November 10, 1969 The N. C. Essay ^
PIEDMONT ORCHESTRA
TO PERFORM TUESDAY, 8-15 PM
Robert Ward's "Symphony No. 3 will
be performed by the Piedmont Chamber
Orchestra at a concert to be given at
8:15 p.m. Tuesday, Nov. 11, in the
Main Auditorium at the North Carolina
School of the Arts.
The orchestra, with Igor Buke-
toff as conductor, will present a
special program of contemporary music.
This will be the only time that this
particular program will be presented
by the orchestra this season; The
concert is open to the public with
out charge.
Ward, who is president of the
North Carolina School of the Arts,
was commissioned to compose the
symphony by the Friends of Music of
Dumbarton Oaks and William Strick
land. The composer conducted the
premiere performance of the symphony
on March 1, 1950 at Dumbarton Oaks in
Washington.
Arnold Schoenberg's "Chamber
Alice's restuarant
(Cont. from page 6)
Arlo and a friend are arrested
for littering by Police Chief Oban-
hien and thrown into the Stockbridge
jail. Alice springs them and Arlo
then fails his Army physical and
joyously returns to the commune. This
is the last point in the story where
the commune is really together.
Arlo's father, Woody, dies, Ray
becomes disillusioned after the
death of Shelly, the drug addict
that Alice loves, and attempts to
pull the commune back together by
re-marrying Alice in a. hip cere
mony. But as the effects of the
wine and the acid-laced cake icing
wear off the "beautiful people",
leave the church for other sanc
tuaries, leaving Alice and Ray in
their autumn churchyard. A
"massacree" indeed.
The quality of the acting?
Well, the portrayal of Arlo Guth
rie by Arlo Guthrie is surely one
of dignity and truth. Arlo, the
pallid innocent, is a fine come
dian as evidenced in the draft board
scene.
Officer Obanhien does a fair
job of playing himself in a tone
of bumbling anger seasoned with
timid curiosity. He is an adequate
parent-figure.
The boy, whose name escapes me,
who played Shelley, the drug addict,
was marvelous. His intensity, his
shyness, his nervous loving were
really beautiful.
Sjmiphony No. 2" was performed on the
same program, and it will be performed
by the Piedmont Orchestra for the
Tuesday concert here. Also included
on the program will be "Synthesis for
Orchestra and Electronic Sount" by
Otto Luening and "Toccata" by Leon
Kirchner.
The Piedmont Chamber Orchestra
is a newly formed ensemble with Buke-
toff as its first conductor. He is
former conductor of the New York Phil
harmonic Young People's Concerts and
the Fort Wayne (Ind.) Symphony Or
chestra. He is a three-time winner
of the Alice M. Ditson Award of
CoJLumbia University. Buketoff is
currently recording with the Royal
Philharmonic Orchestra of London
for RCA Victor records and is di
rector of the World Music Bank, a
project for the international
exchange of contemporary music.
The Piedmont Orchestra was
formed through a Rockefeller Foun
dation Grant which was given to the
North Carolina School of the Arts
for the purpose of creating a pro
fessional chamber orchestra which
would be available for tours through
out the southeastern region of the
United States.
Its first tour began last Octo
ber 1968, and the orchestra received
enthusiastic reviews for its concerts.
Principal players are members
of the Claremont String Quartet and
the Clarion Wind Quintet, both in
residence at the School of the Arts,
and are internationally known for
their tours and recordings.
Another faculty member of the
School of the Arts who is playing in
the chamber orchestra is Massie
Johnson, former percussionist with
the St. Louis Symphony. Professional
musicians who have played with lead
ing symphony orchestras and several
advanced students from the School of
the Arts are also in the orchestra.
The Piedmont Chamber Orchestra
James Broderick as Ray, and Pat
Quinn, as Alice, both delivered fine
performances. Broderick is particu
larly touching and convincing as the
man approaching forty who wants into
the corner youth seems to have on
life, who reaches for a life that
offers fulfillment but never touches
it. In his boisterious instability
he loses touch with Shelley, Alice,
and Arlo.
In conclusion, if you've nothing
better to do, see Alice's Restaurant.
It's not the greatest movie ever made,
but it's not half bad.
is bringing concerts of the highest
calibre to communities throughout the
southeastern area. It is hoped that
these concerts will create an at
mosphere which will encourage talented
performers to settle in this area
and that students with professional
potential will be stimulated to apply
for study with the performing faculty
at the School of the Arts.
ADVICE TO DANCERS
A recent article from Oct., '69
Dance Magazine, written by Olga May
nard, was an interview with principal
dancer of New York City Ballet,
Jacques D'Amboise. In his 20th year
as a dancer Jacques D'Amboise offers
these comments to striving young
dancers.
"Everybody has to have someone
to look up to, to learn from. You
pick the one who means the most to
you. For me, it's Balanchine. He
shrugged, "for another dancer it may
be someone else, and that's his pre-
rogative. But it would be impossible
for me to work under someone I did
not respect, and - yes! - love. If
I have to hold back, if I cannot work
full out, it's impossible for me to
give my best. It's all or nothing
with me, and if I didn't believe in
Balanchine, then I couldn't work for
him. "Up to my first "Apollo", he
says, "I waited for people to say
'Jacques, do this and Jacques do that'.
When 1 made a mistake, I expected to
be corrected. If I did all right, I
thought I'd be told, to keep me on
the right track. But I knew that I
was terrible in my first "Apollo",
and when Balanchine did not come to
me and tell me so, did not train me
in it, I realized that to be a dancer
you must work as a dancer, not as a
robot. I knew then that your
teachers can teach you so much - but
that the learning process is limitless
and that you set your own limits on
what you learn. I've heard a lot of
dancers complain that they did not
get the right attention, or the proper
amount of help - that choreographers
did not take full advantage of their
potential. That's an out for dancers.
The truth is, if you are good enough,
you'll be noticed and, you've got to
work hard to get near good enough".
Jacques D'Amboise concluded by
saying, "Ballet must be a new, strange,
beautiful thing. It is magical and
dancers who refind their roles to the
nth degree lose, I think, that magic.
You prepare for a performance but you
hope, you expect, something magical
to happen onstage. Something, well,
MIRACULOUS.