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SITUATION CRITICAL:

Report on Greece Given
By New 'U' Economist
Peace can never come to Greece until the United States and
Russia settle their differences, according to Prof. Gardner Patterson,
newly appointed to the economics department faculty.
Prof. Patterson based his observation on the fifteen months he
spent in Greece as a member of a Greek government currency com-
mission. This commission had control of all foreign exchange and
currency issued in Greece.
THE GREAT MAJORITY of the Greek population support the
government as their only hope of ridding the country of the Commu-
,>nist-inspired civil strife, accord-

NROTC Host
To Midshipmen
Holds Mixer Banquet
For NavyDelegation
The University of Michigan
NROTC students played host last
night to twelve Naval Academy
midshipmen at a gala NROTC
mixer banquet in the Masonic
Hall.
Accompanying the Navy foot-
ball team, the delegation, com-
posed of two Navy Goatkeepers,
four cheerleaders and six Public
Relation representatives,- was
feted by about 150 members of the
campus NROTC Unit.
The real purpose of the mixer,
stated Commander Smith of the
NROTC, was to stimulate better,
acquaintship among local com-
pany members, and to foster a
mutual understanding between
the Naval Academy and the
NROTC organization at civilian
institutions.
Officers Elected
Officers elected recently by the
Arts Chorale group are: Lilias
Wagner, president; Helen Dill-
man, secretary; Jan Pierce, librar-
ian; Bob White, publicity chair-
man.

ing to Prof. Patterson.
At the same time, however,
the populace realizes that no
final victory over the rebels is
possible as long as the Commu-
nist forces are allowed to op-
erate from bases inside neigh-
boring Communist-bloc coun-
tries, he said.
As a consequence, the Greeks
attach more importance to U.S.-
Russian relations than daily de-
velopments in their own country,
he emphasized.
* * *
THE INTERNAL WAR now reg-
ing has made 600,000 people de-
pendent upon the government for
their existence, Prof. Patterson
said.
"A similar situation in the
U. S. would mean that 14 mil-
lion refugees would be thrown
on a government already
plagued with civil war, under-
employment and a vast recon-
struction problem," he said.
A great many misconceptions of
Greek government are prevalent
today, Prof. Patterson claimed.
"For instance, the government is
regarded as monarchial and fas-
cist while in reality there is too
little rather than too much gov-
ernment," he said.
IT IS POSSIBLE to speak of
ministerial policy but not govern-
ment policy, he said. Prof. Patter-
son went on to say that while
some ministries may be dictato-
rial during certain periods there
is no evidence of the complete,
unified policy of oppression which
characterizes fascism.

Dormitory News
(EDITOR'S NOTE: Contributors to
What's Up in the Dorms should con-
tact Dolores Palanker at The Daily
or 105 Betsy Barbour.)
WLLIAMS HOUSE held its ex-
change dinner Thursday with
Adelia Cheever and Couzens Hall.
More than 50 men participated
and provided after-dinner enter-
tainment in the form of dancing
and bridge.
In an effort to bring more cul-
tural activities to the men of Wil-
liams House, a guest night has
been set aside twice each month
when varioustmembers of the fac-
ulty are invited to attend dinner
and discussions.
Williams House has already en-
tertained Dean and Mrs. Erich
Walter and Prof. Lionel Laing, of
the political science department.
The next guest will be Prof. How-
ard M. Ehrmann of the history
department.
* * *
FOR A WEEK or more the girls
at Stockwell were mystified by
posters in the dorm bearing large
question marks and the date, Nov.
19.
This week it was revealed they
would all turn modern Cinderella's
on that Friday evening for the
"Glass Slipper," the annual dorm
formal. A large crowd is expect-
ed for the occasion.
* * *
GEORGE ROUMELL has been
appointed by the West Quad
Council to head the committee in-
vestigating the West Quad Con-
stitution and its possibilities for
revision. Particular attention will
be paid to those clauses covering
representation in the Council.
PROF. RUSSELL H. Fifield's
talk last Thursday on foreign pol-
icy and the State Department
proved so successful at Michigan
House that more similar discus-
sions are being planned. Besides
members of the faculty, some of
the house residents will be called
upon to speak.

