Iturbi appeared with the orchestra in Liszt's Concerto No. 1 in E-flat major. The con- certo carries with it an air of greater musical sincerity than accompanies much that is Liszt. Iturbi's touch was clear and precise, and his quiet hands held the poise of efficiency through- out. Particularly artistic was his interpretation of the adagio movement. IN SPITE of one or two entries that could have been improved upon, we must again compli- ment Mr. Caston, who gave more attention to the soloist than we have witnessed of many conductors. It was one of the too few times we have heard a concerto as just that, and not as a vehicle for a soloist to orchestral accom- paniment. FOR ENCORES, Mr. Iturbi played the Spanish Cradle Song by Orquin, which was pre- sented for the first time anywhere, and Debussy's General Lavine. The pianist continued the dem- onstration of his artistic, musical and technical worth. Second Concert The suite from the "Water Music," by Handel, was very well chosen as the entree for the eve- ning's performance. The simplicity of structure and forthright rhythms throughout were entire- ly of a pleasant nature. The orchestra displayed splendid ensemble and except for one or two minor incidents, declared the decision and purity of the music in excellent fashion. Dorothy Maynor entered onto the scenes, pre- senting first Pamina's aria from the "Magic Flute," by Mozart. The entrancing melodies of the composer combined gloriously with the amazing voice of the soprano. With few excep- tions, her tones were clear as a bell, round and rich, demonstrating nearly perfect control of dynamics, a beautiful penetration on even the lowest notes, and perfect diction. There was no apparent change in the texture of her voice, no matter what the register. She continued her grand performance in the "No Mi dir" from Don Giovanni, also by Mozart, and was greeted at the end by an audience that rose to the frenzied heights of acclamation that only the great deserve. No eulogy is too superlative in the description of this incomparable voice. The symphony "Matthias, the Painter," by Hindemith, followed iri an electrifying fashion. While it departs greatly from the orthodox symphonic form, it does not depart from the integral "form" of music. We felt more about his music than we knew or understood, and we realized that it will bear much more listening. We heard a definite noble purity and a majestic simplicity, combined to give the angularity of the work great strength and power. There is the stature of innovative genius, as well as freedom expressed by a composer in full control of his musical faculties. ' Again the golden tones and a fine rapport with the orchestra were displayed as Miss Maynor sang "Pourquoi," from Lakme, by Delibes and, "Les Adieux de l'hotesse Arabe," by Bizet. The orchestra next presented the Ormandy- arranged piano piece "Reflets dans l'eau," by Debussy, which was a splendid effort, very effec- TO THE EDITOR Organize Programn Of May Festival Y THE GRACE of the University Musical So- ciety, Ann Arbor is this week a musical center. In Hill Auditorium a celebrated orchestra and well-known artists are performing composi- sitions -of great masters. Bach, Beethoven, Mo- zart ,Wagner, Hindemith are generously repre- sented. All that is very beautiful and very