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June 18, 1930 - Image 2

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Publication:
Michigan Daily, 1930-06-18

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TlIE SUMMER MICHIGAN DAILY

FRDY JULY 18._ 193[15. AUSW

urtt ~uumtr

11 tr to9att 'Bl1011
Published every morning except Monday
during the University Summer Session by
the Board in Control of Student Publications.
The Associated Press is exclusively en-
titled to the use for republication of all news
dispatches credited to it or not otherwise
credited in this paper and the local news
published herein.
Entered at the Ann Arbor, Michigan
postoffice as second class matter.
Subscription by carrier, $i.so; by mail

Offices: Press Building, Maynard
Ann Arbor, Michigan.

Street

EDITORIAL STAFF
Telephone 4925
MANAGING EDITOR
GURNEY WILLIAMS
Editorial Director..........aHoward F. Shou
City Editor............ Harold Warren, Jr.
Women's Editor .............Dorothy Magee
Music and Drama Editor... William J. Gorman
Books Editor..........Russell E. McCracken
Sports Editor................ Morris Targer
Night Editors
Denton Kunze Howard F. Shou
Powers Moulton Harold Warren, Jr

Dorothy Adams
Helen Carrm
Bruce Manley

Assistants
Cornelius H.
Bertha
Sher M.

Beukema
Clayman
Quraishi

BUSINESS STAFF
Telephone 21214
BUSINESS MANAGER
GEORGE A. SPATER

Assistant Business Managers
William R. Worboys Harry S. Benjamin
Circulation Manager......... Bernard Larson
Secretary......... . .. Ann W. Verner
.isistants
Joyce Davidson Dorothy Dunlap
Lelia M. Kidd
Night Editor-Harold Warren, Jr.
FRIDAY, JULY 18, 1930.

FRESH AIR CAMP DRIVE

While those that contributed to
the recent drive for funds for the
fresh air camp deserve all thanks
for their generosity, the campus
population as a whole showed poor
spirit. Approximately $300 was re-
ported to have been taken in by
the boy tag-sellers, which is less
than seven and a half cents a per-
son- for the 4000 in the summer
school.
We cannot but feel that this dis-
interested attitude is not truly
characteristic of the ordinary run
of summer students. Certainly, a
more .deserving charity c o u 1 dM
scarcely be found than making pro-
vision for a holiday for some five
hnudred poor, undernourished boys
from Detroit.
This camp, supported as -it is in
the main by the contributions of
the students of the University,
must fail in its purpose if the funds
collected are small. A dollar more
or less might mean the addition of.
new equipment or the furnishing
of new recreational facilities for
the boys; it might mean that an-
other boy could be brought out for
a vacation in the sunlight and the
woods away from the dull, soul-
starving environment in which he
must exist the greater part of the
Iyear.
The quota set for the drive dur-
ing the regular school year at Ann
Arbor was reached and passed
without effort. Let us hope that
another summer will find the
short-session students as willing to
contribute.

