S'ATURDAY, OCTIOBE~R 16, 1949 THE MICHIGAN DAILY PAGE 'I'VE BEST AUDIENCE: Marian Anderson Calls Youth Her Ablest Critics By FRAN IVICK 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 * * AND MISS ANDERSON is fol- 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 said. "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." THREE THOUSAND chickens were then given free run on "Ma- riana," the Anderson domain. Having no better luck with hens, the singer turned to sheep and pig-farming. 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 School. 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. OTHER STUDENTS working in 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- sels. Tickets for the other three per- formances will go on sale at Jac- obson's from noon to 5 p.m. Mon- day. .t r OrD AGAIN ! ! For your dancing pleasure NEW BOOKING DATES The MACK FERGUSON TRIO BASS ... PIANO ... GUITAR I IJ J CALL 2-4183 LEAVE DETAILS TIME-HONORED CLASSICS Sung by Marian Anderson BUMS r-DM 1087-Bach Arias.................... r-DM 850-Great Songs of Faith ............. r-DM 986-Songs and Spirituals ............. ALE Victc Victo Victo $4.75 $4.75 $5.00 SINGLE RECORDS 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) .. $1.00 508 EAST WILLIAM GREAT NAMES IN MUSIC WOLFGANG MOZART- 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, Classics... By RALPH MATLAWf 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 overwhelming. 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 available. 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 music. Popular . . By MALCOLM RAPHAEL 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. Tuesday. During that time, most stores in Ann Arbor will close so that their employes may listen to the' pro- gram. 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 Agency. Ed Barrows and Del Hester are in charge of the program. WHRV To Be 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 treasurer. 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 couples. 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- versity. __ t %a4tx Un9 ujical (njoijment V I(T -RRECOR- '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 ......9.75 DM 496 ......7.25 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*' 300 SOUTH THAYER PHONE 2-2500 (Just Across from Hill Auditorium) N 1'I 11 JUST RECEIVED . . . 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 11 - - - - --- 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 Iii 11 and Sunday from 2 P.M. to 5 Call 2-6482 for information. P.M. ii t II I[H