Oc^tober 27, 1969
The N. C. Essay
The orchestra concert pre
sented Thursday evening in the Main
Auditorium was impressive. The
most impressive element of the con
cert, for this reviewer at least,
was that the conductor had the
nerve to return and conduct the
second half of the program.
The concert consisted of an
organ toccata, written originally
by 17th century organist, Fres-
cobaldi, transcribed by Kindler.
The strings, as has been their
usual habit in previous concerts,
were weak, strained, and altogether
lacking in spirit and vivacity.
Most apparent in the Strauss
Serenade for Nind Instruments was
a lack of good ensemble between the
brass and woodwinds. The oboe solo
ist., however, is specially noted for
some rather good playing.
The Three Joyous Marches, by
Krenek proved to be a little better
in ensemble, but a great deal more
apathetic in the reading, (and in
deed it sounded as if it were a
reading, rather than a performance).
The orchestra does seem to have
improved in the percussion department,
CoNT. FROM 3
The finale is a great Polonaise,
and it is a sight to see as all the
dancers come sweeping on. National
dancers do not come easily to Ameri
can dancers and, on the first night,
they did not quite have the measure
of it and towards the end, came
dangerously close to disintegration.
But i!t is all there and Balanchine,
who has already given us wonderful
Polonaises in Theme and Va:riations
and La Sonnanibulay has surpassed
Suzanne Farrell, a Snow Queen
of supple regality, and Jacques d'
Amboise as her adoring cavalier,
lead this third portion of the
ballet. Sleek and slimmed down
this season, Suzanne Farrell is
developing as a personality of de
murely, delicious authority.
Jacques d'Amboise appears to have
temporarily mislaid his jump and
his determination never to allow
anything to appear difficult makes
for a soft look which is not out of
place on so tall and masculine a
figure. We should be able to sense
the steel inside the velvet.
Emeralds^ Eub-ies^ Diamonds -
they add up to a major Balanchine
ballet, which hardly needs further
especially in the battery. The tym
panist showed fine control, and an
ability to play dynamically, a for
tunate change from last year.
Perhaps the most perturbing part
of the program for this reviewer was
the Rhenish Symphony by the master,
Robert Schumann. All of the weakness
es and lacks in the orchestra, which
were apparent in the other pieces,
were brought to painful realization
in the piece which requires a passi-
nate intensity from both the conductor
and the players. Neither were at all
This stunning work was reduced to
pablum under the baton of John luele
and his direction, I feel, was a di
rect of the obvious indifference of
Despite these flaws, the reviewer
was very much impressed by solid, pre
cise and excellent playing by the
French horn section. This was es
pecially notable in the difficult 2nd
After sitting in on many of the
rehearsals for this concert, and after
listening to the conductor's less than
astute observations of the playing,
I was not in the least surprised by
the cheap performance given.
by Mike Ferguson
October 15th, Viet Nam Mor
atorium Day, was a curious, dis
turbing day for many of us. It made
us ask ourselves questions which have
no easy answers. During the course
of that day, we should have learned
a lot about ourselves.
Many of us marched, some spent
their time in silent vigil, while
others chose their own form of mourn
ing and protest.
But the important thing is not
what We did, but why we did it. And
why on October 15th? If this war is
such a serious thing (and it is), why
are we not wearing black arm bands
every day, every where? Why is not
every day a dedicated commitment to
the ending of this war?
The problem I had on October 15th
was one of moral hypocrisy. I wore an
arm band, but after a few hours I
took it off. I couldn't participate in
any demonstrations because I would
have felt hypocritical. Not that I
don't agree with the principles behind
the moratorium, I do, quite strongly.
But if I'm so damned concerned about
ending this war, why then isn't ray daily
The players were often late to
rehearsals, usually woefully out of
tune, and most apparently apathetic
to the conductor, who, I must admit
usually sounded like a high school
band director coddling his clarinets.
The results were the same.
As I've already mentioned, the
concert was most impressive. It
mainly was impressive that a school
which claims to be a place where
the performer gives himself completely
over to his chosen field should have
a great number of "artists" who -
perhaps several reasons could
just care less about their performance.
I do not believe that a new conductor,
better players, or any other of the
hundreds of pointed suggestions I've
heard from the students would be of
any ultimate solution. On rare
occasions. I've actually seen Mr.
luele conduct; and this always coin
cided to w^ien the performers seemed
to "give a damn" about the way they
If players stopped their con
stant complaining and buck-passing,
and got down to the serious busi
ness of mastering their art, it is
my firm belief that the conductor
would take note and work with the
players instead of being so obtusely
not with them.
activity a conscious effort toward
some kind of similar action? Pro
bably because I lack the guts to
stand alone in such a stance and be
cause I'm too concerned about my own
well being to take such a position.
There, I've said it. At least I've
finally been honest with myself.
That being the case, I cannot, in
good conscience, don an arm band
for one day, nor can I march for a
few isolated hours, nor can I boy
cott my classes. It's my hang-up,
but that's how I feel.
But don't get me wrong, the
Moratorium was indeed a signifi
cant event. Certainly its impact
was staggering. And I'm sure that
most of the people who participated
were pure in purpose and hopeful of
its outcome. But if we are really
going to do something about ending
this war, we cannot give one or two
days and think that will suffice.
Nor can we allow our Moratoriums to
become spotlights for those who
find such events glamorous and
exciting. That's an ego-trip and
we've had enough of that already.
This is too serious a matter to be
come somebody's plaything.
TH€ UI€UU fROm H€fi€
We can effect change, that was
painfully evident to us in Chicago. It's
obvious that in order
(Cpnt. on page 5)