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December 04, 1948 - Image 5

Resource type:
The Michigan Daily, 1948-12-04

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

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Sigia AIpha Iota Will Holkd
Annual Miciieale Tomorrow

Sigma Alpha Iota, national hon-
orary music sorority, will present
its annual candlelight service at
8 p.m. tomorrow at the Presbyte-
rian Church.
Alumnae and active members
will participate in the program,
under the direction of Marilyn
Mason, faculty advisor of the ac-
tive chapter.
Student Piano
Team T Play
At Saginaw
The featured number to be pre-
sented by the student duo-piano
team of 'Clarke and Wyant' at a
special program tomorrow in
Saginaw will be an original com-
position by a University music
"Samba," described as "a light
piece with a Latin-American
theme" by its composer, Dean
Nuernberger, '50SM, will high-
light the 20-minute program of
University students, Clif f or d
Clarke, '49BAd, of Saginaw, and
Don Wyant, '51SM, of Flint, in
their first out-of-town perform-

TIlE SERVICE will open with
an organ prelude by Miss Mason,
includii t Bach's "Trio Sont a
I," and "Rhapsody in Carols," by
Purvis. The processional hiyvn u
will be "Adest e Fideles.''
Included in the program nwill
W1 the Christatas starry, fr~omi
Ltke 2:1-20, readr by Dorothy
Smith, a selection from "The
lessiah," sung by Charlotte
Boehm and Sarah '1Thrursh, and
other Christmas music and
The choir will conclude the serv-
ice with a number of carols, and
the organ postlude will be "In
Thee is Joy," by Bach.
'(4 jl pus Quarter'

Will Air
The history of the Gilbert and
Sullivan shows presented annually G.I. BILL-Marge McCol
here on campus will be featured on fornia, always has a com
this week's "Campus Quarter" at classes. Her pet bulldog
9:45 a.m., today over station war and is now attendin
WPAG. G.I. Bill.
The program, sponsored jointly
by the League and the Union, will
also present a "sneak preview" MEDIEVAL ARTS:
of the coming Soph Cabaret. I
Produced by Al Nadeau, the '
"Campus Quarter" is under the directs i
direction of Sue Friedman from _
the League and John Spindler Renaissanc
from the Union.

lum, attending the University of Cali-
panion along with her in and out of
served in the K-9 corps during the
g school with her-allegedly under the

