Newspapers / Daily Tar Heel (Chapel … / Oct. 7, 1958, edition 1 / Page 2
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fACC TWO THE DAILY TAR HEEL TUESDAY, OCTOBER 7, 1957 Apathy liictc- ohm l)ccn tn itcli talk about stu dent .ijuthx. .md indeed there is plenty cm the I'M, t .tmpiis: ut it is nuilVms to note (he .mend.nxe ol the hist lecture hv Paul Tillich. I he met I low crowd at the lecture pioxcci at leaM one tiling that with constructive pioi;rannuiu4, students tniht he a quite iu-teic-sucl lot ol people rather than an inert one. It can he hoped that this will continue in the futute .and th; t the idea ol program ming will not ho 1 it in the shuhle. Recordings Reviewed Arthur Lcssing rBoirt Let It Throw You. Bud. I Been Outta Style Forty Years." YDC .Sometimes it is hard to tell which is wor.se, 0utv4 Democrats or old Democrats. The YDC which came ofit aain with a a plttlotm denouncing the Supreme Court decision, adxocatiu state's rights, and hind itself to vote only for Democratic cancli d;:es. piomises erv little leadership in the Mars to come. It is unlortunate that the YDC, does not tiy to see the issue. The issue of supremacy of the ledei.d l.iw is the issue invoked in 1 he pic sent ae. as well as the issue of equal oppHtuuifv within the framework of a dent-o t ac . The YDC. il it wants to exert any real h.dtiship. had hetter change its course, if it w.mts the states to have anythni'j; reserved to them. The auc of c entraliation is heie. ami unless the states assume the rcsponsihili fx which they, have heretofore not assumed, the nth not Minixe the change and a vio lent tui moil will result. It can he hoped that the xouner genera lion can asset t the initiatixe. However, it was not shown last week. Phones 1 t It stems that the student body and others arc having difficulties with their phones.. One seems to v used as a urinal, while another seems to have b n putled from its hinges, thus necessitating tha dormitory administration to dispense with it as a "punishment". It .seems the difficulty with the phone that has been u.-ed in the library for other purposes stems at least in part from the appearance of pay phones in that area xxhen free phones were in vogue not a ear auo. One can hardly approve of the studcnl's action, who used the library phones such a purpose since they were made pay phones. It is difinitely reprchensibo conduct. However, there is at least a can to be made for strong, if not violent ob jection, to the placing of pay phones in the area. They were placed on the pretext that studenti wanted two phones' in library and that one phone was inadequate. However, in order to put two phones the library had to put pay phones. Nobody sounded out the students on whether they wanted free phones or pay phones, and they undoubtedly would have decided in favor of the former. Thus, the library has in all probability acted in their own interests rather than the interests of students. This ought to be changed quickly. The second ease is more serious. It seems that the phone on 2nd floor Cobb dorm has been out of order and that it kept ringing. A student bother ed by the noise ripped the phone out. The dormitory administration-responded by repairing the phones and shutting the phones off for a month. The punishment does nothing to fit the crime. Instead it punishes a whole floor for an individual's action. Further than that, it fails to take cognizance of possibility of emergency phone calls or the possibility of trying to locate someone at any time. K an emerenry strikes, there will be little time to so over to Cobb, m up the stairs, and find out whether the student is even in his room or in th? area The dormitory administration should have a little more wisdom than covering up for its in adequacy on the line of enforcement of dorm rules an d detection of the culprit, by punishing the whole ! rm It is hoped that in the future they will. Outside of hero-worship, why has Van Cliburn made such an enormous impact upon the American' muscial scene? Listening to his first recording (RCA Victor LM-2252), a performance of the Tchaikovsky. First Mano Concerto in B-Ilat Minor, the question is decisively answered by the very strong impression the young man's, playing makes. It is not merely that we are impressed; almost within his very playing one recognizes promise atid talent, a future in which his musical temperament may some day perhaps reach the height of a Rubinstein-or a Rudolph Serkin. What then does this recording reveal? First of all, more than any other recording of this, concerto that I am acquainted with, we find a truly close unity between piano and orchestra. The orchestra (not identified, but probably members of the former NBC Symphony led by the Russian conduc tor Kiril Kondrashin) are