Indianapolis Times, Indianapolis, Marion County, 18 March 1946 — Page 6

Clock: “Tol o Ros at 11:0 ues, 5:50 and 9:

“psavernde in Mexico,” with Dor« oth our and Arturo Se Forde, at Taso 3:45, 7:08 and 10:1

INDIANA

“Road to Uldpia," with Bob Hope, Bing Orosby and Dorothy Toby, at 11:35, 1:40,.3:48, 5:50, 7:55 and 10.

KEITH'S “Crime School” at 11.38, 2:15, 4:53, 7:39 and 10:08, “Girls on Probation” at 1:04, 3.41, 6:18 and 8:55, ’ LOEW'S

“The Bandit of Sherwood Forest," with Cornel Wilde and Anita Louise, at 11:08, 1:46, 4:20, 7:13 and 9:58. “A Close Call for Boston Blackie with Chester Morris, at 12:40, 3:33, 6:08 and 8:52.

LYRIO “The Daltons Ride Again,” at 11, Ji54, 4:48, 7:42 and 10:36. “Shady

Lady,” with Chatles Coburn, ny 12:20, 3:15, 6:08 and 9:02,

o|LARYNGITIS PUTS 'SNOOKS' OFF AIR

earing as your hearing] HOLLYWOOD, March 18 (U.P). + —Baby Snooks had laryngitis yes*|terday and wasn't able to make her T'| regular radio appearance. Actress Fanny Brice, who has im-

explain personated the child character for a aT os this Atay 25 years, became ill halfway through device in your own home| dress rehearsal and cancelled her a penny, Write appearance on the CBS program, {Her condition is not serious.

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Brailowsky Able Artist

Symphony Pianist Is Well Received at Murat,

Symphony orchestra audiences of being cold towards soloists, Even less brilliant performers than ' Alexander Brailowsky have gotten a big hand, And Saturday night Mr. Brailow-

sky brought down the Murat with his performances of the Chopin E minor piano concerto and Liszt's “Todtentanz.” Fabien Sevitzky, Mr. Brallowsky and the orchestra repeated the program yesterday afternoon. Opening with a first Indianapolis performance of Haydn's D minor symphony No. 80, the program continued with the Chopin concerto and, after intermission, the Liszt “Todtentanz” and Richard Strauss’ “Till Eulenspiegel.” For many years program notes, following 19th-century learned and prejudiced musicologists, have depreciated Chopin's attempts at writing in the larger forms. While I can’t prove it, I have a suspicion that all this legend of Chopin’ the ineffectual angel has some connection with the rise ‘of pre - Nazi (even pre - Bismarck) “Diziplin” in music. Chopin was far from ineffectual, as Mr. Brailowsky proved Saturday night and Arthur Rubinstein proved last season.

Test of Pianist’s Ability

It takes a first-rate pianist like long « fingered. Mr. Brailowsky, bending over the keyboard like a movie mad-scientist at his microscope, to play that E minor concerto and get all the meaning out of it. It takes a top-notcher to play Liszt's “Todtentanz”’ and get all the notes in before the deadline. Now here's a paradox: How could a man who wrote as well as. Liszt could, when he wanted to write as badly as Liszt often did?

Irae” theme, in the “Todtentanz” reflect Liszt's knowledge of Bach and his sensitive feeling for counterpoint and really fine writing. The bad things are beyond belief: Those awful chromatic scales inn double-octaves (hard to play, and what've you got when you play them?), and a lot of other tri which, because it's famously di cult, people still applaud. I don't want to do injustice to Mr, Brailowsky, who was superb, Only I think he'd be heard to greater advantage in other music. With such range of power, such accuracy and flexibility and such beautiful tone, Mr. Brailowsky might choose things that would give us a still better notion of his powers and his imagination. Strauss Number Ably Done

Not much space for “Till Eulenspiegel.” . According to program notes, Till Eulenspiegel, alias Tili Owlglass, was hailed up in the medieval equivalent of municipal court for “Luestige Streiche,” which is probably disorderly conduct. A

No one can accuse Indianapolis

The good things, besides the “Dies |orate brass-band score for piano,

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At the Indiana

Dorothy Lamour, in “Road to Utopia,” currently at the Indiana.

Recital atl tl) Is ‘Brilliant’

Critic Glad He Was Tipped Off on Encore.

By HENRY BUTLER Times Staff Writer BLOOMINGTON, Ind. March 18.

—They all laughed when Vladimir Horowitz sat down at the piano and started his final encore. For his final encore at yesterday's brilliant recital in Indiana

university = auditorium was, unbelievably, Sousa’s “Stars and Stripes Forever.” Evidently most of yesterday's huge audience hadn't seen Robert A. Simon's description of Mr. Horowitz's Sousa transcription in the March 18 New Yorker. Somebody had luckily called my attention to Mr. Simon's review, or I might have been startled into guffaws. Years ago, when some of us music students would get together and bang facetiously on a couple of pianos, Sousa, “Poet and Peasant,” the Anvil chorus and few similar items were material for noisy parodies.