0A E QLL 1Music and Drama
D R
BEGINNING BEETHOVEN'S THIRD
LOVE'S ASHES SYMPHONY
i'IN 6 PARTS . An Interpretation
Chapter 0+ 1 Asked in 1817 which of his sym-
s Lewdia Glamp lifted a jewel- phonies he preferred, Beethoven
crusted hand to a pretty mouth- unhesitatingly replied: "The Er
and tieflseined awn.Befored r Epica; yes, yes, the Eroica."
on the rose-pointed bed-spread lay The Eroica is more inclusive, con-
her breakfast tray; on it the gap- sidered f r o m the experiential
ing rinds of two canteloupes, an standpoint, of the Beethoven that
empty coffee pot, the crusts of five Is a vital force in contemporary
slices of toast, an empty jam pot, feeling than any other one work.
and an egg-smeared plate. Bella, This is not, of course, a judgment
the diminutive little Irish slip of a of musical quality (the chamber
maid, appeared from behind a ma-' music of the last period would sur-
hogany door. Ipass it from this point of view)
"I'm hungry, Bella," said Lew- but a judgment of its meaning for
a dia. a contemporary individual.
'Yes, Miss, and here's a letter for In attempting an interpretation
you," and the Irish ,eyes smiled of the Eroica, the contemporary
r down as they presented a blue en- can disregard those many pages
velope on a silver salver. of critical cant that have grown up
"A letter for me?" cried Lewdia, around the dedication and with-
and slit the envelope with a rosy drawal of dedication to Napoleon.
a ilail. The Eroica was completely ground-
In the next instant the breakfast ed in Self, as J. W. N. Sullivan's
tray was dashed to the floor, and i brilliant analysis of it with refer-
Lewdia, a flurry of tulle, chiffon, 'ence to the Heiligenstadt Testa-
lace, velvet, cluny, and a hundred ment which preceded its composi-
other colors of the rainbow, dart- tion in 1804 clearly proves. The
ed from her bed in a rush, dedication represented no doubt an
"Quick, Bella," she gasped, "not effort to find in the external World
a moment to lose. Pack my alpen- a symbol that would as far as pos-
stock, pith helmet, and toothbrush, sible mirror or clarify the qualities
and get your own things." And of Self being expressed. The tear-
once more Lewdia Glamp was off ing of the dedication page was a
on a hair-raising adventure to seek passionate judgement of the in-
more life and love and pure fresh adequacy of that symbol.
m o u n t a i n air, where crystal In interpretation of the Eroica,
streams, teaming with trout and I see the logic of the four-move-I
other finny denizens of the peace- ment structure as being (despite
ful deep, ripple on and on just as the second movement Funeral
we promised in the last chapter of March) almost the logic of chron-
tur previous book, "Fruits of the ology: the logic of a great life
Flame", number 35. lived. For a whole life is implicit in
"Well, I swan," said the laconic the experience recorded so crudely
Bella, "but Miss Lewdy-" but Lew- in words by Beethoven in the Heil-
dia was by this time down the igenstadt Testament and so mag-
boulevard in her roadster, adjust- nificently in music.
ing her crimson beret with her The first movement has the qua-
left hand and avoiding two ped- ity of tragic utterance that only
estrians and a truck by a deft man- Beethoven has realized in music.
euver of the wheel with the right. There are all the qualities for a
Pulling up -withbrakes reeking great tragedy. Here is the gigantic
and smoking before the Pentecost Beethoven, the Beethoven, in -Wag-
Bank Building, Lewdia dashed in- ner's words, "able to wrestle with
to the nearest elevator. n the Gods." There is a noble severi-
"Sixteenth," she breathed, and be ty and magnificent directness in
gan fidgeting in slece as the el- this character. And above all, a su-
evator was impelled upward with perb, irrepressible will, gradually
one deft.fip of the elevator boy's becoming lucid to Itself, learning its
wrist. own invincible energy in the com-
"Here's your floor, Miss," said the promising task of living. The first
boy as the car jolted to a halt at movement is Youth: asserting with
the eighteenth floor. And while all its passion and idealism the will
Miss Lewdia steps from the swift to live nobly despite life.
yehicle, we will bend over with Bel- Beethoven's intuition in the sec-
la, the maid back in the bedroom, nd movement was happy. The con-
and read the hasty scrawl which cept of a Funeral March gave him
was traced upon the coarse sheet a mode of fusing a new aspect of
of note paper contained in the Self: a lofty detachment and spir-
blue envelope. ituality. The Funeral March is a
The legend read: great spirit's elegy of all humanity.
Here Beethoven's attitude is the
1 lb. butter introverted one of gentle, sad com-
half doz. eggs prehension, possible of attainment
1 large sardines only to him who has known the
* * * bitter antagonism of life and met
Tomorrow: Miss Pomegranate it with heroic energy and idealism
makes good her word. (the first movement). The attain-
Fipsch Whoofle. ment of this all-inclusive sad tol-
erance does indeed mean death.
For life has been lived and under-
stood. The death of such a hero is
There you are, folks, isn't that grand. It is summation.
a grand beginning? Tomorrow's The Scherzo I see as a vivid mo-
installment will carry us still far- mentary reminiscence of that hero-
ther along the pathway Lewdia is ic fund of energy (first movement)
traveling under the guidance of that has made possible the elegiac
the skilful author, Gtspk Whoofle. attitude (2nd movement): serving
as an introduction, by the logic of
Editor the emotions, to the last move-
Rolls Column, ment: which I see as an ecstatic