close to the spirit of Cliburn in a kind of youthful and enthusiastic playing of the score. This does not mean that tempi are exaggerated or that unnecessary rubatos are introduced, nor that what is aimed for is romantic effect and un controlled abandon. As a matter of fact, what is so consistently amazing in this union is a kind of controlled romanticism compatible with a total conception of the work which is distinctly classical. Here we must not confuse the classical with the academic; this per formance, especially in the ensemble of piano with orchestra, h anything but academic. Rather 1 mean that the total conception of the movements is quite defined by conductor and soloist so that there is a framework in which dynmics, tempi, ritards, accelerando, crescendos. dimenuendos, candenzas, and attacks dl have their place and function. This seems to .me the essence of classicism. The old pattern of virtuoso accompanied by orchestra obviously does not hold for such an interpretation. Piano and orchestra support each other for a purpose beyond technical display or romantic outpour ing, but which is the utterance of Tchaikovsky's music for its own sake. To haila performance because it is faithful to the composer's intention is a dangerous business, but I feci this performance- dies just that. We have the conductor Kondrashin and Cliburn to thank for this achievement. Now to return to the individual performance of Van Cliburn fasten to his first solo entrance in the first movement: it is force ful (the phrases seem almost suspended on a structure of energy!), but the force is not forced or tight. Rather it is the very opposite: relaxed and spaceful. And bythe time he grandiese opening theme reappears in the orchestra, you know you are listening to a great performance. His touch on the keyboard is sensitive to what is demanded in the music; thus he can strong where strength is needed; sensitive where a phrase needs sensitivity to truly appear as a musical phrase; and sweeping where sweep is in order. In the area of tech nique this touch is at its most exciting terrain, as for example in the many octave runs played with an amazing sense of authority and musical power. Listen to the very last run in the first movement and hear how it is spaced, structured, and conceived musically with just the slightest rubato holding back the last four eight 'notes at the very top of the run even though at first sight it seerm nothing more th3n a series of octaves running up in squence to the final cadence. Cliburn creates musical sense here with the highest kind of musicianship. G3)e Bmlp J)tt The official student publication of the Publication H-rd of the University of North Carolina, where it U published daily r i rxrept Sunday. Mon-d-y and examination p r:M and summer term. Krdrrcd a; .re.,r,.d c!a mat frr in he post office ' r Ch:.-! H.'.l. NC. uzirT the Act of 4ifrh S, 1S70. Sub-tc::-n ra'rs: S4 50 9 1 I I CURTIS CANS ilr I! J .tort CHARLIE SLOAN. CLARKE JONKS ANN FRYE -ini rr Adrtis;r! Manast-r WALKER ELANTON "frelTkatzin t. Adv. ??anaer JOHN MINTER S;-irti !'.. -r vv-Uj! F.'!;!,-r RUSTY HAMMOND ED ROWLAND Subscription Manager AVERY THOMAS Crcu!'i--n !ar.i;cr ... Ait Ld.for i 'of J I' r .. . ttu- I'b-di.;raf her .. ROU WALKER . ANTHONY WO LIT' JOAN BROCK "cUl )DY S I '00N VS. SA mmmM- www Inquiry Sam Frazier Designs !n Jazz Harry Richman Outside the .pit the, spectators are beginning to mutter to themselves and argue with each other as to who will be the Avinner, the Chinese, or the Chinese. Pciysqrstnot (proounced "Pat") has said many times to the general assembly of the United Canals that this is a4 really funny sight to behold. "Every Martian shoifid see the world" is his motto. "See how the infection of the fight in the pit spreads to the spectators, -wo, so excited and absorbed irt the cock-fight, imagine that it is they themselves who have the motives for fighting each other". So we people of earth, drones the bored steno- . grapher, find ourselevs in the - cock-pit of a plane about which we know nothing and which is .there fore out of control. Even when some earnest people attempt to put a mirror in the sky so that man might see the reflection of his situation, :al that man can see is himself. And he laughs at himself as he playfully (as a mimicing actor) makes as many different kinds of expressions as he can. There is even a crowded office-faetory-assembly room, with many desks at which are perched neat little men, summarizing, typing and Wing the world's problems. - ., . Eeny, meeny, miney, moe, Catch a nigger by his toe, If he'-hollars let hirn go, Eeny, meeny, miney moe . . . YOU You be a sumroarizer, typer, and filer of the world's problems; Big Brother needs you. There is even a smoky, dingy, dirty, damp, dark, and