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October 16, 1948 - Image 5

Resource type:
The Michigan Daily, 1948-10-16

Disclaimer: Computer generated plain text may have errors. Read more about this.




Marian Anderson Calls
Youth Her Ablest Critics

When Marian Anderson sang
here Thursday, she performed for
the audience shb most loves -
young people.
"You know where you stand
with a youthful audience," the
contralto said. "They show very
frankly whether they like you or
not,~ probably because they want
to form their own opinions."
EVER SINCE Miss Anderson
can remember she has wantedi to
sing for young people. "All' the
way through school, it was music
to the exclusion of all else. When-
ever I heard a tune, all other mat-
ters dropped from my. mind."
The Philadelphia lass began
her career with a local church
group, first in the chorus, later
in solo work. During rehearsal,
Miss Anderson learned all the
parts from soprano to bass. Dis-
covering this, the choral direc -
tor soon had the contralto sub-
stituting for any absent soloists
-male or female.
"I've enjoyed every minute I
spent singing," Miss Anderson de-
clared. "There were many dis-
couragements, but I've always felt
that if you start a career in music,
you must keep on with it. It

doesn't work out just the way
you expect it to, but you should
stick with it."
S * *
lowing her own advice. Ten
months of each year are takenup
with crowded concert schedules.
Her summe~r vacation time is
spent preparing for the next sea-
son, and managing her large Con-
necticut farm.
The city slicker who thought
*livestock was found only in
South Chicago, Miss Anderson
considers herself an energetic
but unskilled farmer. "Our first
enterprise at the farm was a
steer bought during the war so
we'd have enough meat," she
"We took very good care of it-
so good, in fact, that by the time
we had it slaughtered each pound
of meat we got cost us three times
as much as it would have on the
inflated war market."
were then given free run on "Ma-
riana," the Anderson domain.
Having no better luck with hens,
the singer turned to sheep and

ramIssues Call
For Talent
If you have been hiding talent
as a scene painter, set builder, ac-
tor, director or can do wardrobe,
makeup, prop or publicity work,
there is a place for you in the Ann
Arbor Civic Theatre.
Those who have been secretly
nursing a desire for an artistic
fling are requested to call Dr.
Thomas Gilson, 7716, or come
down to the city donated civic the-
atre workshop, located in the log
cabin in Burns Park.
CIVIC THEATRE, composed of
students and townspeople, offers
as its first fall production John
van Druten's "Voice of the Turtle,"
to be presented at 8:30 p.m., Oct.
27-30 at Slauson Junior High
Two University students, Mary
Lou Bramwell who plays Sally
Middleton and Morris M. Winer,
taking the role of Bill Page, have
the leads in the van Druten
comedy. Mrs. Mario D. Miller,
secretary of the group, will take
the part of Olive Lashbrooke.
Directing the show is Laird
Brooks, Grad. who has played in
summer stock with the Patchwork
Players in Virginia.
the production are John Sargent,
sets; Jerry Ryan, stage manager;
and Bill Bromfield and Dick Flan-
agan finance.
Tickets' for opening night,
scheduled as a benefit theatre
party to assist Hadassah in its
campaign to raise funds for Is-
rael, are now on sale at Kes-
Tickets for the other three per-
formances will go on sale at Jac-
obson's from noon to 5 p.m. Mon-

r OrD

For your dancing pleasure



CALL 2-4183


Sung by Marian Anderson
r-DM 1087-Bach Arias....................
r-DM 850-Great Songs of Faith .............
r-DM 986-Songs and Spirituals .............




Victor-14210-Ave Maria (Schubert)...............$1.25
Victor- 2032-Deep River (Burleigh) ...............$1.00
Victor-18008-Samson and Delilah: My Heart
at Thy Sweet Voice (Saint-Saens) .... $1.25
Victor-17257-Dido and Aeneas: When I Am Laid
in Earth (Tate, Henry, Purcell)........ $1.25
Victor- 1939-Komm', Susser Tod (Come,
Sweet Death) (Bach) ................ $1.00
Victor- 1862-Der Tod Und Das Madchen, Op. 7, No. 3
(Death and the Maiden) (Schubert) .. $1.00

A Great Name
in Mnsic!
MOZART, born at Salzburg,
Austria, in 1756, was a "won-
der child." At the age of 6,
he was composing, improvis-
ing, and playing harpsichord,
violin, organ with sufficient
virtuosity for public exhibi-
tion. Growing up, he com-
posed in many different styles,
producing symphonies, sona-
tas, oratorios and operas. Per-
haps his most familiar works
are Fi.ard, Th Maric 1li/e,
Eine Kleine l'ac 1) U./m f.il and
Don Giovanni,

