I... m ' SA: At; 41 'l GML. 8 .u R--4 iJ'f .:i^9 " _ " i .. _ __ _-.' Y ,, , 'M . , :Ir- - N T- .- ! __-,, ~ ii '- C ANDL ELIAGHT PROGR AM:~ 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 student. "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- ance. 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 readings. 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 QFF fH E fECR Classial.. By RALPH MATLAW 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- sleek Sizes Price I\ 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. At I i __.- 16. 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 p.m. 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. THE COLLEGIUM Musicum, 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. Thayer: 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 UNION FORMIAL Friday, December 101 and viola, and Charlotte Lewis,, cello, of 1714 Wells, Ann Arbor, and Robert Warner, violin and viola. 1581 Tulley Court, Willow Run. 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 brasses. * * * 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 dance. 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 Schein. 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. ter : :: i '" TO COMPLEMENT the beau- 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 ART CINEMA LEAGUE and HILLEL FOUNDATION present F IQ~lUE I By MALCOLM RAPHAEL 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- ture. 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. OUR LADY OF FASHION 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. COSMETICS from CALKINS- 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- aparelli. Rapid Robot Runs Residence 'I 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 U i' i III I 11 i