rank cellar room with a few tables here and there. Each table proudly wears its' insignia, a green wine bottlew ith a white, flickering, smoky candle. It's choir practice time. Let's slip in with our rov ing microphone and hear what goes on. LEADER: All together children. CHORUS: Hell with it al, I'm a low-low ' terranian. Hell to all, I'm a pessimist. Hell in all, I'm me. " All 'hell' to man. Meanwhile, back at the throne, there he sits, calm, cool, and collected, with his typewriter be fore him, slightly amused with all he sees down be low, not to mention a slightly superior air abcut him. As he types his observations, he finds that hi3 vinsky and Shostakovich." The Cuban influence, nose i too larce and is continually obstructing his view. (Quel dommage). II is phrasing is consistently musical and in good taste. It is stantly seeking to discover modern ideas,' to be listeners who clamored for the orchestra, the music, employed, by modern artists, to create modern and the man, Kenton introGuced to the Concert " At least we can come out occasionally, however, to look at the stars. Variations Gail Godwin PORTRAIT OF A PERSONALITY "With high regard and respect for each others ' as in so many forms of progressive jazz, had its individuality.,. . a group of personalities can make effects on the Kenton orchestrations. Lively interp- music wide in scope-yfrom tender, soft sounds to retations of classic standards were introduced im- screaming, crashing dissonance; This is an orches- parting something of the tense excitment of the tra!" - modern world to 15,000 that lined the Hollywood And this is a revelation of the personality of Bowl and millions across the nation. not sentimental or distorted, but romantic In a tradition of roman- Stan Kenton, for, in these words is shown one man's One year leater, with the arranging abilities of tmsm which we have almost lost. It is the romanticism which be- sincere love Gf creative music and the musicians . Johnny: Richards, Bob Graefmger, Pete Rugolo, and leves itself to be at the basis of expression, not the surface. It i, which 5ring it to life Frank Marks; M talents .afforded by 40 musicians the expression of the inner not the effect of the outer that this His is a Uynamic personality, in which is con- including strings, woodwinds,- and brass; and the 1 uiiidimijMji a.-sts ui us. jiu vuui vvcm:ur in tins recording is a sincerity of feeling that is rare in a world in which hypoericy di- mlc rxm Tit-no ' sounds. Statge "Innovations in Modern Music." This idiom The pianists' tone on the piano is amazingly warm even though In 1941 at1 Balboa Beach, California, the music attaied nearly a classical form producing an un- lacking in the kind of depth that a Serkin can create. But the of the Kenton Orchestra first appeared. It was a equaled accomplishment in the field of orchestrated Tne September 27 issue of the New Yorker warmth makes up for this deficiency (one of youth I think), as in music that hung between the Swing Era of the jazz. housed another one of the cartoon masterpieces on the first piano passage in the slow movement where the piano speaks 30's and the Bop Era of the 40's. Featuring the Kenton's fame had stretched across the Atlantic, which the magazine's fame is based. This one was even warmer than the obviously emotional flute. The middle sec- sections or the whole, orchestra rather than solo- so in 1953, The European Tour was initiated. The a footing of thre "characters" louging unhappily tion of this movement, incidentally, I have never been able to un ists' allowed Kenton concentrate on viv.d, ex muic, played by. some of the finest musicians on . " baseinent J some subter- , . tj n c , . ., .. citing arrangements. This gave rise to varied cnt- the jazz scene, was more widely appreciated and - derstand. The awkward Pressissimo seems to destroy the entire . . , , , - JU . . . , J t , . ' j : v x rannpan hir pn'iionpd of course with coffee urn :icism but whatever the criticism; people were in- understood in Europe and England than m Amen- rannean Dar equipped, 01 course, .wim tunee ui mood of the opening theme, and even in terms of contrast (which terested; however, acceptance was gradual. So in ca. . ' and "Come to Italy and Paris" posters. All three is dubious) the purpose is defeated by its ill-defined rambling order to sustain the band Kenton added the talents ' Stan Kentcn Orchestras have been the testing characterstwo men and one woman are dressed character. However listen carefully to the ending of this movement, of Anita O'Day and Gene Howard to sing ballads, grounds for many of today's jazz greats such as Bud reminding of Swan Lake, highly emotional yet subdued, deeply Tne next four years found Kenton enjoyirg sue- Shank, Kai Winding, Gerry Mulligan