All too frequently listeners fail to make the distinction between at
musical experience resulting from an obvious parade of feeling and1
the enjoyment induced by technical perfection which limits the emo-
tional content of a work. The latter experience, and evidently it is
one which requires more careful consideration, if infinitely more re-
warding. Mozart is probably the greatest single illustrator of thisE
principle. Mozart's music always contains a wonderful clarity and
precision. When such qualities are applied to music of great emo-
tional intensity, the result is a work of the highest value.r
IT IS AN INTERESTING coincidence that some of Mozart's mostf
moving music is in the key of G-minor. At least two works in that key,E
the piano &uartet and the viola quintet, excell their companion com-E
positions. Mozart's E-flat piano quartet and C-major viola quintet1
are chamr~ber music of extremely high caliber. But their G-minor coun-
terparts are much more than that, they are masterpieces combiningr
Mozartean technical proficiency with music of a highly organized emo-
tional nature.
* * * *
GEORGE SZELL and Messrs. Roissman, Kroyt and Schneider of
the Budapest Quartet have collaborated in a performance of thet
Quartet K. 478 (Columbia MM-773) which is flawless in all respects.1
As in this combination's earlier recording of the E-flat Quartet (Co-
lumbia MM-669) the integration of the music to the recreative abili-
ties of four distinct artists is perfect, but in the G-minor the musical
matter is so profound and full of invention, that the performance is
THE QUARTET plays the opening allegro with all the power in-
herent to the compelling drive of the persistent theme. The andante is
tranquil, and is played with great feeling, yet with perfect proportions.
Never does a false note of pathos intrude into the sad lyricism of this
movement. The spirited rondo, which contains much thoughtful ma-
terial, is rendered with all the vivacity and sparkle that four expert
musicians, perfectly coordinated as an ensemble, can bring to it.
Szell's playing shows the same precision that he manifests in his
conducting, as well as the musicianship common to him. The strings
play sensitively and with wonderful richness. The interpretation of
this work is a marvel of understanding Mozart, and the execution im-
peccable. making this one of the finest recordings of chamber music
THE RECORDING by Milton Katims and the Budapest Quartet of
the G-minor Quintet, K. 516, (Columbia MM-526) is another superb
recording of an outstanding work. Alfred Einstein, the noted Mozart
authority, wrote of this work: "What takes place here can be com-
pared perhaps only with the scene in the Garden of Gethsemane. The
chalice with its bitter potion must be emptied, and the disciples sleep."
Especially remarkable is the slow and melancholy third movement,
perfectly sustained by the well-balanced strings.
THE NEW RECORDING of the Symphony No. 40 by Fritz Reiner
and the Piitsburgh Symphony Orchestra (Columbia MM-727) is a
highly controvertial performance, well recorded except for excessive
vibrations from the basses. Reiner's interpretation frequently puts too
much emphasis on the tragic aspects of the work, and consequently
gives it an intensity that seems foreign to what Robert Schumann de-
scribed as the apotheosis of "Grecian lightness and grace." There is
too much in the first and fourth movements that is not only not
tragic, but, on the contrary, definitely gay. Since Reiner insists on
emphasizing this aspect also, he creates a basic dichotomy in the work.
While the juxtaposition of gaity and tragedy can serve to heighten the
tragic effect, in this case it destroys the unity of the movements and,
consequently, of the work.
AN INTERESTING contrast in interpreting Mozart can also be
heard in the recordings of the Violin Concerto No. 5 in A-major, K. 219.
The more recent recording is that of Adolph Busch with the Busch
Chamber Players (Columbia MM-609), while an older recording was
made by Jascha Heifetz with the London Philharmonic Orchestra con-
ducted by John Barbirolli.
Busch's performance has the advantage of close cooperation be-
tween orchestra and soloist, as well as that of a warm and affec-
tionate interpretation. Busch occasionally sacrifices purity of tone
in order to interject the humor patent in the work, or in order to main-
tain his conception of the music. His attacks are not nearly so clean
as Heifetz's, partially due to the faster tempo in the first movement,
but Busch's performance on the whole is more satisfying, since hei
comes closer-to exploiting fully the charm and humor of Mozart's
Popular . .
Early in 1946 it was clear to most musicians that Dizzy Gillespie
and Charlie Parker had successfully launched a new kind of jazz.
Be-bop, although universally misunderstood by the general public,
suddenly became a sort of symbol of the "frantic forties."
A cult grew up around Dizzy. His wierd mannerisms were aped
by jazz fans. Zoot-suits were discarded in favor of the beret, goatee,
and horn-rims affected by The High Priest. Even terminology was
revised; "hep" became "hip," "hot" became "cool." Events were either
"mad," "frantic," "wild," "crazy," or "nowhere." And last week Be-
bop really became of age when fad-conscious Life Magazine gave
Dizzy and his followers one of its characteristic treatments.
* *k h