rogram To Star
e Music, Dancing

One of the lesser known aspects of Maurice Ravel's work is the
music based on children's stories. As is the case with many of his com-
positions, the Mother Goose Suite was originally written for piano
(four hands) and then orchestrated. Only two stories of the otherwise
staid Charles Perrault are used. One of the other stories is Mine. de
Beaumont's famous "The Beauty and the Beast" which was made into
an exceptionally fine film by Jean Cocteau last year. Musically, this
section shows the transformation of the beast into the prince, with the
characteristic subtlety of Ravel. Ravel never becomes sentimental or
vague about fairy-tales, but always brings the story to the fore by im-
posing a clear melodic line on a lucid and meticulously harmonic back-
ground, and then adding color with his great skill as an orchestrator
to bring out the exotic aspect of the story. The other sections in the
suite include a stately pavane of the "Sleeping Beauty" and a spright-
ly piece for "Laideronette, Empress of the Pagodes." Pierro Copola's
recording with the Paris Conservatory Orchestra (Victor DM-693)
takes more advantages of the music than that of Howard Barlow and
the Columbia Broadcasting Symphony (MX-151).
THE DIFFERENCE between the Mother Goose Suite and the one-
act L'enfant et les sortileges is that of the fairy-tale and the fantasy.
Although occasionally a condescending smile may intrude, a fairy-tale
should be accepted on face value, as Cocteau demonstrated in his film.
Fantasy, however, especially children's fantasy, is somewhat more
difficult to handle, since it is harder to believe in animation than
transformation. We are aware that animation may not always be pos-
sible, so that the enjoyment of fantasy hinges more on appreciation of
imaginative manipulation than on actual occurrence, while the subject
and spirit of fairy-tale can be accepted as fact.
RAVEL'S SUCCESS with his one-act fantasy, based on the libretto
written for him by Mme. Colette, is therefore all the more remarkable,
in that it is highly convincing. L' enfant et les sortile'ges is the story
of the boy who doesn't want to study. He rebels against his mother.
tears up his book and ruins furniture, shouting "I hate everybody.".
The furniture and utensiles in the room are glad to be rid of such a
pest, and attack him. The boy, terrified, nears the fire, which blazes
forth and informs him that it "warms the good but burns the bad."
The princess in the book he tore leaves him. As the boy begins to
realize his mistakes he escapes into the garden, but the animals there
remember how he tortured them, and the trees revenge themselves on
him. Before he loses consciousness the boy binds up the wounds of a
squirrel, and the animals, realizing that he has changed, help him,
and then leave the reformed boy, solemnly reiterating that "he is a
wise, a good child."
*: * *
THE MUSICAL score is delightful and highly ingenious. It has
wit and satire, in the fox-trot of the Chinese cup, the mad mathema-
tician, and the amazing "duo miaule musicalement" between the black
cat and his feline friend, a fabulous and highly suggestive duet. In
addition to this sophistication, the score has a great deal of warmth,
in the bergerettes of the shepherds who have lost their pastoral set-
ting (the curtains the boy slashed) and the shimmering portrayal of
the princess. The night scene and garden scene are very similar to
"Hop o' my thumb" and the last section of Mother Goose as tonal pic-
tures. Among other finer effects the the grandfather clock and the
parlando amazement of the animals at the boy's kind deed.
* * * *
L'ENFANT ET LES SORTILEGES was recorded for Columbia
! (MOP-29) by the Orchestre National and choir of Radiodiffusion
Francaise conducted by Ernest Bour. The recording is exceptionally
clear and well-balanced, and is completely devoid of surface noises.
The cast consists of highly competent singers, among whom Martha
Angelici as the princess, Nadine Sauterea. as the child, Denise Schar-
ley as the mother and Yvon le Mare'hadour as the clock must be
singled out. The artistic director was Francois Agnosti, who is no
doubt largely responsible for the zest of this ingratiating album.
Popular... _

quisette, or faille. Also
dinner dresses in crepe.
9 to 15 and 10 to,.20.
$16.95 to $39.95.

t ,

Cia derelcat Goes
to the Ball

FOR HER GOWN to enchant
her Prince Charming, Cinder-
ella goes to DILLON'S to
choose from. their wide selec-
tion of bare shouldered ball
gowns in satin, taffeta, mar-


WHETHER black suede ballet
slippers or gold high heel plat-
forms, Cinderella won't have
to worry about losing her slip-
per because of the fine fit she
receives at RANDALL'S.






The Collegium Musicum of the
University of Michigan, under the
direction of Louise Cuyler, associ-
ate professor of musicology, will
present a program of Christmas
music and dances from the Middle
Ages and the Renaissance on Wed-
nesday, Dec. 8, in the gallery of
Alumni Memorial Hall at 8:30
Collaborating with Miss Cuyler
are Dr. Juana de Laban, associate
supervisor in physical education,
Maynard Klein, director of the
University Choir, Andrew Minor,
teaching fellow in the School of
Music, and the Museum of Art is
also sponsoring the fete.
Miss Cuyler explained, is an in-
formal organization whose pur-
pose is the preparation and per-
formance of ancient and little
known music, written before 1600.
"The reason we have so few per-
formances of music of that time is
that the system of recording
music by notes changed complete-
ly in 1600 and all the music has
to be trnscribed by scolars before
it is ready for performance today.
All nusic performed for these pro-
grnams is preparedl by stldents in
l"flsicolo ,y,' she said.
TILE PROGRAM will open with
a Fanfare and Christmas Chorale
by a brass ensemble under the di-
rection of Paul Bryan, a graduate
student of Ann Arbor, 109 N.
This will be followed by "Fan-
tasia a 3" by John Jenkins (1592-
1678) and Fantasya by William'
Lawes (1582-1645) to be per-
formed by the string ensemble and
harpsichordist James Mearns.
Members of the string ensem-
ble are Elizabeth Lewis, violin