Not a Parody But Mr, Horowitz's “Stars and Stripes” is not a parody. It's an experiment in transcribing an elab-

That may sound simple, but when you figure in all the piccolo-tweedl-ing, you've got a stupendously difficult technical problem for piano. Mr. Horowitz has the requisite technique, as he demonstrated some years back in those transcriptions of “Carmen” -and “Petrouchka.” The “Stars and Stripes” job seems

the statement: “You can’t do it.” Mr. Horowitz opened vesterday’s program with Haydn’s E flat sonata, op. 78. His playing of Haydn, like his playing of three Scarlatti sonatas in the second half, was a demonstration of what superb musiclanship combined with enormous reserves of facility and control

Acrobatic Stuff Choosing three of the less famillar Mendelssohn “Songs Without Words,” Mr. Horowitz made them sound as profoundly peautiful as Brahms intermezzi—wHich some of them are, of course, only they seldom get played so well. The 10 preludes, op. 38, of Dmitri

character. Any connection between program notes and Richard Strauss’ music is purely coincidental. This piece is one of the most beautifully written in modern music—throughout. The vast pity is that Bro. Strauss should have ceased being creative over 30 years ago (he's still living). Final comment on Strauss: He| did a darn sight better job on the | first four notes of “Till Eulen- | spiegel” than did the guy who lifted | same four notes for “Intermezzo.” Dr. Sevitzky and the orchestra | both knocked themselves out in a|

splendid performance of the | Strauss. eas will B. TO- N IGHT LoL I-VEGETABAS

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Kabalevsky, with strong Russian folk-song influence, contain plenty of good writing and some prodigfously acrobatic stuff for the keyboard. On territory more familiar to most of us, Mr. Horowitz did unusual things with Chopin. With brilliant musical strategy, he made the G minor ballade a brooding, introspective piece until the important climaxes. In that, as in other inter- { pretations, he departs from custom|ary planistic procedure. More power

THE INDIANAPOLIS TIMES

Husband and Work With

By EDWARD ELLIS United Press Staff Correspondent CHICAGO, March 18.— Every night, the play-goers seeing the farce “Windy Hill” are seeing a farce.. But they-don't know it. One of the actresses is Ruth Conley. In the play, she appears as the wife of Lawrence Fletcher, In life, she is his ex-wife. Also appearing in the show is Donald McClelland. She is his honest-to-goodness wife. But everything goes smoothly. “The three of us get along very nicely,” ‘she said today. “Oh, sometimes the men get a little edgy, but then who doesn't get edgy now when you're traveling in a show?” When Miss Conley was being considered for her role in “Windy Hill” she was interviewed by Kay Francis, the star, Said Miss Francis: “The man who will play opposite you.is Lawrence Fletcher. Do you know him?” “Know him?” Miss Conley smiled. “I used to be married to him.” While Fletcher was her husband he introduced her to McClelland. “I didn't like Mr. McClelland at first,” she said. “I thought he was just a smart aleck.” Miss Conley and Fletcher were married six years, then they decided they couldn't get along together, “It was a pleasant enough decision,” she said, McClelland had nothing to do with their agreement to get a divorce, she said. At that time,

Plan Opera 3 Ticket Sales

Times Special BLOOMINGTON, Ind., March 18. —Acceptance of mail orders for tickets to the Metropolitan Opera Co.'s two-day run April 29 and 30 at "Indiana university auditorium will begin Wednesday. Ticket prices will range from $1.20 to $7.20, according to Ward G. Biddle, vice president and treasurer of the university. Operas to be performed with a full New York cast are “Tannhauser,” Monday evening, April 29, and “La Boheme,” Tuesday evening, April 30. One Ticket Place All ticket orders are to be sent to L. L. Fisher, ticket manager, Indiana university, Bloomington. No tickets will be placed on sale

tickets still are available, will not be opened until a week before the opera company's scheduled visit. Ticket prices for each performance are scaled as follows: Prong

* {together in New York in a play.

ExFesband Actress in Play

she and Fletcher Were appearing

Two years later Miss © Conley married McClelland. ' She had decided he was smart, not a smart aleck, the said.

Make Stage Love

Subsequently, she was tast in five other plays with her former husband, did in some of them they |. ___ - had to make stage love. “We enjoy playing opposite one another,” she said. “In the theater, you know; you just live the part and forget all about yourself.” When the curtain goes down on “Windy - Hill,” Miss Conley, her husband and her ex-husband often go out for a bite of supper. They enjoy. one another's company and conversation, she said, “Why the other night at the theater,” Miss Conley said, “Mr. Fletcher knocked at my dressing room door. When I let him in, he said: “ ‘Ruth, it’s getting warmer. Do you think I could go without my winter sox?'”

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Arrive on Special Train The Metropolitan’s company of 280 artists, including orchestra, | chorus, ballet and technical staff, | will arrive in Bloomington by’ spe- | cial train from Cleveland, O., on the afternoon of April 29. Casts, as originally announced, | will be, for “Tannhauser”: Norman! Cordon, Torsten Ralf, Herbert Jans- | sen, John Garris, Osie Hawkins, | Emery Darey, Wellington Ezekiel | Helen Traubel, Kerstin Thorborg, | and Maxine Stellman, with "Fritz Busch conducting. | For “La Boheme”: Jan Peerce, | Hugh Thompson, Salvatore Bacca-| loni, Licia Albanese, Lodovico Olivi-| ero, John Brownlee, Ezio Pinza. | Frances Greer and John Baker, |

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