Thursday, April 9, 1970
THE DAILY TAR
1 !-
Friedman Plays Here
In Orchestra Concert
Salome'' s Dance Seductive
'Salome's9 Set, Costi
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I n k li il if t if
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The Chape! Hill Concert
Series presents its fourth and
final concert of the season
Sunday, April 12, in Memorial
Hall at 8 p.m. Tickets are on
sale at the Union information
desk for UNC students at $1.
Performing in Chapel Hi3
for the first time is the
Indianapolis Symphony
Orchestra under the direction
of Dr. Izler Solomon and
featuring Erick Friedman as
guest violin soloist.
Performing approximately
150 concerts a year, the
Orchestra has set attendance
records in playing more
out-of-town engagements than
any other American orchestra.
Almost one-third of the
performances are for young
people with one-half of these
being played in the city's
public high schools free to the
students.
The Orchestra draws more
than 100,000 participants each
year from grades one to twelve,
The 86 member group plays a
14-concert series featuring the
finest symphonic music with
the world's most outstanding
guest soloists for their home
audience. ,
Dr. Izler Solomon is both
music director and conductor.
He was born in St. Paul and
received most of his musical
training in Philadelphia. A
student of the violin since the
age of six, young Solomon
haunted the Academy of Music
listening to the Philadelphia
Orchestra under the direction
of the famed Leopold
Stokowski.
When Solomon was 18, his
violin teacher, Michael Press,
'moved from Philadelphia to
head the violin department at
Michigan State University.
Solomon returned to the
midwest to become his
assistant.
The Lansing Symphony
Orchestra was conceived in
1931, and Solomon became its
first concert master. When the
conductor became seriously ill
and was unable to continue,
the" twenty-one year old
Solomon was asked to take
over. The violinist chose
instead to make the whole
orchestra his instrument.
CROSSWORD PUZZLE
ACROSS
, 1-PeerGynfs
mother
4 Baseball
position (abbr.)
6-Country of
Europe
11-Reafl
13-Fragment
15-Artificial
language
'16-Yield
18- Symbol for
tellurium
19- A state (abbr.)
21- English baby
carriage
22- Bristle
24-Shut up
26-Priesfs
vestments
28- Everyone
29- Chemica!
compound
31-Lamb's pen
name
33- Printer's
measure
34- Genus of olives
36-Sicilian volcano
38-Part of "to be" ,
-40-Den
42 Downy duck
45-Genus of cattle
47-Entreaty ,
49- Wash
50- Great bustard
52-Merit
54- Sun god
55- Guido's low note
56- Wardsoff
59-Physician (abbr.)
61-Fruit
63-Sofa
65- Enticing woman
66- Man's nickname
67- Unusual -t
DOWN
1-Swiss river
2- Tallies
3- Latin
conjunction
4- Cavil
5- Vegetation
6- Trip
7- Moccasin
8- The sweetsop
9- Pronoun
10-lrritate
12-Above
14-Domain
17-Small valley
20-Preposition
23- Babylonian
deity
24- Hebrew letter
25 - Narrate
27-Locaiion
30-Harvest
32-Dye plant
35-Part of
airplane
37
38
39
41
43
44-
46
71 12 13 14
T3 16 T17
W 20 21 ' ' 22 23
24 25 26 27 28
29 " " 30 31 ' 32 33
34 35 36" 37 gx?
38 39 41 ""43" 44
61 62 " 64
65 66 67
Diatr. by United Feature Syndicate, Inc.
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ERICK FRIEDMAN
During his career Dr.
Solomon has guest conducted
most of the major orchestras in
this country and abroad. He
has been with the Indianapolis
Symphony Orchestra since
1956.
Guest artist Erick Friedman,
protege of the great Jascha
Heifetz, celebrates twenty-two
years before the public though
he is barely in his thirties. His
talents were recognized early
thanks to his father who was
an amateur violinist. At ten
years of age Friedman began
his studies with the famous
violin teacher at Juilliard, Ivan
Gallamian.