"Canel the Stork Chlb reseratimois,
feees, SI "I d(1Iter go to the
Friday, December 101

and viola, and Charlotte Lewis,,
cello, of 1714 Wells, Ann Arbor,
and Robert Warner, violin and
viola. 1581 Tulley Court, Willow
The Tudor Singers, a group se-
lected from the University Chair,
will present "A Babe is Born in
Bethlehem," 14th Century, Ad can-
turn leticie, 16th Century, and
"Gloria in excellsis Deo" by Guil-
lermus Dufay. The Tudor Singers
will be accompanied by the
* * *
TRADITIONAL carol dances
will follow. Lenore Dunlay (Mrs.
Wayne Dunlap) assisted by the
vocal and instrumental ensembles,
will present the 15th Century carol
dance, "There is No Rose of Such
Virtue," the 15th Century Flem-
ish "Annunciation Carol," and an
ancient Scandinavian Christmas
The old carol dances were ring
dances performed to singing, Miss
Cayler explaiied.
"Sonata a 2 Violini 'La Pia'"
by Giovanni Legrangi will be
played by the String Ensemble
and harpsiebordist, Jiames
Mearns. Ihis selection was tran -
scribed front figured bass by
Robert Warner, Willow Run.
The Tudor Singers with Brasses
will present a second group which
will include "O Magnum Myste-
rium" by Vittoria; "Hodie Chrus-
tus Natus Est" by Luca Moren-
zio; and "Vom Himmel hoch da
komm ich her" by Hermann
FOLLOWING THIS, a group of
traditional dances will be per-
formed by members of the Modern
Dance class, directed by Dr. Laban.
The dancers will give "Foula
Reel," an early 18th Century
Shetland dance, and "Quickly my
Friends all Arise," 16th Century
{Provencal carol.
Girls to take part in the dances
will be: Melva and Bernice Wein-
berger; Eahel Kudrna,' Leona
Schur, Karen Irwin, Janette Kay-
ser, Leonora Leet, Edith and Doro-
thy Daniels.

TO ADD to her costume, our
lady selects the finest in fem-
inine handwear at COUSINS
-Formal lace mitts in pink,
blue, white or black - $1.50.
Also stunning two-piece din-
ner gloves in white or black
rayon - $2.00.

i '"

ty of her gown, Cinderella
carries an evening purse -of
gold or silver sequins - $25G
and up at ROBERT'S HAG'S.

$2.50 per Couple

9 - 12 P.M.

Tickets at the Union and U. Hall
We furnish the flowers!

NO SEX, but What a Picture! - N.Y. TIMES


Every now and then a few
worthwhile jazz records appear
despite the stifling effects of the
Petrillo ban and the current
slump in the music business.
These records are encouraging in-
dications that not all jazz musi-
cians are satisfied with be-bop in
present stereotyped form, or with
the even more conventionalized
and mundane product of the aver-
age popular dance band.
Universal's album entitled Ex-
periment In Jazz is a set of four
big-bandajazz sides producedsby,
as the album states, "disgusted
Chicago musicians as an antago-
nistc reaction against the low
levels jazz had reached nationally
and locally, commercially and ar-
tistically." These musicians are
largely unknown nationally and
meet in their free time on a coop-
erative basis to play jazz of an ex-
perimental and progressive na-
Experiment In Jazz has made
no startling expansions in the jazz
form. It has stressed, rather,
further development of arrange-
ment and orchestration along the
lines of Boyd Raeburn and Stan
Kenton. Sonority and broad color,
mood changes, dynamic expansion
is their major emphasis. However,
what really distinguishes this
group is not so much "newness,"
but an enthusiasm and vigor that
is the result of this being their
own music. One is aware that
these are not arrangements stuff-
ed down their throats by "arty"
leaders and subsequently played
almost unconsciously in hundreds
of commercial jazz concerts.
Sides include; Lonely Town by
Leonard Berstein with vocal by
Shelby Davis; Orion, a fast,
swinging original which is de.
veloped very logically and tightly;
For Roger, a Kentonesque affair
which is a little too affected; and
Stairway To The Stars, a superb