THE GENIUS OF Charlie Parker has somehow been negelected
in all this uproar over Gillespie. Less spectacular personally than
Dizzy, Charlie Parker is nevertheless the greatest single creative force
in jazz today. His ideas are a constant source of inspiration and frus-
tration to jazz musicians of all schools. His great technical command
of the alto saxophone has permitted him to develop ideas of almost
frightening complexity. But unlike most Be-hoppers, Charlie's im-
provisions, no matter how frantic, always seem to fit, to follow a logi-
cal development. t
Be-bop has become cliche-ridden, often banal. Its practioners
have wrung all the power out of dissonence through over-use. Parker,
however, completments dissonence with enough orthodoxy, with
enough that is familiar and understandable, to prevent either ele-
ment from becoming monotonous.
Charlie Parker's jazz is always straightforward, unaffected, never
exhibitionistic. His sense of balance, of contrast, his imagination and
fluency of expression certainly qualify him as a major artist.
FORTUNATELY PARKER has been well recorded. His per-
tormances on wax vary in quality, but none of them are duds. And all
are available. The following recordings, I feel, have captured Charlie
at his best: Bird Lore (Dial Bebop Album D; Bird's Nest (Dial); Lady
Be Good (Disc-JATP)-the first solo is Parker's; Carving The Bird
and Cheers (Dial); and KoKo-actually Cherokee-(Savoy).
>: :It*
THE FOLLOWING SINGLE sides feature Charlie teamed with a
variety of well-known Be-Bop musicians including Dizzy himself:
Billie's Bounce (Savoy) -probably the wierdest bop record ever made;
Donna Lee and Buzzy (Savoy)) ; Grooving High (Guild or Musicraft) ;

Radio Appeal
To Open Red '
Feather Drive
WPAG will fire the opening gun
for the 1948 Community Chest
drive in Ann Arbor with a special
half hour radio program at 9 a.m.
During that time, most stores in
Ann Arbor will close so that their
employes may listen to the' pro-
The show is being produced for
the Community Chest by WPAG
in conjunction with the Unive-
sity Broadcasting Service. The
following students from the speech
department will participate in
dramatic roles: Marilyn Scheel,
Frank Bouwsma, and Ed Nicleff.
The program will include a dem-
onstration of the activities of the
various organizations benefitted
by the Community Chest. Inter-
views have been recorded of such
Red Feather agencies as the Perry
Nursery, the- Dunbar Community
Center, the YMCA and the YWCA,
the Boy Scouts and the Girl
Scouts, and the Social Welfare
Ed Barrows and Del Hester are
in charge of the program.
ost to Writer
Three Student Skits
To Complete Show
An exclusive radio interview
with Betty Smith, author of "A
Tree Grows, in Brooklyn," will be
featured on the Michigan Journal
of the Air over station WHRV to-
morrow noon.
The program will also include
some "hot tips on the tipping
situation" here in Ann Arbor and
a story about Professional Blood
Donors at the University Hospital.
A behind-the-scenes look at the
Michigan training. table entitled
"Wolverine Gridders Line up in
T-Bone Formation" will round out
the show.
The cast includes Jack Jensen,
Ed Miellef, Roger Allen, Al Storey,
Jim Reiss, Marilyn Scheel, Judith
Robbens and John Rich, director.
The script is by Marjorie Zaller,
Barbara Houghton, Martha De-
lano and Brook Hill Snow.
Announce Bus. Ad.
Council Election
The new Business Administra-
tion Student Council has an-
nounced the election of its offi-
cers for the semester.
Robert M. Kash will serve as
chairman, Martin Marsack as
vice-chairman, Patricia Hall as
secretary, and Lee H. Clark as
At an organizational meeting
held last Thursday, the Council
members discussed projects for
the coming year.
Committees, composed of Coun-
cil members, will be set up at the
Council's first official meeting
which will be held Tuesday eve-
ning. Dean Stevenson, of the Bus.
Ad. school, will be a special guest
at the meeting.