Someone committed a gross er- apostrophe and exaltation of that
ror right on the front' page of rich energy and zest for life. This
Wednesday's paper.Wo os t e r- exaltation (the Beethoven concept
that's an awful way to treat a per- of Heroism it might almost be
fectly good old Massachusetts called) is the early Beethoven mes-
town. It may look ritzy, and all sage to the world. The beauty of
that, and would go well on a wo- the spirituality and noble melan-
men's clothing emporium, or a tea choly which we have seen to be
room, or a coffeee shoppeee, but its consummation in Beethoven's
it's an awful monniker to wish on life (in the 2nd movement), con-
a respected city, the Heart of the vinces you of the importance of
Commonwealth, and not in the that exalted energy.

TH SMMR ICIGN AIY ~mV TT.VIR_.fl
)t~

A Few Copies of the
SUMMER
S tudent and Faculty
DIRECTORY

11

14

Press Building

F.

:.Maynard Street

11

Across from the Majestic Theater

1,

Are Still Available at

'
e~
1
r
r a. ,G,

You can break
aWaermans

GROWTH OF THE UNIVERSITY
The causes of the tremendous
growth of the University in the lasi
two decades are not hard to identify.
There is, first of all, the elemeni
of pride which has actuated the
citizens of thehstate to contribute
magnanimouslytothe develop-
ment of the institution. If there
is any doubt that the population
is proud of its university, one has
only to mention Ann Arbor any-
where from Escanaba to Detroit,
and he will see an immediate re-
sponse.
Not only have the citizens of the
state as a whole supported the
University, buthalso every alumnus
in every part of the world, witness
the University of Michigan clubs lo-
cated in every port, hamlet, and
metropolis. All of them are boost-
.ers for the Alma Mater, not nec-
essarily as a matter of sentiment
but because they respect and re-
vere the institution and the train-
ing it gives.
Of course, there have been other
contributing causes for this as-
tounding growth. For one thing,
there are a greater and greater
nuamber of young men and women
seeking advanced training today,
and provision has had to be made
for them. They have been attract-
ed to Ann Arbor partly because of
Michigan's position among uni-
versities, partly for the traditions'
here, which are long-standing for
a middle-west college, and partly
for its accessibility. But all these
causes are to be placed below thej
first. Praise, support, continual
boosting, these have made neces-
arv and have made nossible thel

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least stuck up. Possibly the editor
never studied history, or geography
or never noticed the important
city.nAnyhow we demand justice.
Think how the innocent Professor
of voice will feel about this. That's
an awful way to welcome a new-
comer. Mass.
. * *
Well, Mr. W h o -ever-you-are,
we're glad to hear from yours even
if you aren't able to write, and
about the editor's knowledge of
geography, you're positively clair-
voyant.
As for the welcome to the Profes-
sor of Voice-we suppose you know
that we edit this sheet right next
to the so-called Music School and
so it really doesn't matter so much
to us one way or another. Just
come around some time during
practice hours over at "school",
and you'll see that one professor'
more really can't make much dif-
ference after all.
.

- 0
COLUMBIA: Masterworks Set No.
138: Beethoven's Third Symphony
in. E Flat: played by Max von
Schillings and Symphony Orchestra.
This recent issue of Columbia's is
undoubtedly the most superb re-
cording of the Eroica available.
Max von Schillings is a very wise
conductor of Beethoven.
. His first movement is played
magnificently. The rhythms are
wrought with fierceness to suggest
life's antagonism. There are defi-
ant and titanically jocose moments.
But it is never so magnified (and
here he avoids the common mis-
take in reading the Eroica) as to
make a climactic evolution through
the four movements impossible.
There is no mourning in his fu-
neral strains. He plays this move-
ment not with Coates' cold, cere-
monial dignity but warmly and
sympatheticaly as an elegy. His fi-
nale is vast and the richest in vol-
ume.

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