Shelly Manne, cess and acceptance. - Shorty Rogers, Stan Gets, ana many others. "Possi- In the spring of '46 the orchestra released its bly," Stan feels, the encouragement he gave those The third movement is the poorest of the three as it suffers first album. With the diverse arrangements of Pete artists would ultimately prove his most lasting con front a genuine lack of musical material (except for the second Rugolo, Milt Kabak, 'Ken Hanna, and, of course, tribution." theme) to be compositionally explored. Cliburn's playing is im- Stn Kenton, the music, known as "Artistry in And Stan Kenton looks to the future. "These are pressive in its virtuosity but even he has difficulty making sense Rhythm," was acclaimed by the polls "as tha most dynamic times and jazz is a dynamic language. Now, . , , r iu rru . , , popular music of the year." Then after a short rest, as in the past, he ranges through many. realms of . out the repeated squareness of the music. The most outstanding , , . , . T , . . , , .. , , and with largely, the same "Progressive Jazj; per- sound, intent on discovering the dazzling blend of passage here is for me the "Molto piu mosso section, close to the sonneL Kenton, ' eager to introduce a new sound, plan and movement and improvisation that yields end of the movement, where the piano embarks upon a long string arranged a series of concert tours. "With the ab- new jazz. The fresh musical concept and the brill-' of sixteenth notes in long connected legato phrases. With the strings sence of rhythm section, Kenton's music, through iant musical performer come inevitably within his accompanying this passage, it is evocative of the most graceful feel- the expression of the jazz soloist, created a unique view, and though him they fuse, creating that jazz sound. Variety headlined, "Kenton's Carnegie tension between performance and, listener on which Hall Concert a Killer Both Artistically and at B.O.;" a musical experience is communicated." His music and in its story, ". . . His music . . . could probably is sometimes "cool;" sometimes 'crazy," but always be compared in the jazz field to the -music of Stra- sincerely Stan Kenton. touching but never sentimental. Here. Cliburn is at his very best. in appropriate uniforms fruit boots, black sweat ers, a string of pearls, old- tweedy jackets, and berets. ings within us. The passage comes to a .rude end when the notes become more and more staccato, and almost all of a suddei we fall with a rush of notes into the beginning of the coda. The coda presents again the close unity of piano and orchestra, building to a larger and t larger climax and ending with, what for me, is the most exciting run of octaves I have ever heard on the piano. v . .' It is the great accomplishment of Cliburn and Kondrashin -in maknig us realize that however popular and played-to-death the Tchaikovsky Piano Concerto is, nevertheless, it reamins a truly great work of music, especially in the performance that has been given us on record by these two artists. More Readers Write Letters To The Editor . . . .... 1 , EDITOR: As spokesman for the "intel lectually sloppy," Mr. William Rogers has stated that, while ex istentialism does not mean eccen tric haircuts, turtle neck sweaters, oversized medalions, loud inferior jazz, and free love, this is what the term has. unfortunately been perveted to symbolize to many of his group. He speaks the truth. Mr. Rogers made this statement while attempting to relate a cer tain Miss Bardot to the existen tialist movement. He failed to be expl.cit in establishing the 'con nection, however, and failed to note a minor distinction which, if somewhat subtle, should certain ly b apparent to a gentleman of Ir's acumen. The female existentialist of the -.7' l.:J -W. intellectually sloppy is an evil little wretch who di?3 free love, generally "sleeps around; : and goes for all of the other niceties that Mr. Roger entioned. lt is con-" cievable that the B. B. of the , screen could fit into this category if these were the only qualifica tions They aren't. To qualify, the candidate must display a definite intellectual appreciation for her activities. This is the crux of the matter and this is where Barclot fails. The Badot of the screen is the perfect stupid broad; she is not intelleciualty sloppy, she is intellectually nonexistent. If B. B. h an existentialist then .so is every American housewife who sleeps with the milkman. WILLIAM CHENEY EDITOR: Truly I had hoped to stay out of the discussion about contracep tives, but this letter, like the use of. contraceptives, is the result of not enough moral restraint. 