SATURDAY, OCTOBER 9, 1948
THlE MICHIGEAN DAILY
P'AGE FIVW
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Im
OFF THE CO
Union To Hold Listening Party
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GREAT NAMES
IN MUSIC
111111
p ,
Classics ..
By RALPH MATLAW
Maurice Ravel, more than any other French composer, reflected
the temperament of the twentieth century in music. Ravel's music in-
variably has an exquisite precision and brilliance. To this technical
mastery he adds a personal lyricism and frequently interjects the
pungency of satire. There is also an ineffable reward in his music,
communicable to the sympathetic listener.
All "stay-at-homes" from the
Purdue game may attend the Un-
ion combination mixer and lis-
tening party to be held from 2
to 5 p.m. today in the Union Ball-
room and Terrace Room.
Cliff Hoff and his orchestra,
formerly the McNall personnel will
provide the dancing pleasure,
while a radio in the Terrace Room
will relay the football fray.
This year's mixer innovation
will be the presence of Union
staff members who will chart the
games on the blackboard. This will
also mark the first of a series of
social functions sponsored joint-
ly by the Union and Assembly.
Dick Cossitt is chairman of the
event and Eleanore Goldman will
head the hostess committee.
FOR THE CONNOISSEUR
f#coredj 7ea~ vtei
ON
COLUMBIA RECORD S
"
4
Son of a Dutch singer,
Beethoven was born in Bonn,
Germany in 1770, and spent
the greater part of his life
in or near Vienna. Before
the merit of his written
compositions was fully un-
derstood, he acquired a high
reputation for piano-forte
extemporization. His talent
was the more remarkable
because it flourished under
the handicap of deafness, an
affliction which first appear-
ed when he was but 27 years
old. This deafness gave him
a morbid outlook in his later
years. His works include
symphonies, operas, sonatas,
masses, overtures, and songs.
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* * *
*
LUDWIG ETON BEETHOVEN
A Great Name in Music'
a
In Ann Arbor--
508 E. William
. An Entire Symphony
on a Single Record!
RD
Yes, 45 Minutes of high-fidelity Music on
one 12-in. Record... of unbreakable vinylite
FREE DEMONSTRATION . . . hear it and you'll
say it's incredible! This phenomenal advance-
ment in recording enables you to enjoy your fav-
orite symphony or musical comedy score on one
record - truly more music for the money! And
think of the saving in record storage space . . .
the saving in acquiring a high-fidelity library.
Album-length records are $4.85 (12-in. Master-
works), $3.85 (10-in. Masterworks) and $2.85 (10-
in. Popular)-all prayable through the inexpensive
ONE OF THE earlier works illustrates this quality. Ravel based
Gaspard de la Nuit on poems from Aloysius Bertrand's book, and re-
produced in music the mood of these bizarre poems, outstanding for
their chromatic sonority. The music contains three sections. Ondine
has a shimmer of color and a voluptuousness fitting the subject.
Le Gibet is a combination of fear induced by a ghastly picture and
mournful resignation. Scarbo, the most effective piece, contains an
eeriness and horror necessary to depict the frantic search for an elu-
sive Intruder into a chamber. In this section particularly, Ravel dem-
onstrates his artistery in constructing music, creating excitement by
deferring the climax and building up intensity by an accumulation of
interrupted crescendoes. There is an inexplicable compulsion for re-
lease of emotion induced by the sharp conflict of the contending
themes, heightened by their ferocity, and achieved by the despairing
resolution of the music. The performance by Walter Gieseking (Co-
lumbia MX-141) is well conceived and flawlessly transmitted.
* *+ * *
ANOTHER WORK of the same period reveals Ravel's power as a
miniaturist. The Sonatine is highly polished music of simple texture.
The pastoral mood of the opening gives way to a quasi-minuet and
then to a sprightly finale. Repeated hearings of the Sonatine reveal
more 'and more artistry in condensing and purifying music so that su-
perficially. it appears innocuous. Robert Casadesus plays this work
with the incisive touch and delicacy that mark his playing of Ravel.
