Newspapers / St. Andrews University Student … / March 5, 1982, edition 1 / Page 3
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Friday, March 5. 1982 r THE LANCX P^3 ST- * ANDREWS International Magazine on Campus 1 mitinlv frrtm C/-k«itKA*-n ^ Ron Bayes, Jack Roper, Judy Diogo By KIM BECKNELL There is a printing press and magazine on campus that has gone unduly neglected by St. Andrews students (the majority, that is) for far too long. As Judy Diogo, this year’s student associate edi tor of the St. Andrews Review put it: “it’s an international magazine and students here on campus don’t even know what it is.” An international magazine is right. The Review has loyal subscribers in Ireland, England, Alaska, Japan, and Italy just to being naming. The St. Andrews Press and Review publishes “a twice- yearly Magazine of the arts and humanities” as is phras ed in the title page of each publication. The magazine prints poetry, short stories, essays and artwork. Manuscripts are accepted from some students, but mainly from Southern writers and poets. Such well-known writers as Yukio Mishima, John Casteen, Kathryn Gurkin, Chuck Sullivan, Ron Bayes, Carolyn Kizer, and Jonathan Williams have been publish ed in Review publications. The Review, founded in 1969 by Ron Bayes, has, thus, developed a name for itself in the literary world. The first issue of the St. An drews Review included Ezra Pound Criticism, on the oc casion of his seventy-fifth birthday. The second issue was devoted to work by Buckminster Fuller. A third' of his later book. Intuition, was published in the same edition. Ron Bayes said this was done in an effort to “build around strong literary work for a good start.” After publishing issues mainly on Carolyn Kizer and Yukio Mishima, the fifth issue began to diversify. The Review has continued to exist, monetarily, by generous grants from the Na tional Endowment for the Arts, the N.C. Council of the Arts, and St. Andrews patrons. This year Jack Roper, the executive editor, said they have tried to become “cost efficient to persuade owners to contribute.” It costs five to six thousand dollars to put out one issue of the Review. Steve Rogers helped make improvements this year by doing a critical report of the Review for his Productivity course fall term. He, also, did computer work for them: making a list of subscribers for the mailing list and label ing file. With this computer list, the Review can be mailed at one time t,o save half the mailing costs. It is cheaper to mail three hundred or more copies at once. Besides printing two issues of the Review a year, the Press publishes at least three other books at approximate ly three thousand dollars each. They try to sell the magazines and books at an acceptable price and “then we beg for money from money sources,” said Jack Roper. Private donors, who usual ly remain anonymous often contribute enough money to cover a lot of the printing costs. Jack Roper claimed that "Ron Bayes and Barrett Carson (the Reviews business manager) keep it alive. Ron knows people everywhere!” The next issue of the St Andrews Review will contain Robert F. Goheen’s speech from the S.A. Twentieth An niversary Cor.''ocation “Liberal Education In and For Our Times.” The issue will cost $6. Any manuscripts or subscriptions should be sent to the publication office Poetry goes to Rex McGuinn, the poetry editor, and fiction goes to the fiction editor, Craig Smith. When there is a world reknowned magazine on campus, there is just cause for notation. Laurie and Friends Perform JULXSUiSiiJtJLSULSiJULSL^fULSLAJLSLSiSULSULSLSLSLS^^ SUL Baroque Concert offers variety By ROBIN CLAYTOR When one attends an en tirely baroque performance, the one name that seems to prevail among the composers is J.S. Bach. This was not the case Monday night. A refreshing program of Handel, Zalenka, and Boismortier was presented in a most professional manner. The instrumentation con sisted of a spectrum of early woodwind instruments with harpsichord and viola da gamba. These instruments added a great deal of interest to the program, not only in appearance, but in tonal quality as well. The recorders called to the listener as the Sirens of Odysseus did, taun ting the listener to sing along, sound that added still another dimension to the ensemble. The big brother of these woodwind instruments is the baroque bassoon. Playing mostly cello parts, this instrument dominated the terupos, but still allowed the oboes, with their higher register, the freedom of ex pression. When the bassoon wasn’t conducting the ensemble with a tempo, the harp sichord and gamba added a taste of strings to establish a “semi-obstanato” beat of their own. The tonal qualities of all the instruments mixed well and a perfect balance of ensembleness and flashy vir tuosity highlighted the group’s tonality. Laurie Wadsworth ex- diminuendoes accentuated the articulation that is a trademark of the baroque era. Mark Kleinman performed on recorder and baroque oboe with a very self-assured style. Fast, articulated passages were no match for his technical facilities and were rattled off as a beautiful woman wishes away an unwelcome suitor. Dennis Godburn perform ed on the recorder and baro que bassoon. He was par ticularly impressive on the bassoon. His professional mannerism let the audience know who the leader of the ensemble was. With the raise of an eyebrow or a simple shake of his head, he started each piece, set tempos, and ended each piece. Herbert Horn was his usual self; musically depen dable, self-assured, and, of course, flawless. The harp sichord added percussiveness that acted as a springboard for the melody and counter point of each piece. All pieces were impressive and played well, but the Zalenka was the most im- them. The passages went like the wind, but with each note having its own distinct start and finish; bravo on articula tion! The bassoon stated a melody of its own as Dennis seemed to make the bassoon whimper in ecstasy as high notes were pinched off. As the oboes competed against each other and the bassoon strained for another high note, Herbert Horn played happily along, press ing or retarding the beat when musical expression demanded it. Although the attendance was only average, the people that came are im patiently waiting for Laurie to bring her friends back and perform once again. Freeman Exposes Emotion V or, at least, tap a foot. , , The baroque oboes were of emplified her versatility by pressive. special interest; instead of performing on the baroque Laurie and Mark seemed to the usual piercing sound of oboe, recorder, and gamba be trying to outdo each other the modern oboe, these in- Her pinched high notes and as fast passages were passed struments had a sweet, dolce ever-persent crescendoes and back and forth between By NANCY HOGG On Thursday, March 4th, Grace Freeman from Rock Hill, S.C. read her poetry in Granville’s lounge. . .What a treat! Grace Freeman’s poetry reveals her personality as a “people person.” She’s a poet and a poetry therapist who helps bring the best out of children and adults through the use of “free-flow” expression of “human foibles and life’s wonders”, as said by freelance editor Martha Whitfield of the Charlotte Observer. Mrs. Freeman read from two collections of her poetry “No Costumes or Masks” and “Midnight to Dawn” which was published by St. Andrews Press. “Her poetry incorporates honest, un pretentious feelings about being a child, wife, a mother, a daughter, and a friend.” Grace Freeman ex poses all sorts of human emotions that appeal or come close to each listener on a personal basis. “Mrs. Freeman’s humani ty is great and is quickly ob vious to the reader. But she is tough and realistic, too,” said Ron Bayes in the foreword to “Midnight to Dawn.” She was a pleasant poet to listen to as well as to read because of the comfort of feelings she projects each poem.' ml
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