He was brought to the
attention of Jascha Heifetz two
years later and, within five
years, became the master's
protege. Friedman remained
.Heifetz's pupil until late 1961
when they recorded Bach's
Double Violin Concerto, so
well known to collectors.
Upon winning several,
important competitive awards,
Friedman made guest
appearances with many of this
country's leading symphony
orchestras. He has toured
Europe, South Africa and the
Far East with enormous
success.
Sunday evening' will be a
memorable musical experience
for Chapel Hill concert -goers.
Answer to Saturday's Puzzle
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- Hebrew month
- Around
- Slogans
- Hind part
- Avoided
Note-of scale
- Spanish for
"yes"
48-Get up
51 -Mast
53-Want
57- Devoured
58- Saint (abbr.)
60-Crimson
62-Note of scale
64-Preposition
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By Judy Hippler
Oscar WUde's '
opened last night.
'Salome'
another
Studio 70 production by
the
Dramatic Art Department.
The plot is based on the
Eiblical tale of Salome, the
princess who dances before
I King Herod for the head of
1 John the Baptist. Salome falls
j in love with John, whom Wilde t
calls Iokanaan: "I am amorous
of thy body, Iokanaan." But
he rebuffs her and she requests
his death in revenge.
The tragedy peaks in
excellent performances by Jane
Barrett as Salome and Philip
Whitehall as Iokanaan. Miss
Barrett evolves with her role;
she skillfully projects disgust
for Herod, curiosity and then
lust for Iokanaan, brooding,
scheming and finally madness.
6Cashbo
Editor's note: the following
review of James Taylor, a
native of Chapel Hill who will
be appearing Saturday
afternoon of Jubilee, was
printed in the March 21, 1970,
edition of CASHBOX
magazine. The , review is
reprinted by permission.)
Everybody talks about how
it was ten years ago when the
Village was at its zenith. When
Dylan, Ochs, Hardin, Van
Ronk, Buffy, and all the rest of
them were walking from the
Gaslight to the Go-Go to
Gerdes carrying their guitars,
anxious for any forum at all.
That period was probably folk
music's answer to the "Lost
generation" of writers who
congregated Gertrude Steins
and Alice B. Toklas' drawing
room.
Well, if you were in the
Village last weekend, at the
Gaslight, you would have had
the district feeling that you
were experienceing a deja-vu. It
was all happening again. There
were more than 400 people
huddled inside their coats in
sub-freezing weather on both
sides. t of MacDougal Street,
about 100 of them holding
numbered admission tickets for
the Gaslight at 1:30 a.m.,
waiting to get in for the
scheduled 12:30 a.m. show
which would not begin until
about 2 a.m. No, Dylan wasn't
appearing. But he was at the
Gaslight twice during the
weekend, it was reported, to
see James Taylor who was
appearing there for three days.
James Taylor; just a tall, lanky
guy with a big, rich sounding
guitar who had one album on
Apple and has just had his
second release on Warner Bros.
Why all the furor?
Plenty of reasons. First of
Available at
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In her suggestive, disrobing
dance to Paul Andre
Christian son's exotic " music,
her undulating body entices
Herod to actual panting. She
builds up to a climax in the
final mad scene with
Iokanaan s head: "Ah, I will
bite (thy mouth) with my
teeth as one bites into ripe
fruit."
Whitehall's foreboding voice
and stage manner also
command praise. As Iokanaan
he wavers only a monent
before Salome's charms, then
firmly rebuffs her. He acts
assuredly, with the conviction
required by his part.
Herod is probably the most
difficult role with its long lines
and subtle emotional shifts. -Mark
Smith delivers his
passages extremely well; his
9
Praise'i
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JAMES TAYLOR
all there's the instinct factor;
The people who were at the
Gaslight last weekend; the ones
standing in the cold; the same
ones who yelled every time
someone from the working
press walked in front of the
line into the Gaslight to wait in
the warm innards of the club
for the pieceeding show to
end; these "people are the
cognoscenti. They can smell a
legend going to happen almost
as soon as the first copies of his
debut album reach the stores.
