SATURDAY, OCTOBER 30, 1949 TIlE MICHIGAN DAILY MAE F 'V i r Read ... Use Daily Classifid Ads I ________________ I- Piano Recital To Be Given r QfE ColoQ0lk D I II I 61 f i Si ni __ GREAT NAMES IN MUSIC Claude-Achille Debussy was born in 1.862 at Saint-Ger- main-en-Laye, France, into an era of impressionism, and forthwith began writing music that broke all rules, yet incorporated, from time to time, the classic forms. His contemporaries in art and poetry were Renoir and Verlaine and they influenced to some extent the develop- ment of his music. Chief works: Pelleas, Afternoon, of a Fawn, Nuages, Le Jet d'Ean, La Mer, Children's Corner. 0042- Barbara Holmquist, concert pianist from Brooklyn and in-I structor at the University Music school, will present a series of piano recitals over the University fM station WUOM at 7 p.m. Tues- day evenings during the month of November. The program will be devoted to major works of' piano literature. Next Tuesday Miss Holmquist will present an all -Bach concert wich will include such compositions as the Fantasy and Fugue in G Minor, the Prelude and Fugue in E flat Minor, and the Chromatic Fantasy and Fugue. Campus Calendar EVENTS TODAY Michigan Christian Fellowship -Homecoming party, 8 p.m., Lane Hall basement. Newman Club--Annual Home- coming supper, 5:30 p.m., followed by open house and dancing, Club- room, corner of Thompson and Williams.f EVENTS TOMORROW Michigan Christian Fellowship -Talk by Gunner Hoglund, direc- to of~ the H.Cruader Clubs i Chicago, 4:30 p.m., Lane Hall basement. Wesley Foundation Guild - M. 0. Williams, Jr., secretary of the Methodist Missionary Personnel, will speak at 5:30 p.m., Guild House. Polonia Club - Members and guests will meet at 2 p.m. at side entrance of Union for a hike. It's coming-the Ensian Contest i 'enry V"Rturns "Henry V," the famous English im starring Lawren e Olivier, will e brought to the campus again ,his year on Nov. 22 and 23, the Speech Department has an- ounced. The technicolor film which was hown twice last year will be resented at actual cost for stu- ents and faculty only. SUCK DAWSON Paramount Pictures CLAUDE DEBUSSY A Great Name in Music Read... Use Daily Classified Ads ~( * * ~* ~ ~ * 11 9 WHAT, NO TICKET!! Then see the game via Television at the MUSIC CENTER. o AT THE SAME TIME see one of the finest collections of Classical and Popular Records in the U.S.A. * SEE the latest in Television Radios and Radio-Phono Combinations. 0 SEE our complete, modern SERVICE by Hank Karner '~ ASSOCIATED "I don't think you'll find that necessary every time you turn, Miss Brumly!" FLYIN01G IS EASY .. Just $6 gets you in the air for your first lesson. Classica ...p d By RALPH MATLAW Hector Berlioz scored his larger works for gigantic groups of per- formers, and by recruiting these forces to achieve unusual effects de- feated his own purpose, Unless a musical composition is performed it is worthless. If a composer writes so that his music is inconvenient to perform, he risks having it forgotten. The directors of orchestras cite the financial inadvisability of performing such works, though this argument is false: large, but more popular works (the Choral Symphony or Mahler's Second) are played not infrequently. The true reason for lack of performances of Berlioz is that too much effortk is necessary in view of the apathetic response of listeners. Six years ago Toscanini played Berlioz' Romeo and Juliet, and then Rodzinski4 conducted the Damnation of Faust. They illustrated that there is much more in these works than the Queen Mab Scherzo and the Ra- koczki March, that Berlioz at his best wrote music of tremendous power and beauty that unfortunately will remain unfamiliar. Of all his works, Berlioz liked the Requiem best. This is also the work that is least performed. Until recently, rather than being able to hear the music, we had the interesting information that it was scored for augmented orchestra, chorus, tenor soloist, four brass bands and organ, which sneeringly implies that the mass was not performed because of this musical melange. Therefore Columbia is performing a distinct service in making the Requiem available in a performance