Indianapolis Times, Indianapolis, Marion County, 14 December 1951 — Page 32

PAGE 30 . . EASILY DIGESTED LASTING ENERGY

Soldiers Takes Red Form | | BERLIN, Dec. 13 (CDN)—| | German soldier song, “Lilly Mar- | {lene,” one of the most parodied

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fern . Germany: defense efforts. It is played regularly on ragdio Istations of Eastern Germany.

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. THE INDIANAPOLIS TIMES

ne DEC. 14, 1951

Music Concert Called Fabulous

day - By Henry Butler Last night's chamber music concert on the current Butler-Jordan artist's class series in Riddick auditorium was something fabulous.

Faculty musicians from the University of Illinois, invited here by Ozan Marsh, 18 1 | ff Af LLL mms man of the Jordan piano depart-| {ment and planner of the series; | played by far the most interesting] modern ensemble program I've {yet heard in Indianapolis. And T kept wishing the En-! semble Music Society would put|” on similar programs, wondering| also what the Bartok Sonata for, |'Two Pianos and Percussion would | * 3 do to a World War Memorial audience. Most conventional of the works, on last night's program was the: | Serenade, Op. 141a, of Max Reger | for flute, viclin and viola. With Edwin Putnik, Homer Schmitt] and John Garvey, respectively, on] those instruments, the delightful classic-romantic piece had great. charm, { Next came “La Cheminee du voi | Rene,” by Darius Milhaud, played hy the Faculty Woodwind Quintet the Illinois visitors, includ-| ing Mr. Putnik on flute, David] Ledet, oboe; Austin Macdowell, | the comic

COMIC—Robert Murray has role of Sawbuck

—all superb musicians, | December The Milhaud, like ‘the Reger,| final

production in its I had never heard before. It evi- performances today and

{labor dispute

offs. It was the 17th work | page last spring.

Times Amusement Clock .

LOEW'S. ae “Die Fledermaus.” Bsetropolitan Opera prodyction, at 8:30,

civic 0 Barry's Etchings,” comedy, CIRCLE “Let's Make “It Legal" with Claudette Colbert, MacDonald Carey and Zachary Scott, at 12:50, 4, 7:15 and 10: “Love hugs " with Vian Jundigan, at 11:20, 2:35, 5:45 and 9.

ESQUIRE “M.” with David Wayne, at 7:30 and 10:40 “Five,” 6 and 9:10.

INDIANA “The Lady Pays Off,” with: Linda Darnell and ‘Stephen McNally, at , 3:53, T and 10:05,

Re Raging ode with Shelly > and

Winters, at 11:1 2:15, 20 8:35. ’ KEITH'S “Two Tickets to Broadway,” with Tony Martin and Janet Leigh, at

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“Her First Romance,” with Margaret O'Brien, at 11:05, 2:15, 5:20 and 8:40.

LYRIC

. “Hotel Sahara,” with Yvonne , at 11:15, 1:57, 4:39, 7:21 0:03. “King of the Bullwhip,»

with Lash LaRue, at 12:46, 3:28,

6:10 and 8:52,

Labor Row’ Halts Work NITE ‘On $90 Million Plant

JOPPA, Ili, Dec. 14 (UP)—

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Ipower plant being built by Electric! | Energy, Inc., to supply the atomic energy plant at Kevel, About 2500 workers from 13; AFL craft unions left their jobs!

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Starts Sunday

THE STAR OF 'KING SOLOMON'S MINES’ IN LOVE WITH THE YOUNG BEAUTY OF ‘TERESA’ .

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dently belongs in the French | tomorrow. folklore Sepastment of Milhaud'scient-sounding effect. It has also! interests. series of seven epi- humorous effect (dry honking of! sodes in a re king's pro-| bassoon, for example) which gress, all vividly descriptive, have majes the combination perfect for the curious combination of deliber-| whimsical material like the Mil-| ate “antiquing” (archaic modal paud. flavor) with modern (i.e. inter-| - Last night's listeners got a big War) Milhaud uses so much har- and Sars charge out of the monies. 'Milhaud. They got still more of

Instrumentation adds much to} nata| % the “Cheminee,” since woodwind] 3 charge ont of the Bartok So

quintet, however skillful the per-| formers, , invariably has an an-

which followed intermission.

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Fletcher on the pianos ‘and Paul

ling it may be absurd, what with|} ‘tympani, triangle, Xylophone, bass| k and snare drums and Chinese| gong along with the pianos.

{have hissed it the way Carnegie] ‘Hall listeners hissed George An-| theil’s “Ballet Mecanique” -(for 13] Ipianos and too many other weird] linstruments to list here). | # | Antheil is mostly a memory. {Bartok gains vitality each year, |as last night's audience enthusi-| i asm over the Sonata indicated. | The work is superb, even though | |e does strain to the limit your

land contrapuntal effects. One}. angular and rugged fugue in the {first movement suggested the gag| |“Distempered Clavichord.” i the tonal, dynamic and rhythmie| X jstructure of the sonata shows the] composer's Immense knowledge!

PRICES!

Christmas Store Hours

{for Two Pianos and Percussion,| §

This terrific composition played| i ; iby Claire Richards and Stanley H%

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and imagination. . . . Possibly because piano sound 9:30 A. M. to 8:30 P. M. lappeals to me more directly than 'string-quartet sound, I found this {Bartok (another first hearing) the most persuasive yet. And I! ibegin to understand what it would, be to acquire a taste for Bartok | jand simultaneously lose a taste! for the classics. Composer Roy Harris once told! {me he came out of a long illness {years ago no longer able to ap-| 'preciate his former idol Bhrams,|

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