This crowd quality should be
obvious to, anyone in the press.
It was all over MacDougal St.
last weekend; the crowd, the
"knowing" crowd had really
gotten James Taylor's scent.
Alfred Aronowitz picked it up.
In his column on the Pop scene
in THE NEW YORK POST,
Aronowitz talked of James in
almost mesianic terms.
Aronowitz may be right. There
is something quite other
worldly about James,
especially his eyes, and the
effect he has on people which
was evident last weekend at the
Gaslight.-
Then of course there's
James himeslf. With James,
there is a multi-leveled thing
happening. James Taylor is not
what he appears to be. Even
the covers of his albums are
deceiving. There he is,
stretched across his entire
Apple LP, a fall leaf for a
buttonnaire. Pleasant. Then,
there's the "Sweet Baby
It's a switche&onn
laugh riot!
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booming voice ar.d robust
gestures are well-executed. He
weeps, tremors, panders ar.d
lusts most convincingly. But
the role required a well-timed
movement to sustain interest.
Herod's lines necessitate
increasing intensity toward a
desperate climax. Director
Linwood Taylor and Smith
should have mastered this
gradual build-up, but Smith
comes on a little too strong too
early. He is all along nervous,
.grasping and forceful and
therefore unable to climax
effectively.. Yet his individual
scenes are masterful as he
portrays the king obsessed by
lust, superstition and fear.
Herod's wife, played by
Patricia Snell, is compulsively
jealous, sarcastic and matronly.
Miss Snell is so believable that
the audience echoes Herod's
es
James" cover. Just James
looking pensive as hell,
concerned, even a little angelic.
Your first impression is
probably, "Yeah, that's 'Sweet
Baty James all right." But
there's much more to the
covers once you begin to
concentrate on his face,
especially the eyes. A young
artist who studied the "Sweet
Baby James" jacket photos
said that James had to be a star
because he had what she
described as "superstar
cheekbones." But the artist
was most interested in the fact
that there was a great deal of
tension apparent in James'
face.
A lot of people are bound
to read this deep concern into
James' contenance after
learning that he was a
self-committed mental patient
on two occasions, the last time
being right after the release of
his Apple album. So, there is
the history of apparent
trouble, admitted anguish
which will pave the way for
tons of journalistic analysis as
AND WHEKE DO fl tbe D
ER -THINU VEE
OFF TO ? J
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cry: "Silence, woman. You
howl like a beast of prey.
Director-designer Taylor's
set is an aesthete Cow of
angular black platforms at
different levels. Gayle
Behrman's totally
b I ac k -a nd-whi te costuming,
including white tie and tails,
complete the heavy
atmosphere. The combined
effect is impressive but the
play seems oppressive enough
without stark costuming and
set. Also, the technique of
removing masks at key
moments in the plot seems
unnecessary and contrived.
Yet the play as a w hole does
succeed, accenting able acting
and, of course, Oscar Wilde's
meticulous use of language.
(The reviewer saw the
preview on Tuesday night).
layloF
James star rises. Maybe it is
this foreknowledge that makes
the lack of happiness in his
eves, the absence of anything
frivolous, all the more
apparent.
James' music will be
subjected to the same shift of
analysis. On the surface, his
melodies are remarkably
pleasant and his lyrics can
seemingly be understood with
a little effort. So, James Taylor
is accessible intellectually.
Odd when you consider that
legends on their way to
happening should be as obtuse
as possible. How can you get to
be a legend if you're not
mysterious. Well, James
Taylor's mystery is there. And
it's the best kind; the type that
is there without anyone
realizing it.
Take "Knocking Round the
Zoo" for example. The
Gaslight crowd was screaming
for it this weekend but James
didn't do it during the show we
saw. On a basis level, the
purely sensual one, the song's
heavy brass and percussion
n
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AHERICArJ LEGIOH HUT
Thursday, April IGfh 2-0 G 0-12 P.L1
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