QFF HEE kECORD
Classical...s
By RALPH MATLAW
One of the greatest of modern composers, Bela Bartok, is begin-
ning to assume his just stature. The sensation the Concerto for Or-
chestra created three years ago prepared the way for interest in other
works of Bartok's last period, works which had been performed infre-
quently. Bartok did extensive research in Hungarian folk-music and
was a master in its use. He claimed that the "appropriate use of the
folksong material . . . is a matter of absorbing the means of musical
expressions hidden in the treasury of folktunes," so that while much of
his material has a definite Magyar flavor, it is not necessarily real
folksong, but rather Bartok's creation in that medium. Bartok has
great technical abilities, and he introduces a wealth of musical mate-
rial so dexterously that harmony is frequently incidental to melodic
structure. Bartok's music is basically tonal, but the modulations are
extremely free. He combines highly emotional expression with classi-
cal economy of structure.
* * * *
THE VIOLIN CONCERTO is recorded by Yehudi Menuhin with
Antal Dorati and the Dallas Symphony Orchestra (Victor DM-1120).
This panoramic work contains poignant, broad melodies, colorful or-
chestration and poiquant rhythms. The violin contrasts brilliantly
with the orchestra in the rapidly changing moods that range from the
quiet and introspective to the boisterous. The first movement, com-
posed of rich Magyar themes is in free sonata form. The main episode,
which occurs in the middle of the movement, figures throughout the
rest of the concerto. It is a highly percussive theme, and is reiterated
in varying rhythms and colors by the brasses. The second move-
ment, a theme and six variations, becomes increasingly bizarre and
then suddenly ends after a tranquil interlude. The concluding rondo
reintroduces the main episode of the first movement in a trans-
figured and grotesque form, and after sharply dissonant, development
leads to a short coda.
The performance of this difficult work by Menuhin is very good
technically, but Menuhin is overfond of his broad and vibrant tone,
and frequently exaggerates the more expressive passages. The Dallas
Orchestra doesn't seem to capture all of the music, but it has a neat
precision that supports the soloist well.
* * * *
BARTOK'S LAST work, the Piano Concerto No. 3, is recorded by
Gyorgy Sandor and the Philadelphia Orchestra conducted by Eugene
Ormandy (Columbia MM-674). The piano solo is sensitive and Or-
mandy supplies a superb accompaniment which takes advantage of
all the drive and lyrical character of the music.
Despite the feverish pace in which Bartok composed this concerto
-the last few bars were only outlined in a musical shorthand at his
death-the work is quite serene. It is the most polished of Bartok's
works in the tightness of its construction.
The material introduced in the development sections has more
unity with the main body, that some of the episodes of the Violin Con-
certa display, and the apparent effortlessness of the music conceals
much thought and several humorous touches. Especially noteworthy is
the extremely moving second movement, which is based on a simple
chorale.
PERHAPS THE Piano Concerto is a conscious final bid for popu-
lar acclaim. It is short and in strict classical form, and therefore much
easier to understand than the Violin Concerto. However, in this search
for congruity and in limiting the music to its essentials, Bartok loses
some of the orchestral brilliance and thematic fecundity that make the
Violin Concerto so interesting.1
Bartok's best work is the Concerto for Orchestra, supposedly one
of the monuments of modern music. Columbus has recorded it and has
announced its release for late November.
Jazz ..
By MALCOLM RAPHAEL
* Quite often jazz musicians get fed up with the work that keeps
them eating. Night after night of grinding out stereotyped ballads
for hordes of apathetic shuffling dancers puts a crimp in their cre-
ative urges. In order to escape from this musical nothingness, jazz
musicians gather after hours and play the music they like freely and
informally. These gatherings are called "jam-sessions" and are usu-
ally held in closed night clubs and theatres or wherever there is a
piano and indulgent neighbors.
* * * *
FOR MANY YEARS "jam-sessions" were the private property of
a select few, attended only by musicians, certain initiated laymen,
and whatever scrub-women and porters that might still be around.
These sessions enabled musicians to pour out pent-up ideas, to com-
municate freely with each other, to synthesize and develop jazz forms.
Often great things would happen, sometimes nothing. But always
the musicians played only for themselves or for one another. So al-
though there were often "cutting-contests" where performers matched

technical prowess, musicians at private sessions rarely indulged in
meaningless exhibitionism.
* * * *
NOW ABOUT five years ago a guy named Norman Granz suddenly
realized that money could be made if "jam-sessions" were produced
commercially. His first attempts in Los Angeles were tremondously suc-
cessful financially, if not always musically. Since then his Jazz at
the Philharmonic has become an institution in theatres and on rec-
ords.
So far Granz has released eight volumes of recorded public "jam-
sessions." He is said to have about twenty-five still on ice. These al-
bums, appearing on various labels, Disc, Clef, and Mercury, cannot
really capture the true "jam-session" spirit. Screaming zooted audi-
ences demand jazz loud and simple. Intricacy and taste do not sell.
But, nevertheless, each one of these albums contain parts that are
really worthwhile-although not always worth the price of the rec-

French Student Lauds U. S. Radio

BUT THE MOVIES --NEVER:

v

By EDWARD SILBERFARB
Radio in France is about on a
par with the BBC, but inferior to
the radio entertainment in the
United States."
Such is the opinion of Michel
Rene Leiser, a French student at-
tending the University. He believes
that French movies, however, are
far superior to those produced in
Hollywood.
LEISER STATED that the
French movie industry, which is
second largest in the world, does
not have the technical facilities
that Hollywood has. They, there-
fore, base their pictures on simple
themes and a realistic presenta-
tion of life as it really is, rather
than extravagant musicals and
westerns, which involve elaborate
settings.
This cuts down the cost of
praduction and enables the
French cinema to produce in-
expensive first rate movies.
"Only until the American peo-.
ple," said Leiser, "are no longer