(Columbia MX-179)
The Introduction and Allegro for harp, flute, clarinet and strings
is a prime example of Ravel's lyricism. This rhythmically agitated
work is one of Ravel's most pleasing, and is an appealing introduction
to his music. There is a fine performance by L. Newell, John Wum-
mer, R. McClane and the Stuyvesant Quartet (Columbia MX-167), al-
though the recording is somewhat shrill. Marcel Grandjany and the
Victor Chamber Orchestra (DM-1201) tend to sentimentalize the work,
but the recording is good. Included in this set are Debussy's Sacred
and Profane Dances.
* * * *
RAVEL'S LAST, and in some respects his most accomplished
works are the concertos. He wrote the Piano Concerto (1932) and the
Concerto for Left Hand simultaneously, relegating much of the heavier
music to the latter. The recording of Leonard Bernstein in the dual role
of soloist and conductor with the Philharmonic Orchestra of London
in the Piano Concerto (Victor DM-1209) is a scintillating and percus-
sive performance of one of Ravel's great works.
This Concerto, described by Ravel as a modern example of "the
spirit of Mozart and Saint-Saens" makes use of jazz in moderation,
and is rounded out with brilliance and elegance. Ravel said "I believe
that the music of a concerto can be gay and brilliant, and that it need
not pretend to depths." Despite this, a considerable amount of se-
rious musical thought is introduced. Bernstein, whose performance of
the concerto is well thought-out, is not a good enough pianist to sus-
tain the second movement, but does an excellent job with the pun-
gent dissonances of the first and third.
* * *
THE CONCERTO FOR LEFT HAND is given a powerful and com-
pelling performance by Robert Casadesus, adequately supported by
Eugene Ormandy and the Philadelphia Orchestra. Unfortunately the
recording is poor, the sound distorted and muddy.
The introduction to the concerto is somber and harsh. It reflects
the same bitterness evident in the caustic satire of La Valse, and
though the music becomes more gay and bright, it creates an uncom-
fortable disturbance, reintroducing the feeling found in some of his
earliest works.
Jazz...
By MALCUM RAPHAEL
For many years the field of jazz piano has been dominated by the
influences of Art Tatum, Teddy Wilson, and Jess Stacy. The work of
these men, of course, evolved in large part from the more fundamental
stylings of the great pioneers, Jelly Roll Morton, and Fats Waller,
musicians who were pounding battered uprights in the era when jazz
was first pulsating up the Mississippi from New Orleans.
*.*. *
IT IS INTERESTING to compare the work of today's younger pi-
anists with that of the older school. Naturally they have retained mhuch
of the original influences. Errol Garner still uses the thumping left
hand of Fats Waller, but plays be-bop with his right. The effect is
unique. Modernist Hank Jones, a product of a classical conservatory,
sounds a good deal like Tatum, although he has added modern clasic
harmonies and tortuous be-bop phrasing in the older conception.
In general, modern jazz piano is about the most explicit statement
of what is going on in jazz today. It expresses all the striving for more
complexity and sophistication. It mirrors the desire of the jazz mu-
sician to elevate jazz from a folk-art to a generally accepted artistic
form.
Pianist Hank Jones' album of solos for Clef is a particularly fine
bit of avant garde jazz. Without taking unjustifiable liberties, Hank
reweaves such old tunes as Blue Room and Tea For Two. He makes use
of all the new harmonic ideas and jittery phrasing of be-Bop without
sacrificing the free-flowing quality that is so essential to all jazz.
DODO MARMAROSA is another "idea" man like Hank Jones.
However his style is radically different, depending on a very facile
right hand which develops jazz phrases in the manner of an alto
saxophone-somewhat like Charlie Parker. Listen to his treatment of
Lover and Derry Departs on Dial. He is backed by cellist (that's right!)
Harry Babison and drummer Jackie Mills.