of the Emile Pasani Choir and Orchestra conducted by Jean Fournet, with Georges Jouattes tenor soloist (MM-769). THE BERLIOZ REQUIEM is not a religious work in the liturgical sense, but rather a brilliant and intense dramatization of the beauties of Christianity in tone and color contrasts. It does not seem to af- firm faith in God nearly so much as to affirm Berlioz' faith in his creative power. Some of its effects are overpowering, but more re-a warding than these is the depth of feeling found in the music of thisc great romantic, in which Berlioz combines his brilliance as an orches- n trator with a tightness of construction that is rarely found in his work. In the Requiem he uses many tricks that are also found in Romeo and Juliet. Brusque stops of musical pharses, unawaited re- turns of a dominating thought, the search for strange sonorities are found in both. There are also the prolonged silences which add great eloquence and intensity to the drama, such as the division of the words "Dies illa" into four parts to end the Lacrymosa. Berlioz is unequal and sensational, but has many great moments, and these often occur so unexpectedly that they become doubly ef- fective. The Kyrie Eleison, beginning with all the voices and finally dwindling to a muttered chanting prayer on one note in the bass, con- trasts with the pleading legato "Christe Eleison" to form one of these surprises. The combination of flutes and trombones, and the subse- quent excursion of the trombones into the lowest possible register in the Hostias, are other striking effects, though they are scarcely calcu- lated to please the ear. The deeply religious, model Dies Irae leads to the Tuba Mirum. In this section the four brass bands are utilized in a powerful call to the dead, and the strong contrasts are so highly effective that they discount the theatrical aspect of the part Berlioz thought contained a "grandeur (that) was terrible." Tremendous volumes of sound re- solve into the sotto-voce "judicanti responsura" to create highly mov- ing music. The Quid sum miser is a short expression of humility and awe, full of feeling and emotion. The Rex tremendae contrasts the voluminous sound of the Tuba Minim with a plaintive, perdando "salva me." The most easily assimilated section is the Lacrymosa. It has an operatic quality in its melodic line and in the alternation of voices against the sharp, repeated violin chords. The tenor solo in the Sanc- tus is beautifully sung by Jouattes, who brings to the music an appro- priate amount of feeling. This Sanctus is unusual in that it gives an effective picture of celestial rapture rather than the usual majestic effect. After the fugal Hosanna, the Requiem concludes with the Agnus Dei and the repeated, gradually fading amens. Berlioz' Requiem is a brilliant drama inspired by liturgy, brought to lyric and dramatic effusion, arrested by antique psalmsodjs, and then shaken by the profound anguish that Berlioz communicates so pas- sionately. This musical cataclysm must be listened to often and care- fully. Successive hearings show more and more the wealth of mate- rial and grandise expression that form the basis of this masterpiece. THE RECORDING was made in the Church of Saint Eustache in Paris. Despite the echo'that can be heard at the end of most records, there is amazing balance between the huge orchestra and the choir. The performance fortunately does not overemphasize the theatrical aspects of the score so that the Requiem can finally be heard with 2njoyment and appreciation. Jazz .0.0 By MALCOLM RAPHAEL About ninety-five per cent of the so-called "popular" field cannot' be properly labeled jazz. A line can be drawn, although somewhat ar- bitrarily, between real jazz and just plain "popular" music. The two shade into each other at various points, but I think that it is safe to say that most "hill-billy" music, "race" music, "Hawaiian" music, dance music of the Freddy Martin-Art Mooney-Guy Lombardo- Tommy Dorsey-variety, folk-music, etc., falls into the "popular" cate- gory. These various forms are called "popular" because they make no claims of profundity, require no active intellectual participation