satisfied with class B pictures will
the producers give them high
quality movies such as are pro-
duced in France."
* * *
LEISER HAS taken an active
interest in entertainment, both in
the United States and in France.
During the war he worked for the
Office of War Information in
New York. He helped record and
transcribe American propaganda
programs for rebroadcast over-
seas. Many of these programs
carried information in code for use
by the underground in Belgium
and France.
At present, Leiser is in charge
of a weekly program at 5 p.m.
Wednesdays over station WUOM
which portrays, by means of
skits, poetry, and other media,

various aspects of French cul-
ture and life.
He would like students wishing
to participate in these programs to
contact him through the Univer-
sity Broadcasting Service.
A SENIOR in the literary col-
lege, Leiser is studying interna-
tional affairs. He is here on schol-
arship awarded to him by the New
York Alumni Association.
Leiser finds the question of
"four out of five women are beau-
tiful, and the fifth goes to Michi-
gan," very interesting. "In
France," he said, "men do not
criticize women for their physi-
cal shortcomings, but rather com-
pliment them on their qualities,
thereby placing them on a high
plane. Women, in return, show
more respect for the men."



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of Mercury and Decca Classics
MERCURY CLASSICS
VIVALDI-Concerto Grosso in D Minor, Opus No. 3
Dumbarton Oaks Chamber Orchestra
conducted by Alexander Schneider.
MOZART-Divertimento in D major, K. 251,
for Strings, Oboe and Horn.
Dumbarton Oaks Chamber Orchestra
conducted by Alexander Schneider.
KHACHATURIAN-Concerto for Violin and Orchestra
David Oistrakh with the Russian State Symphony O'ch.
under Alexander Gauk
CIMAROSA-Concerto for Oboe and Strings
Mitchell Miller and the Saidenberg Little Symphony
SHOSTAKOVITCH-Quartet No. 3, Opus 73
Fine Arts Quartet of the A.B.C.
SHOSTAKOVITCH-Plays his 7 children's pieces, 8 preludes,
3 fantastic dances and the Age of Gold Polka.
TCHAIKOVSKY-1.812 Overture
Amsterdam Concertgebouw Orchestra
underWillem Mengelberg
VAUGHN WILLIAMS-Concerto for Oboe and Strings
Mitchell Miller and the Saidenberg Little Symphony
conducted by Daniel Saidenberg
SMETANA-Wallenstein's camp (Symphonic Poem)
Czech Philharmonic Orchestra
under the direction of Rafael Kubelik
DECCA ffrr LONDON RECORDS
DE FALLA-Nights in the Gardens of Spain
Clifford Curzon (pianoforte) with the
National Symphony Orchestra conducted by Enrigue Jorda
TCHAKOVSKY-Symphony No. 6 in B minor, Opus 74,
"Pathetique"
The National Symphony Orchestra, under Albert Coates
TCHAIKOVSKY-Romeo and Juliet, Fantasy Overture
The National Symphony Orchestra under Albert Coates
DELIBES-Sylvia Ballet Music
BBC Theatre Orchestra conducted by Stanford Robinson
MOZART-Concerto No. 15 for Piano and Orchestra
in B flat major (K. 450)
Kathleen Long, pianoforte, and the
National Symphony Orchestra under Boyd Neel'
BENJAMIN BRITTEN-Four Sea Interludes and
Passacaglia from Peter Grimes
The Concertgebouw Orchestra of Amsterdam under
Eduard van Beinum
BRITTEN-Introduction and Rond alla Burlesca, Op. 23, No. 1
Mazurka Elegiaca, Op. 23, No. 2
played by Clifford Curzon and the composer
MENDELSSOHN-.Violin concerto in E minor, Opus 64
Ida Haendel, violin, with the National Symphony Orchestra
under the direction of Dr. Malcoln Sargent
GOUNOD-Faust Ballet Music
The National Symphony Orchestra conducted by
Anatole Fistoulari

This Bohemian composer
was born in 1841. He stud-
ied at the Paris Conserva-
toire and at Vienna. He died
in 1904, having composed
several operas, a number of
songs and dances, several
symphonies (best known of
which is The New World),
The Specter Bride cantata,
and the St. Ludmila oratorio.

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* * *

VOLUME 6 of Jazz At The Philharmonic (Clef) comes pretty
close to canning a real "jam-session" with all the good and bad as-
pects of the real thing. Note the beginning of JATP Blues. One can
hear the musicians trying to establish contact with each other,
groping for a beat that will feel right to all. Once the pace is set the
first soloist, Charles Parker, climbs on top of the beat and lets his
ideas flow out. His is a be-bop interpretation of the blues, full of
all the odd intervals and accents of the school that he helped create.
Buck Clayton, the next soloist, is a trumpeter who plays more tradi-
tional jazz. It is interesting to compare his ideas with Charley's other
participants are tenorman Lester Young, not a be-bopper, but modern
in his own way; Willie Smith: and Coleman Hawkins, a musician
whose talents deserve a full column.
GRANZ'S LAST album, Jazz AT THE PHILHARMONIC No. 8
(Mercury) shows what happens when a "jam-session" is turned into a
"Jazz-concert." This is jazz of the gymnastic variety, full of exhibi-
tionism and striking effects. Five soloists take Ellington's Perdido and

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