5

Friday, April 24, 1964 |

THE COLLEGE NEWS

~ Page Five





MUSIC

© Eugene Ormandy conducts the. | Philadelphia Symphony Orchestra
in a tribute to Richard Strauss. The program includes ‘‘Don nivel

Opus 20, ‘‘Sprach Zarathustra,”’

Opus 40. “Rete... ai.ces ae" Friday~ afternoon, “Aprir” 24, at 2; an’

Saturday evening, April 25, at 8:30,

The Chad Mitchell Trio will give a concert. at the Academy Friday

evening, April 24, at 8:30,

Performing Sunday evening, April 26,

Opus 30, and ‘‘Kin Heldenleben)”’

at the aes are the

Clancy Brothers and Tommy Makem. The concert begins at 8 p.m

SNCC. will present a Freedom

Benefit Friday, April 24, at Town

Hall, featuring Dick Gregory: and the Freedom Singers,

THEATER

‘Camelot,’ musica] version of the Arthurian legend, continues
at the Shubert with Anne Jeffreys, George Wailace, and Arthur Treccher,

Schisgal’s. satire, ‘‘The Typists and the Tiger ’? continues Friday
and Saturday evenings at the Philadelphia Playhouse.

FILMS

Fiim version of Moravia’s" novel,

this week at the Goldman.

“The Empty Canvas,” begins

Another Bronsten spectacular, ‘‘The Fall of the Roman Empire,”’
starring *lec Guinness, Sophia Loren, James Mason, Mel Ferrer and
numerous others, is now playing at the Stanley, . :

“The Best Man,’’ film version: of Gore Vidal’s comedy-drama

about. the presidential nominations, is currently a
‘is now playing at the Ardmore, in

a) 1/2”
to see’ it a few more times,

Arcadia,.
se oe wants

At the’ Bryn Mawr and World theaters is featured sy iar: Ldady-
bug,’? a story about a nuclear attack on school children,

Theme of Bergman's. Silence-
“Man’s I nability to»Communicate

by Constance Rosenblum

The difficulty of presenting the
incommunicability of *:*man feel-
ings’ has presented 2° .allenge to
almost every critic and analyst
of the contemporary scene. _

In THE SILENCE, Ingmar Berg-
man’s latest and final movie, lack
of communication is presented on
several ~ levels: psychological,
spiritual, and symbolic. -

As in many of Bergman's films.
the subject is frankly sexual--
Lesbianism--but it is handled with
such subtlety and grace that what

might otherwise be a crude or -

distasteful treatment of the sub-
ject is made beautiful and ex-
pressive.

into symbolic language asthe child
examines a letter given to him by
the older woman, a letter contain-
ing unrelated words in a foreign
language which he did not under-
stand, His lack of understanding
immediately becomes. universal
and ‘his isolation significant for
all human beings.

. quir y

‘Impact of Science’

“«'The Impact of Science’? will be
the subject of discussion and in-
at . the. Fourth Annual
Response Symposium, to be: held
at Princeton’University, May 1-3.
RESPONSE: The Princeton Sym-
«posium on World Affairs, which
last spring gained wide-spread
attention as the sponser of a week-
end colloquium on’¢‘The Pursuit of
Excellence in the Creative Arts,’’
has this year obtained -commit-
- ments from more than twenty-five
expert evaluators of the nature

and degree of the scientific impact —

upon an industrial society.
Participants in the Symposium
will include; Sir Hugh Taylor,
President of the Woodrow Wilson
Natignal Fellowship. Foundation;
Dr. Keith R, Kelson, Deputy Di-
rector of the National Science
Foundation; Mr. Frederick H, Os-
born, a Trustee of Princeton Uni-
versity and former President of°
The Population Council; Mr. Den-
nis Flanagan, Editor of the Scien-
tific American Magazine; and Dr.
Maurice Goldhaber, Director of
Brookhaven National Laboratory.
RESPONSE is an_ entirely
student-run organization. In its
four. years of. existence, RE-
SPONSE has had an increasingly
successful record of bringing-dis-
tinguished experts into close con-
tact with each other and, more
important, of provoking meaningful
debate among a broadly-based au-
dience on some of the major issues
of our time. :

Society Hill’-s Local Works
Try Out In One Act Festival

by Margie Aronson
Last Thursday evening’s per-
formances at theSociety Hill Play-
house in Philadelphia of two one

The _relationshin,.between... the. -act-plays--written by local authors

_two women is presented obliquely
-= as seen through the eyes of
an introspective and_ precocious
young boy. His increasing aware-
ness and understanding of the re-
lationship is paralleled by Berg-
man’s subtle and artistic
photography, in which significant

--gestures of hands, revealing ex-

: é ‘Quelity Foods . d

he

pressions, and symbolic objects
are caught for a second by the
camera’s eye,

The silence of which Bergman
is speaking in the movie is not
only a physical thing -- the film
is primarily composed of juxta-
posed incidents which occur in
absolute stillness -- but apsycho--
logical silence as well. Bergman
maintains that people are unable
to communicate and that this ab-
sence of human relationships, ‘ex-
cept’ ina perverted sense, indicates
that God, if there ever was a God,
is dead.