and concentration on the part of the listener. They are listened to pri- marily as adjuncts or complements to other forms of activity such as dancing, drinking, love-making, and housework. RARELY IS "POPULAR" music listened to for its own sake- contemplatively. For this reason it must never place any demands on the listener. It must never disturb or excite, but must always serve as a pleasant background noise at cocktail parties or hamburger stands. Although exceptions have been noted in the case of Frank Sin- atra and others of his ilk, it is probably safe to say that such unusual reactions are probably results of extra-musical associations. I find it hard to believe that the inherent timbre of Sinatra's voice could so dis- turb "the adolescent juices." POPULAR MUSIC, particularly "hill-billy" music, out-sells by a tremendous margin all other forms of music in this country. This fact, however, follows logically from the observation that Americans, as a general rule, avoid any forms of recreation and entertainment that require active and organized thought. Americans are "doers," not contemplators. They are not a nation of chess players, opera-goers, ballet-lovers. When appreciation of an art form requires more than naivete, when some knowledge of or skill in the medium is essential to real enjoyment, the American then turns to some form that requires only the passive employment of the eyes, ears, and viscera. Some will argue that folk-music does not fall into this category. I will admit it has some interest for the musicologist. But, strictly speaking, American folk-music is pretty much the same stuff as "hmlV-d1ml" musi. Teft-wingers and esoterics have tried to make it 1* * * ** k *-A-* -. 1949 'ENSI AN "I hear the '49 Ensian sales are already exceeding the '48 record- breaking 6000 copies--save one for mie." Michiganensian-year after year- First Choice of Michigan students. TIME WORRY GAS Why worry about when you're going to find time to do your banking? Take advantage of our facilities and do your banking by mail. Come in and consult us about any of your banking problems. ANN ARBOR DANK Subscribe Now! I to the NEW Gargoyle 101 S. MAIN Do Your BANKING By Mail 330 S. STATE Member Federal Deposit Insurance Corporation i DEPT. You are always welcome at I the friendly MUSIC CENTER. 7t e I1 1icCente,'J 300 SOUTH THAYER - PHONE 2-2500 (Just Across from Hill Auditorium) 11 h MENOMMOMMIMONRI In Ann Arbor -- 508 East William CAMPUS MUSIC CENTER" A A new Table Set and a Phono-Radio by TEmerson NINE OUT OF TEN COME BACK AGAIN to "DINE with thew~ys On the. Village Square in Dexter FINE HOME-COOKED DINNEIRS AT PRICES THAT V OU ARE HAPPY TO PAY Open Daily 'til 7:30 Closed Sunday RECOMMENDED BY DUNCAN HINES R. STRAUSS-Elektra (Final Scene) ........DM 1247 Sir Thomas Beecham, Royal Philharmonic and Soloists BEETHOVEN: Quartet No. 16 in F, Op. 135 .... DM 1253 Paganini Quartet BEETHOVEN: Sonata in D, Op. 12, No. 1 Sonata in A, Op. 12, No. 2 .................DM 1254 Jascha Heifetz, violinist RACHMANINOFF: Four Songs ............... DM 1251 James Melton, tenor FOUR OPERATIC ARIAS .................... MO 1250 Jan Peerce VERDI: Dramatic Scenes .................... MO 1245 Leonard Warren, baritone MUSIC FOR TWO PIANOS ...................DM 1246 Jose and Amparo Iturbi ZIMBALIST: Sarasateana ................... DM 1242 William Primrose, violist OPERATIC SINGLES WAGNER: Tannhauser, Act III, "Rome Narrative" 12-a5,28 Set Svanholm, tenor THOMAS: Mignon, "Ah! Non Credevi Tui" "Addio, Mignoni! Fa Core!" ............... 12-0529 Giuseppe di Stefano, tenor GOUNOD: Ah! Fuyes, Douce Image Ah! Leve-toi, Soleil ......................12-0527 Jussi Bjoerling, tenor MASSENET: Il est douz, il est bon Adieu, notre petite table.................. 12-0525 Licia Albanese, soprano GOUNOD: Je veux vivre dans ce reve MOZART: Voi che sapete ..................... 12-0526 Eleanor Steber, soprano OLD FAVORITES BLOCH: Concerto Grosso for Piano and Orch... DM 563 Curtis Chamber Music Ensemble BLOCH: Schelomo (Hebrew Rhapsody for Cello and Orchestra).........................DM 898 F rmann wit ThLonnold Stokowski and the #u TABLE YFIVIVV-K#%Wlw r I I i .