PAGE 4 - N.C. ESSAY
Reviews
Leslie Spotz
Tuesday, December 8, in thi
auditorium, Leslie l^tz te'ought
to the music of Bach, Beethoven,
Chopin and Mendelssohn a
sapiential temperance of
beauteous form. A freshman in
high school, she is in her second
year of study at NCSA as a piano
student of Irvin Fruendlich. Her
performance showed an acute
awareness of inner voices and
harmonic diction made
meaningful by the use of her
mature knowledge of keyboard
technique, her well defined tonal
conception, and her precision of
phrasing.
The Safiioar.dc and the
Bourree of the French Suite in G
major. No. 5 of J.S. Bach were
the more outstanding of the seven
movements. A melodic con
ception of the highest order was
first made evident in the
Sarabande and the fugal subj^t
of the Bourree was colwed with
the melo^c shinuner in its every
voicing.
The first movenaent of
Beethoven’s Sonata in B flat
major, op, 22 was indeed the
highlight of the performance.
There, Miss Spotz proved her
consistency of tone, style and
precision of phrasing which
allowed her to commumrate a
feminine strength, a stability and
strength that are true of her
personality.
In the music of Chopin, Miss
Spotz proved to have an endiuwg
stamina, which although lacking
the flare and brilliance that was
later heard in the Variations
Serieuses of Mendelssohn,
nonetheless filled the hall with a
sweetness and passion not easily
managed in the virtuoso
passages of the Chopin works.
The opening theme of the A-flat
Balade was executed in such a
way that the line seemed to travel
and arrive unladened by con
scious motion. The rhythmic
phrase of two eighth-note triplets
and a dotted quarter in fte
C sharp minor Etude sang with
sweetness only accessible by one
blessed with a real gift.
It wasn’t until the closing
section, Mendelssohn’s
Variations Serieuses, that Miss
Spotz chose to show a brilliance
of style that was never overdone.
The slow movements were
performed with the weight of
plushness of sound usually heard
in the Bach Partitas and
Preludes and Fugues.
Her performance, un
fortunately poorly attended, was
a mature statement of her
musicality that is indeed a
composite of a celestial gift, good
musical taste, and excellent
training.
Walter Braxton
Record Review
(the second in a series of reviews of
records in the NCSA library)
MAHLER: Kindertotenlieder.
Horne/ Lewis-Royal Philharrnonic
Orchestra. London OS 26147. (with
WAGNER: Wesendonck Lieder)
This fairly recent London
release features mezzo-soprano,
Marilyn Home, and her husband
conductor, Richard Lewis,
performing two German song
cycles; Mahler’s Kin
dertotenlieder (Songs on the
Death of Children) and Wagner’s
Wesendonck Lieder. Only the
Mahler cycle is being reviewed.
Mahler’s Kindertotenlieder
(compost between 1901 and
1904) are set to the poetry of
Friedrich Ruckert (1788-1866).
Though Ruckert published over
400 “Elegies for Children,”
Mahler selected five only,
arranging them to depict a death
story of pathological sadness and
tenderness.
H.F. Redlich, of the University
at Edinburgh, describes the work
as follows: “The cycle begins
with a pale sunrise following the
night of the children’s death.
Next are conjured up the un
forgettable magic of two pairs of
eyes which hereafter wUl gaze
down on the unhappy father as
heavenly stars. The lonely
mother entering the father’s
study with a candle when dusk
falls, Iwlngs forth the unbearable
image of the lost children. The
beauty of an ensui^ day carries
fleeting selfdeception in the belief
that it may only be a long walk
which the children have taken.
The final song combines dirge
and lullaby. Beginning as a
funeral march, it is transformed
in the end into a cradle-song
whose folk tune-like simplicity
rounds off the whole cycle on a
deeply felt note of consolation.”
The tragic irony of the Kin-
dertotenli^er is the fact that
Mahler completed and published
the work two years brfore the
elder of his infant daughters died.