Married students are waiting for
the "smog" to lift over the Univer-
sity Terrace apartments.
"Smog" is the word which de-
scribes the smoke and fog which
arises from the university dump
behind the hospital and makes its
way to the terrace where it seeps
in windows and is generally con-
sidered a nuisance by the veteran
Relief fo- the "smog-bound"
students is in sight, however.
While the burning will continue, it
has been learned that a bulldozer
which was used to cover the res-
idue is back in service after two
weeks in the repair shop.
Meanwhile, here's what two

wives had to say about the smoke
and fog menace:
Mrs. George Love, Sr., said that
her baby's "nostrils were covered
with soot in the morning."
"I definitely regard it as an un-
healthy situation," she said.
"Sometimes it's just like the Lon-
don fog."
Mrs. Don Warren said she has
heard many complaints from the
other residents.
"It has been especially bad dur-
ing the summer," she said.
To date no official complaint
has been registered with the uni-


%a4tx Un9 ujical (njoijment

'U' Terrace Asks Smog Relief

Beethoven: Symphony No. 5 in C Minor
Berlin Philharmonic with Furtwangler .
Haydn: Quartet Society, Vols. IlII, IV, V,
VIII-Pro Arts Quartet ...........
Monteverdi: Madrigals and Other Works
Ensemble with Boulanger ..........

DM 426
..... 7.25
VII, Each
DM 496

Mozart: Violin Concerto No. 3 in G DM 4$5
Menuhin and Paris Conservatory Orchestra .. 4.75
Mozart: Marriage of Figaro (Complete) DMC 105
Glyndebourne Festival Group with F. Busch. . 24.25
Prokofieff: Classical Symphony DM 421
Boston Symphony with Koussevitzky .........3.50
Schubert: Quintet in A ("Trout") DM 312
Schnabel and Pro Arte Quartet............725
Sibelius: Symphony No. 1 in E Minor DM 881
Philadelphia Orchestra with Ormandy.......6.00
Stravinsky: Divertimento DM 1202
("The Fairy's Kiss")
RCA Victor Symphony with Stravinsky ......4.75
Wagner: Five Songs DM 1233
Eileen Farrell and Orch. with Stokowski ......4.75
We take pleasure in discussing music or Performances with
you and are glad to help you in your choice of recordings
from our constantly expanding stock. In addition, you will
find our listening facilities unequalled in Ann Arbor.
1/he ltuz1, ICenfte*'


PHONE 2-2500

(Just Across from Hill Auditorium)




fine Italian artists on
imported CETRA recordings
Cetra 101-Mozart Requiem in D Minor; EIRA Chorus and
Orchestra, directed by Victor De Savata; Tassi-
nari, Tagliavini, Stignani, Tajo
Cetra 104-Album Mozartiano-Mozart Concert Arias sung
by Italo Tajo, basso
Cetra 105-L'Amico Fritz (Mascagni): Cherry Duet-Tag-
liavini and Tassinari with Mascagni conducting.
Cetra 106-L'Amico Fritz (Mascagni) - Tagliavini and
Tassinari with Mascagni conducting (in 2 vols.)
Cetra Album Quintet in C Major (Boccherini-arr. Lauter-
25114/5 bach) Zecchi, EIRA Symphony Orchestra
Cetra 25039-Arias from La Gioconda and Aida
Galliano Masini, tenor.
Cetra25123-Arias from Faust and The Barber of Seville
Enzo Mascherini, baritone
Cetra 25212-Concertino No.,5 in E Flat Major (Pergolesi)
Fighera, Orchestra of Radio Italiana
Cetra 25029-Duets from La Gioconda and Adriana Lecouv-
reur by Cloe Elmo and Gina Cigna
Cetra 25009-Arias from La Gioconda and Werther
by Cloe Elmo
Cetra 2042-La Boheme: Quartet and Finale from Act III
Tagliavini, Tassinari, Mascherini, Huder


- - - - ---
You can still get your picture in
the 1949 Ensian if you are getting
a degree in February, June, or Aug-
ust. The Ensian Business Office is
open every day except Saturday



and Sunday from 2 P.M. to 5
Call 2-6482 for information.





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