This idea is made -vivid by the
ending of the movie, The shreds
of mutual understanding that had’
existed between the three main
characters as a result of their -

___ physical. closéness, are finally

torn away, as the mother and son -

Jeave the older womanto die alone,
This estrangement is translated

ol

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were provocative in their con-
struction and execution. MANNY
-and- THE--CORNER’S- almost: ex-
clusively male small company
nearly outnumbered its audience.
This is unfortunate because the
caliber of the dramas and their
production merits an appreciative
and large public, .

These plays were read in the
Playhouse’s Writers’ Project.be-
fore try-out in its One Act Play
Festival. MANNY is a two char-
acter drama by Walter Vail with
pretensions to allegory. THE COR-
NER provides an extreme contrast
to the first offering. Frank Freda’s
comedy, to be presented on CBS-
TV in May, expresses the little
world of a ome Philadelphia cor-
ner. ie
MANNY is **4 small play about
a smali person” -- or rather th
is ‘Manny’s life, An “‘actor,’? Dane
Masten, forces sixty- two year old
derelict Manny (Don ' Ell) to re-
call significant events in his life
even though Manny yields unwill-
ingly to all the ruses of the actor.

requires an attentive and imagina-
tive audience to sustain it--that

_ movies,

is an audience which casita
in the world created by the author.
Intimacy between actors and view-
ers. is indicated on the .opening
entrance from the aisles and con-
versation started directly danse the
spectators.

THE CORNER is. a self-
contained vignette. Commenting
vividly and colloquially upon as-
pects of life from women to foreign
three male prin-
cipals are notably realistic--if one
may -use that term these days.
‘Mood of Street Corner, UsA,
but particularly Philadelphia was

captured by Mr. Freda who pro- '

duced a capsule corner true to
actuality in its jargon, gestures,
activity and even to-its banality.

The quality of these productions
was very high with the sets, light-
ing and technics. complementing
two well-written one-act playse
The direction was obviously care-
ful .and excellent. Perchance a
large audience will appear to com-
plement and compliment such fine
theatrical fare.





‘Phe ~interplay-is direct; but-it



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by Nina Farber

Two works were ‘premiérte” By
' the Bryn Mawr-Haverford Orches-
tra in its concert last Friday.

evening. The more exciting, for
personal as well as musical rea-
sons, was John Davison’s CON-
CERTO FOR HARPSICHORD AND
STRING ORCHESTRA, - Haver-

‘ford’s Mr. Davison wrote the con- ©

certo ‘at the request of “Bryn

Mawr’s- Mme, Jambor, who per-.

formed it, twice through, at the |
concert, The first movement,

Moderato, introduced. us to the.

fresh sound of a bold, somewhat
percussive and metallic harpsi-

chord part against the fluid, res- .

onant strings. Unfortunately there
,were times when the harpsichord
could not be perceived above the
orchestra, except asa faint prickle
in the ear,

Textural variety was the most
‘compelling quality of the first
movement, which continued without
a break into the second movement,
an Andante. Here the spiky harpsi-
chord... achieved . convincing lyri-

cism, while the strings weregiven |

‘an occasional pizzicato to contrast
with their normally smooth line,
A brilliant and edgy cadenza led
directly into the third movement,
a strongly rhythmic, syncopated
Vivace,

Both these movements evidenced
how deeply the. Baroque period,
especially Bach, had inspired the
composer, But Davison’s work was
not derivative of any particular

‘period or composer exclusively, It
was rather firmly set in the whole’

Western musical tradition, The
score was often daring, but just
as often comfortably familiar,
without a loss in originality.

Mr. Davison. must have been

well’ aware of Mme. Jambor’s -

extraordinary technique when he

‘wrote tite’ work: Her part aHowed---}--—

her to display not only her own
virtuosity, but also the gamut of
otherworldly sounds a harpsichord
can produce. The orchestra, under
Dr. Reese’s fine direction, played
with control and musicianship,”

Ernst Pepping’s LUST HAB-ICH



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FIESTA)

Reproductions of
Mycenaean & Cretan
‘Figurines
1011 LANCASTER AVE.
BRYN MAWR, PENNA.



ce setting’ of Senfl, was
performed ‘for the first time inthe
UL S. Six wind instruments played
in counterpoint to the strings and
to one another in this colorful
work, Instead of concentrating-on
intricacy in the melody’s varia-
tions, Pepping, a contemporary,
was” more concerriéd with orches-
tral effects reminiscent of the
late German Romantics and of
Britten and Resphighi, Although

the work .was pleasant to listen _

td and consistently held attention,

its form as a whole was not clear,
Probably we can attribute this as
much to.the-score itself as to the
tenden the orchestra’s execu-
tion, and perhaps Dr. Reese’s
conception, to be a little fuzzy.
The winds deserve to be com-
«mended for their strength and
assurance,

Mozart’s Overture to the Magic
-Flute opened the program, and
Beethoven’s Second Symphony
‘Closed it, The first and __ third
movements of the Symphony
‘dragged somewhat, and the strings
were not always together, Even
fine phrasing could not quite com-
pensate for dull dynamics, which
showed little middle . ground be-
tween piano and forte, and for
string sound which lacked sheen,

- The second movement, Larghetto,

was comparatively well-done, and
the finale, Allegro molto, was a
surprising and happy ending, As if
it couldn’t resist ‘the swing of
Beethoven’s surging phrases, the
orchestra picked up its tempo,
sharpened its dynamic line, and
brought the concert'to an exhilar-
ating close,





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