Excellent Vocal Work
Vocally, there is little left to be
desired in this recording. The
quality of Home’s voice alone
well suits the character of this
music, not to mention her con
sistently appropriate phrasing
and expression.
Unfortunately though, the
performance on the whole does
not sufficiently represent the
masterpiece Mahler conceiv^.
Lewis’ approach lacks conviction
and authority, resulting in an
empty interpretation with little
contrast and almost no breadth of
phrasing.
Though technically perfect, the
orchestra does not convey the
complex philosophical and
emotional intensity, so vitally
important in this music. It seems
that Mr. Lewis was so ap
prehensive about recording this
difficult work, (having to com
pete with already established
versions by Dieskau-Bohm,
Tourel-Bemstein, Baker- Bar
birolli, Flagstad-Boult, to name a
few) that he unconsciously
sacrificed a meaningful in
terpretation for a technically
accurate reading.
London’s engineering is im
peccable. Not only is there vast
stereo separation, but also ample
reverberation while preserving
clarity. Balance is delicate
between orchestra and soloist
and even the pressing is clean.
For those who do not mind a
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mediocre orchestra underneath a
great voice, this record should be
suitable. However, if a more
definitive interpretation is
desired, it is suggested that o^r
recordings be compared before
m.ktag a choice. ^
Twelfth Night
Shakespeare, a personal friend
of the Ba^ Boys, was quoted as
saying that, “All was in order”,
in regards to the current
production of his play. Twelfth
Night or What You WIU. This
confidential statement was
related to the audience by Mr.
Boys himself at their final per
formance Sunday, December 6.
The verity of this occurence may
be doubtful but certainly Mr.
Shakespeare’s alleged statement
is valid. The production was
definitely in order that evening.
After some Iwief background
information given by Mr. Boys in
his usual charming manner, the
play began.
yUthough there was no set to
speak of, i^de projections of
various scenes on an upstage
backdrop provided atmosjAiere
ingeniously. Costumes were
surprisingly complete and
colorM, a pleasant change from
your average drab workshop
affair. In addition to this, a group
of musicians placed strategically
in the house fairly trjuisported
their audience to the Elizabethan
court. The use of sound, lighting
and other technical devices was
also effective and was managed
quite well by the cast.
The scene behind the bushes in
Olivia’s garden was espe
cially creative. Sir
Toby Belch played by Jon
Coggeshall was most en
tertaining though at times one
wondered where the “Sir” came
in. Yet, this scene was definitely
Malvolio’s (Frederick Avery ).
Though his speech was
sometimes overshadowed by his
affected characterization, the
overall effect was consistentiy
smooth. Evidently, concentration
was the keynote.
This was also true of Stephen
Geiger as Feste who had a
number of quick-witted verbal
jousts. His physical dexterity was
ama7.ing yet his repartee seemed
almost too fast leaving the
au^ence in the cold.
For the most part, I had no
trouble understanding the cast’s
speech though at times I hoped
for greater variety in in
terpretation. Energy levels were
prone to reach a plateau. Margot
Rose as Viola, however, was
quite vibrant yet, except for the
recognition scene, Kathleen
Masterson’s interpretation
seemed more credible.
The greatest difficulties
seemed to be lapses in con
centration and belief ( most
apparent was Cecilia Fuentes as
Maria who was hardly discreet
during the veiling scene after
some mild difficulties with her
veU ) and slight tendencies
towards dramatic declamation.
Yet, having seen both casts in
rehearsal or performance I felt
they were well-matched, com
petent and deserving of com
mendation.
Special mention must be given
to David Wright, a totally in
competent Second Officer,
Sandra La Vallee a giggling
gentlewoman and Lauren
Eager’s effervescent in
terpretation of the priest.
The zest with which these small
roles were attacked added
greatly to an already en
tertaining workshop production.