1 My quarrel is not specifically with -'-the debunked Malthusian theory as- .expressed recently by Mr. 5 G minder, or with the sym pathies of Miss Combes, or even the Thomistic philosophic princi- pie expressec- a few days!; ago (1 primary purpose of marriage -children). It is with., their j basic concept Kot Mother diurcl. vOae gets the idea that she has her ministers stationed "at the key hole of every chamber, to make sure that the primary purpose of manage is enforced. This obvi ously is not true, or she would have to refuse .the sterlie the right: tc her Sacrament, not to mention the increase in she staff. Another idea that quickly fol lows, when speaking, of two nasty words - Catholics & Contracep tives, fcs the picture of the poor forlurn, washed-out looking woman who is" about to have her fifth child. You just know they cannot afford it for their car is two years pld, and their TV is five . that Catholic Church! . The un believing secularist cannot see, NOR TOLERATE that this Chris-' tiancoi.ple is pleased with their power of creation, and for the other wonders that ha'e been given them. Why it would be just ingratitt.de and selfishness to abuse these gifts. It is hard work being q Christian, and our mod ern world; does nof make it any easier. The Church in her early years r.ad her martyrs so to iu ..these latter days. . . The next idea' that follows. in this stream of consciousness, is that of the poor mother about to be butchered for the sake of Rome. These' same unbelievers can look at the Mediaeval Cathe drals with ffjeir spires, consisting of hundreds of hand carxed sta tues, and wonder xvhy in the world so many risked their necks, and the xvelfare of their families, to prockice these works of art. NOBODY xv ill see them, they are s far up, and besides in a few years these temples will be de stroyed, let us be practical! Can One character is explaining dejectedly to his colleague: . and I'll be writing along, beat as . . ,--'';,-, you please, when all of a sudden -a-' -4 ' ' this irresistible surge of optimism K' - ' t's' comes bubbling out . . ." - .- Poor fellow. And then the - black, black line which borders - ''Hj5 1 all his writings, his creations, his " I thoughts becomes blurred by that cursed OPTIMISM,- which absolutely ruins beat writing. ''i And he has his friends. And they are not all in the picture in the lower Isfthand corner of the September 27 issue of the New Yorker. They are all over the place, one never knows where. There MAY be one or two on this campus. s These fans if adversity, like AJ Capp's immortal eternal temple-be practical?. Why joe Bffspplk, are nor bothered with silver linings. this Christian .Mother about to bring forth her masterpiece an one xvord from her lips can bring They are IooTung for real thunderclouds prcfer- ihii rmirriprnnc hnnrtc rvf iht fam. ily physician to her. aid. No! Be- abIy spurting with rain already. They do not get ing a true artist and Christian she UP on a beautiful day and look out the window and will work in silent labor, and say: "Good morning, Lord!" They say: "Good Lord, 'awake 'to the smile of the Divine morning." That is, unless they are atheists which physician and hear Him .say: mQst oI them are and thcn the "Lord" is oVnitted "Greater, love than this no man , ..m.-'o , j t. . . , , . . and "Oh, Dharma," or "Oh, Sartre" is substituted, have that he lay doxvn his life for .another." "Come you blessed of Issr- Blackcloud's favorite pastimes include: My Father and take possession of criticizing all manner of people, art, books, ideas, the Kingdom prepared for you." other pastimes not included in his repertoire, and It was xvith a deep reassurance we could go on forever; kicking cans along the side that I read the' last accusations walk; looking in garbage pails; and, last but not against my church 'foresightless, least,, sticking pins in happy little children's bal unreasoning, reactionary, unjust, loens. Also included in this category of pastimes is inhuman, irresponsible and irrev- what we call "Incentive Squahing." This "consists .erent.") for I could hear the cf flinging back'in the animated face of one who voices of the old Romna officials has just had a terrific idea and made the mistake call out these . same charges, of confiding in the Incentive Squashen "Really againsi a new sect that had be- now, don't you think that is rather juvenille?" gun and who' called- themselves Christians. Only the language had changed. Thanks for reading this. ROBERT J. KELLEIIER Surprisingly enough, these little cloudy beings are not accomplishing too much in the way of places upstairs on the sunny streets while our places upstairs on the sunnp street while our pessimitie puzzle sit gloomily downstairs in th damp bar getting oakin wet, '
Daily Tar Heel (Chapel Hill, N.C.)
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Oct. 7, 1958, edition 1
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