arrangement of a too-seldom
played melody. The group was di-
rected by Bill Rinsso.
Columbia has just released
Gene Krupa's . How High The
Moon. This record was probably
recorded over two years ago. It
features the tenor work of Charlie
Ventura who left the band some
time ago. This is a competent job
of eclectric arranging, synthesiz-
ing for big-band the many now-
too-familiar riffs that small bop
combos have developed out of this
tune. Scholars will recognize
snatches of BirdLore, Deep Pur-
pie, Flamingo, etc. A record like
this is very pleasant but certain-
ly not exciting enough to initiate a
quest for more colorful adjectives.
The other side features Anita
O'Day singing Tea For Two. An-
ita was the gal who inspired
Kenton's lungless June Christie..
although Christie has been over-
heard to say, "Anita O'Day?
Who's she?" Anita has it all over
June Christie. Her vocal cords
seem intact, so does her dia-
phragm. She also is capable of
distinguishing B from B fiat, an
ability apparently beyond the
grasp of Christie.
While on the subject of vocals,
I should mention Sarah Vaughn's
version of I've Got The World On
A String. Sarah sings this fine
old Cole Porter tune in a manner
that is a far cry from her early
Lover Man days. Her early style
was much fresher, but this isn't
bad stuff. Unlike many jazz sing-
ers, Sarah projects her voice in
pre-microphone tradition. Her
voice has a fine rich legitimate
quality which is combined with
just enough roughness to give jazz
quality. She has a vibrato and
linear concept very much like Bil-
ly Ekstine, the band-leader with
whom she sang for some time. She
is backed on this record by a nice
soupy studio band under the di-
rection of Ted Dale.

achieves that chic appear-
ance with rhinestone earrings,
choker and bracelet purchased
at MIMI'S, from the wide va-
riety of antique, silver, gold
and pearl jewelry. $2.95 to $18.

FLETCHER give Cinderella
that "royal" appeal. Powder,

TIME says

A Great subject and a great creative
medium, peculiarly well suited to each
other, meet and are combined into one
of the better events in the history of
pure cinema.
The subject-the daily and lifelong
effort of rural man as a part of nature
and as a portion of eternity--is one of
the grandest themes there is, and has
inspired a long creative tradition. In
that Great line, Farrebique deals with
its theme in terms which the theme cries
out for-Absolute Realism.
This realism is as distinct from the
stodgy realism of "documentaries" as
the poetry which it breeds is distinct

from the sickly prettiness of most "art"
movies. For unadorned, undoctored
beauty, immediacy and sensuous abun-
dance, the film is unique . . . A brief
shot of a mating bull, almost as if fly-
ing, is followed by a closeup of a bee,
its back arched almost to cracking as
it rides a flower. A woman wrenches
in childbed ...
FARREBIQUE will probably be slow
in winning the immense audience to
which it speaks. Those who go to the
film in its own spirit and with even a
fraction of its own perceptiveness will
find it deeply absorbing, moving, sat-
isfying and chastening.

lipstick, rouge and foundation
base by Dorothy Gray or Schi-

Rapid Robot Runs Residence


Also - "PARIS" in color
A treat for those who have been there and those who would like to be. I

ST. LOUIS-,P)-A new robot
ear that hears the phone ring and

ear turns on the light. No one
needs to answer the phone.

COMPLETING her costume,
Cinderella adds the final








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