Friday. February 3. I967

SCARLET AND BLACK

 

was

nanny PIONEER JIM ARIE‘I’I prepare. to hair bicy-
caIIy across the snowbaund prairie et Central Campus,
recently inundated by a reported three inches at snow.

Photo by Susan Kaeser

 

Piano Concerts This Weekend

Istvan N a d a s , internation—
ally known pianist, will periorm
tonight and tomorrow evening
in Roberts Theatre.

Today at 8 p.m., he will
play a recital of three Beet-
hoven Sonatas—Opus 106, B
ilat Major (“Hammerklavier”);
Opus 109, E Major; and Opus
11!, C Minor,

Tomorrow at 8 pm, he will
join the Lenox Quartet to per-
form the Brahms Piano Quin-
tet. This will follow the Lenox
presentations of the Schubert
Quartet in Brflat, Opus 168,
and Kirschner’s Second Quar-
tel.

This will be Nadas’ second
visit to Grinnell. Last April 15
he was here to play the Beet,
hoven Piano Concerto No. 3 in
c Minor, Opus 37. with the
Grinnell College Orchestra,
conducted by Denis M. de Cat.
eau (music). His periormance
on that occasion, a feature of
President Glenn Leggett's in-
augural w e e k e n d, drew a
standing ovation.

Born in Hungary. Nadas
studied piano with Bela Bartok
and composition with Zoltan
Kodaly. When he was 18 he
won Hungary's highest piano
award, the Franz Liszt Prize,
an honor which resulted in
numerous appearances in Eur-
ope. Aiter internment in a
concentration camp d u r in g
World War II, he resumed his
career in 1947. His New York
debut in 1954 confirmed his

idiom

V.

VALENTINES
lot Tuesday. february l4

Book'n Card

European reputation as an ex-
ceptional artist.

He has continued to make
concert tours of Europe and
South America, though he now
resides in the United States.
He is currently professor of
piano at San Francisco State
College in California alter pre-
viously teaching at the Nation-
al Conservatory in Caracas,
Venezuela, and Loyola Univer-
sity’s College at Music in New
Orleans.

Indian Intonation

By Jane Geffken
anti
Bobbie Welser

South lndian Classical music,
as exemplified by Friday
night’s concert, Is like a psy-
chedelic experience without
psychedelics. It is hard to de»
scribe the essence of the
music: kaleidoscopic a p h r o
dislac? liberating? inebriating’i’
Truly, it had to be heard to
be described. However. the
group’s MC, Dr. Robert Brown,
ethnomusicologist at Wesleyan
University. did answer some
general questions about the
background of the music and
the training of the musicians.

South Indian classical music
ls essentially religious in char
acter. In India, the sacred is
not separate (tom the secular;
rather, both are part of a
religious sensibility which is a
way or llie. The text at indian
music is devotional, and some
Sanscrit texts originated with
the Vedas in 3000 EC. How-
ever the musical form I5 con-
stantly developing, and some
compositions are quite recent.

An Indian child. it chosen by
his parents to become a musi-
cian, begins studying at the
age at rive or six when he
goes to live with his teacher. .
It is the parents' responsibility
to select a good instructor; if
the Child fails. the parents
are blamed. The teacher sup-
ports the child, and the child
periorms menial labors in ad-
dition to his intensive study.

Females may also be chosen
for the profession; many he-
come singers or vena players.
interestingly, the young musi-
cian-inrtraining is not taught

 

 

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either Western muslcal
position or its theory.
source or Western Music

Although there is no discern-
lble correlation between West-
em and Indian solieggio, (syl-
lahles applied to scale degrees),
it is possible that our western
solieggio was derived from the
lndian system. As Dr. Brown
explained, the Greeks claim
that their music comes from
India. Since we have derived
many oi our iundamentals or
music from Greek modes and
notation, it Is possible that our
system is in some way derived
trom lndian origins.

One of the components of the
ensemble consists of the tame
bore, or drone, which provides
a continuum ot underlying
tones; a relerenoe point, or, in
Dr. Brown's Words, "the cash
vas on which the picture is
painted." The other components
are the drum, which is largely
improvisational, the violin, and
the voice.

com»

Page FIB

Weekend
Film

By Dave Harrison

That movie making can be
fun seems to be the them
of this Week’s movie, Hailehlt
job the Hills. The almost suhr
Iiminal plot, which is the least
of all reasons to see this movi
runs vaguely along this lined
Vera has two lovers, one to:
the summer season and anothe,
tor the winter season. Attei
seven years or this arrang‘
ment, they both ask her t
marry them. Alas, however, in
addition to her seasonal lovers
Vera also has a husband. 0%
well, forgive and forget an
it was fun. wasn’t it?.

A delighttully senseless ate
a gloriously fresh expel-mm
in cinema, an hilariously serf
ious discourse on the histo
oi the cinema. and an utter
traditional structuring and sty
lng, all make Hallelujah t
Hills a glorious and exuberan
hymn to the joys and vigor oi
love. youth, friendship, and
healthy naivete.

The voice and violin sound- ®—-—-——

ing the same notes simultan-
eously denote composed 5e0-
Iions, Whereas the Violin alter-
nating with or imitating the
voice denotes improvisation.
The wooden llute is often used
to replace the voice.

For Salel
Underwood-Olivetti
Studio 44 Typewriter.
three yuan old. recently
cleaned, new ribbon. In excel.
lent condition. $75. C. Christi.

Nate. box 307. phone 551.

 

 

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