SATURDAY, OCTOBER 9, 1948 THlE MICHIGEAN DAILY P'AGE FIVW 1, _ __ _ - - _ -..1--~---- Im OFF THE CO Union To Hold Listening Party . 1 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. r I - - -M * * * * 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' 1 ' t; k adio & HNorESho4 PHONE 2-0542 Read and Use The Daily Classifieds 715 N. UNIVERSITY I -1 NEW COLUMBIA PLAYER ATTACHMENT- Designed for playing the ncw, Columbia LP records at 33 5 rrm, this compact record player iry be attached to your present radio r phonograph, regardless of make. -.li Yes Main and Yes Sir!! MORE SEATS MORE TABLES now available at the for the finest in "JUST GOOD FOOD" Breakfast at 7:30 A.M. Lunch at I1 A.M. Dinner at 5 P.M. and "Bruncheon" in between at the 1311 South U. Dancing Tonight IT'S NEW! ii (u/I Igage o(I,,' d'ao-4eci'p493a01 * NEWS - REVIEWS * RADIOS * RECORDS WHAT TO BUY and WHERE TO BUY IT A.a 4I I CLASSI[CAL and POPULAR Here is a new series for Michigan Daily readers, the SATURDAY REVIEW OF RECORDS. As a regular weekly feature, this page will contain news and reviews for platter spinners. The latest recordings of your favorites, whether classical or popular, will be reviewed; a series of minute biographies will appear, and there will also be news concerning the latest developments in radio and record players. HILL AUDITORIUM Sunday, Oct. 17 -- 8:30 P.M. WATCH FOR IT!! READ IT! W .':'1 I I