-Mary Beth Zablotny
Hie Demise of Harry Charlotte Photo by Barcelona
“Going aU His Life and Now He’s Gone-He FlnaDy Let Go”
Harry, son of Mr. and Mrs. G. Charlotte of Visual Arts, N.C., died
last week at the age of three and a half weeks of natural causes (falling
down the stairs of the Commons Building). A grave side service was
conducted at the Hill Above the Field Cemetary Sunday by the Rev. G.
Bear.
Harry was a very active member of the local plumber’s union and
was also active in many other things. He was a designer and
manufacturer of children’s toys and belonged to the public food and
health administration. .
Surviving are mother, Mrs. Charlotte; his sister and brother-m-law,
Mr. and Mrs. Robert E.O. Parsley; and his daughter, Mary Jane.
The family requests that any memorials be made to the Visual Arts
Department, N.C.S.A.
Of This and That ...
Award Winners
Bruce Lemerise, student at
N.C.S.A. and Mackey Jefferies,
faculty member at N.C.S.A., will
have pieces of their work
exhibited in Raleigh through
January 21 as part of the N.C.
Museum of Art Artists’ Annual
Show.
The show, which is open to all
N.C. artists and former
residents, was judged by three
nationally known figures in the
art world: Dorothy C. Miller,
formerly Curator of Painting,
Museum of Modem Art; Albert
Christ-Janer, formerly Director
of Pratt Institute, now at the
University of Georgia; and David
Driscoll, artist and teacher,
Nashville. The judges chose to
exhibit 263 of the 850 entries.
Bruce describes his oil painting
“White Sol” as a composition in
color and shape. Mackey
describes her painting as
“similar to the ones I showed
you.” For those of you who
haven’t seen them, Mackey’s
paintings come in series-
different color executions of the
same composition. Mackey also
had an India ink drawing ac
cepted in the show.
The Visual Arts Department
plans a trip to Raleigh for its
students to see the show which
promises to be a formidable
showing of contemporary N.C.
art.
Mini-Minutes
The All-School Advisory
Council met on Sunday,
December 6 and began the
process of evaluating unen
forceable regulations
discussing bare feet. The sub
committee which lias undertaken
this evaluation was directed to
continue its work and to hold
meetings with the review boards
to consider all regulations.
the Drama Document was
[H'esented, discussed and ac
cepted as information. The next
meeting of this body is scheduled
for Fetouary 7.
The Student Council
Association tried to deal with the
difficult problems of campus and
cafeteria ecology at its meeting
on December 2. Suggestions
included better dissemination of
information, clean-up or ecology
days and strengthening efforts to
establish the responsibility of
students and faculty for cleaning
up dishes and trays after they
finish eating.
SPECIAL NOTE: No drug or
marijuana case can be heard by a
Review Board. If a case of such
a nature is brought before a
Review Board it is automatically
sent to the Judicial Board. The
final paragraph on page ten of the
Handbook should read “cited to
the Judicial Board.”
Green Grows
The Grass
Found in the Garden Clinic
section of the Friday Sentinel,
Dec. 11 and reprinted with per
mission.
Q. I have four marijuana plants
in my backyard. They all get
about the same amount of light,
but one is dwarf while the others
are large. What could be the
problem.(H.H. Raleigh)
A. Call Charles Dunn at 829-
3304 in Raleigh. He will be ex
tremely interested in your
problem. (Tom Byrd, Garden
Clinic editor.) (In case you don’t
know, Charles Dunn is the
Director of the State Bureau of
Investigation- ed.)
Western
State
Zip.
All Checks Should Be Made Payable To The N.C. Essay
Notice: In the coming
months, the Music Dept, will
be holding many recitals.
The Essay will attempt to
cover review as many of
these as space permits. One
more indication of our sin
cere efforts to cover
everything about this school
and lose our minds in the
process. Have a happy
holiday folks and don't worry
about anything. In fact, for
two weeks, why not forget
this place exists.
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