Pogo Slx SCARLET AND BLACK Bressler Termed ‘Good Interpreter’ By MELISSA HAYS Friday evening, a versatile artist, Charles Bressler, gave a concert in which he proved to be equally at home with baroque oratorio, German lieder, and English talk song. He began the concert with two songs by Purcellt He gave an energetic rendition of the first, and sang the second in a more subdued tone. The liumber tllat deserved and received the most enthus- iastio applause was an aria from Handel's oratorio, Jephtha. The rec. items was tragio and powerful, and Bressler handled beauti- fully the abrupt change to the tender mood oi the aria. He exercised perfect control over the long, rising lines, suggesting the ascent to heaven. A second aria by Han- del was jubilant and bold, calling for a iullness of voice that Bressier did not have. But he sang smoothly the long li lies with diiiicuit leaps, showing again his good con- lt'nl. Of the three Debussy songs, Bressler‘s performance of the last, ”Chevaux de Ellis," was most noteworthy. Underlying the superficial festivity or this piece is an ominous tone which is created by the dark, chromatic passages lor the pi- ano and is taken up by tho frenzied song about the cease- less turning of a carousel. If the Handel aria was the best periornred single selec- tion, the five Schubert lleder were the best group on the program There was much va- riety, some of the songs being playful and capricious. others being serene and lyrical. The serenade could easily have be- come saccharine, but Bressler 'avoided this pitfall. In the tranquil, melodious sections of the piece Where a poorer vo< calist might have been exces< sively sentimental, Bressler sang with a simplicity that was far more attentive, I think a word in praise of the dc- cumpanist, David Garvey, is appropriate here, i had we pected the pianist to shine in the Debussy pieces, and he did, in fact, play them sensh tively. But it was in the Schu- bert that he was most remark- able, i-lo achieved a periect balance with the soloist and played with vitality a potenti- ally monotonous accompani- ment. or the three folk songs ar- ranged by Benjamin Britten, “Sweet Polly Oliver" was this most difficult, but Bressler pcriprmed it with apparent ease, This piece was polytonal —that is, while the soloist was in one key, the accompanist was in another. The resulting problems are obvious, but Brassler‘s intonation was ac- curate throughput the song, Last on the program were two songs by Samuel Barber. The first was quiet and peace- ful; the second was sometimes tumultuous and fiery, some- times mysterious and super natural. As usual, Bressler made the changes suggested by the text without over—ems phasis, In all the songs he per- formed, Bressler's articula< lion, intonation, attention to text and sensitivity in dynam- ice are to be praised. I heard several complaints that the tenor did not have enough power to shake the walls. I feel that what he lacked in volume, he made up for in control and agility. It seems to me no more taxing to belt out a song than to sing quietly in the sustained, emotionally charged manner that Bressler has mastered, BRIDGE: POST MORTEM By JOHN GORDLEY The unusual nurtrump over< call is used primarily as a de- fensive bid to prevent or dis- rupt an enemy contract. It is traditionally made by a player holding at least ten cards in clubs and diamonds, although it can be used, under special circumstances, for any two suits. There are four, and only four situations in which a no trump bid can be considered "unusual”: l) a direct no-trump overcall by a passed hand. For ex- ample, in the auction: Pass - l Spade - Pass - 2 Hearts . 2 NT. The last bid indicates length in clubs and diamonds. 2) a jump overcall to two no-trump: Pass < l Spade - 2 NT. 3) a nit-trump overcall over an opposing no-trump bid: Pass - 1 NT - 2 NT. 4) a no-trump overcall after obvious enemy game and slam< indicating bids: 2 Clubs - Pas] - 2 Hearts . Pass - 2 Spades - 3 NT. The unusual no~trump should never ba bid in any but these situations or it may be inter. preted as indicating a strong hand with even distribution, an error which results in the most ludicrous of Contracts. There is no point requirement to make an unusual no-trump overcall. Generally, the strong- er the distribution, the fewer the number oi high card points that are needed. With a strong hand and “unusual" distribu< tion, It is better to overcall in a suit, intending to bid the other it possible. An exception to this rule would require an extremely unbalanced strong hand (6-6-1-0) in which, after an unusual no-trump bid, part- MOPPET’S by Ellen BEAUTIFUL Hill (OlOR REPRODUCTIONS WAN. PHONES 6"Xl5" SIZE. 647‘ 46‘ ‘MI/V A" 1’00 WIN/l I-FREE will ovary sstfldry tl ill order. Ask For MEEKER’S AT EITHER NORTH OR SOUYH CAMPUS CLEANING AGENCY nar'l suit response would be jumped to game In responding to an unusual no-trump overcall, a preter- ence must be shown for one of the suits promised. The only case in which a pass can be made is after an intervening bid or double, which allows partner to bid again, Respond- er must decide how high to take the contract, as his part- ner has already described his hand. With a Weak band and three or less cards in either suit, responder should make in single raise: l Spade - Z NT - Pass - 3 Clubs. A jump re< spouse. however. is called {or Friday, November ll. I968 when the player holds honor- in partner's suits, tour card support in one suit, length in one suit and shortness in the other, or lirst round controle (aces, voids) in the opponents’ suits. it a sacrifice must be made to prevent an enemy game or slam, responder should jump to the highest practical level, depending on the probable opposing score and the cost or going down, It the use of the unusual no< trump overcall results in great contusion with ones partner, it would be advisable to discard it, as there are few hands in which it will be applicable. No, I'm trying to find whsro l stashed some dough. I. That's where you keep your money? Sometimes I put it in the llower pot, 4. But that’s what you're doing now. Not quite. Tho beauty at my system is that l usuiiily can't (ind whom i put it. 5. What's wrong with the bank! I'd only take it right out again, 5. 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