Errol Garner is very versatile and has a large following outside of
jazz circles, i.e., among the "squares." He plays in two styles, con-
trasting misty and impressionistic passages with moments of extreme
percussiveness and bounce. Mercury has two of his albums available
and a few singles which include Yesterdays, Sweet Lorraine, Gaslight,
and an original called "Loot To Boot."
Apollo has just released Sir Charles Thompson's Strange Hour and
Rhythm Itch. Sir Charles sounds something like fellow nobleman
Count Basie, but is far more creative melodically. He is responsible for
the tune Robin's Nest.
IF YOU WANT to hear be-bop piano at its most esoteric, try The-
lonious Monk's Evonce and Off Minor on Blue Note. This is about as
macabre and experimental as be-hop can get. Monk's technical ability
is far from adequate, but his imagination and disjointed exuberance
make up for this lack. I might also add that the legend-makers of
jazz claim Monk to be father of be-hop ..... sometime way back in
1942.
New Video Station Bows Today
which shall it be . .
RAVEL or BEETHOVEN
We have a large selection of records
.of both composers
BEETHOVEN
Trio No. 5 in D (Ghost) DM-370
The Menuhins and Maurice Eisenberg, Cello
Trio No. 7 in B Flat (Archduke) DM-949
Rubinstein, Heifetz and Feuermann
Symphony No. 5 in C Minor DM-426
William Furtwangler and the Berlin Philharmonic .
Quartet No. 10 in E Flat DM-467
Budapest Quartet
Quartet No. 6 in B Flat MM-754
Budapest Quartet
Sonata No. 8 in C Minor (Pathetique) MM-648
Rudolph Serkin, Pianist
Leonore Overture No. 3 DM-1098
Arturo Toscanini and NBC Symphony Orchestra
RAVEL
Bolero EDA-3 3
Charles Munch cond. Paris Conservatory Orch.
Bolero DM-352
Serge Koussevitsky cond. Boston Symphony Orch.
Bolero MX-22
Concertgebouw Orchestra of Amsterdam
Daphne and Chloe Suite No. 2 DM-1108
Serge Koussevitsky cond. Boston Symphony Orch.
Daphne and Chloe Suites No. 1 and 2 EDA-29 -
Charles Munch cond. Paris Conservatory Orch.
Rapsodie Espagnole DM-1200
Serge Koussevitsky cond. Boston Symphony Orch.
Ma Mere L'oye MX-151
Howard Barlow and CBS Symphony Orchestra
La Valse DM-820
Pierre Monteaux cond. San Francisco Symphony
La Valse MX-296
Fritz Reiner conducting Pittsburgh Symphony
Gaspard de la Nuit MX-141
Walter Gieseking, Pianist
Concerto for Piano and Orchestra DM-1209
Leonard Bernstein, Pianist with Philharmonic Orch.
300 SOUTH THAYER
PHONE 2-2500
(Just Across from Hill Auditorium)
BACH: Sonata No. 2 in A minor MX 2
Joseph Szigeti, unaccompanied ...........3.50
BEETHOVEN: Serenade, Op. 8 MM 217
Hindemith Trio .......................4.75
BRAHMS: Zigeunerlieder MX 88
Madrigal Singers ......................3.50
DELIUS: Violin Concerto MM 672
Sammons and Liverpool Philharmonic ......4.75
FRANCK: Quartet in D MM 128
London String Quartet ..................8.50
HAYDN: Symphony No. 45 "Farewell" MM 205
London Symphony with Wood ............4.75
HINDEMITH: Trio No. 2 (1933) MM 209
Hindemith Trio .......................4.75
MOZART: Symphony No. 36 "Linz" MM 387
London Philharmonic with Beecham.......5.75
RAVEL: Gaspard de la Nuit MX 141
W alter Gieseking .............,...... 3.50
Song Recital MM 289
Claudia Muzio and Orchestra...........6.75
It gives us great pleasure to help you find recordings which
you will still enjoy after many playings. Knowledge of the
recorded catalog is not only a vocation to our clerks, but also
an avocation.
The #tUJ1icCehfteI'
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&
HNorESho4
PHONE 2-0542
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