THE N. C. ESSAY NORTH CAROLINA SCHOOL OF THE ARTS March 30, 1971

AARON COPLAND AND KURT YAGHJTAN RELAX DURING REHEARSALS FOR "THE LINCOLN PORTRAIT," a part of the re<·ent Copland Festival held at NCSA. Photo by Nicholson

Fest. Success

: =:_.::.::;'.'''~~~[~~;;s~;~~~r,:.:: .. !.:: bnrk a few eons. This time

·:·: it was a combination of :-:·

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think of one that isn't ) and ~:: all very time-consuming. :;:;.

tmywAv. because all of the-~e things <'!rove quite rn17.y r even our printer: ··we'll have the material there tomorrow . .. Wait . .. No, we won't . . . how about . . . "and so on). we missed :m issue somewhere along the line ( I 'm not even sure when anymore ). We'll try And make it up. but we're not sure when and how yet. At any rate, we're back r minus some hair) and we'll try and finish out the year un-hassled !but don't bet on it). Most of all ,

:;:; thanks for asking about us :;:;

Copland Attends Fete\ .. ·.;_·~.:~:::. ~i~~o~~~?;.rs~~~[n:~YJ~; ~-~=-~.~·-~.·. out there wanna be an

March 1:1 and at a Sunday, March ;:;: rditor any time soon? :;:; Aaron Copland, the famous American composer and con­ductor, was in attendance at a Frstival in celebration of his 70th birthday at the School of the Arts, March 11 " 14. Copland was present for three of the scheduled four evening performances. The programs covered the full range of Copland's music and featured the premieres of three ballets, choreol'{raphed especially for the occasion.

The Festival opened with a rhamber Music a nd Opera roncert on Thursday, March 11. The program included the Plano SIJnata performed by Nicholas Smith . pianist ; the Sextet for String Qu~rtet. Plano and rJarinet with Rebecca Harrow, pianist. Robert Listokin, darin<>tist and lhe (1aremont String Quartet: and excerpts from ' 'The Tender Land" , with the NrSA chorus and soloists under the direction .of David Partington.

Friday, March 12, Copland gave an address and conducted the NrSA orchestra in "Outdoor Overture" ; "The Lincoln Por­trait," with Kurt Yaghjian, narrating the excerpts from Lincoln 's speeches and writings; and the Suite from his ballet " Rodeo."

Five ballets, with music by ropland, were presented by the N.C. Dance Theatre and dancers from the School on Saturday,

At Salem

14. matinee and evening per- :;:;; The N.C. Essay ~::: formance. The program included ::::; . . . Editor & Staff :;:: thre·e premieres : • 'Dance :-:-::::::::::·:-::::::::::::::::::::::;:;:;:::::::::::::::::::::;:;::::::!:!:

Matthews In Recital

Panels," with new choreography by Nelle Fisher and two ballets choreographed by Duncan Noble : "Nocturne" and " In­r,ames . " " Cassandra.'' choreography by Pauline Koner ancl "('razy Quilt.' ' choreography by Richard Englund. completed the program.

Other t'vents included an in­formal session wit!) composers from North Carolina and com­position majors from the School of Musir . a reception in the composer's honor and a showing of the six films for whkh Copland composed the !'cores. In adcti!ton. radio station WFDD-FM presented r opland festivals on Monday. Tuesday, and Wed­nesday. March 8. 9 and 10. which featured commentary by Duncan Noble, Robert Ward. and Marc r.ottlieb.

ropland. a major figure on the American creative scene for more than forty years. also spent much time talking and listening to students. His friendly , en­dearing manner made it easy for many students to talk with him about many subjects. but especially about music.

All of the scheduled per-formances during the Festival were sold out and large crowds appeared every evening.

('Iifton Matthews, pianist, will present a recital in the Main Auditorium of the North Carolina School of the Arts on April 2 at R:15. The pro~ram will include Prelude :-tnd Fugue in D major and Prelude and Fugue in I) minor from The WE'll Tempered \Javier. Volume 11 bv Bach. Six Eh1rles. 'Rook 1 by Debussy. Pi an') Variations by Aaron lopl;md. and Crand Sonata in F' sharp minor . Opus 11 by Schumann.

Rach's 48 Preludes and F'u,gues entitled 'Das wohltemperirte r Javier.' was published in two par ts. each containing twenty­four preludes and twenty-four fugues . The first part was completed in 1722 when Rach was in his :tilth year, and to this alone he gave the above name . Sub­sequently (1744) he finished 24 more preludes and fugues " through all the major and minor keys", and so like in design to the former series are these that they have come to be regarded as the second part, the entire collection now being under one title.

Dubussy's Six Etudes, one of his last works, was composed in 1915'and dedicated to the memory and ~enius of Chopin.

"BeeBee" Presented The . Piano Variations, per­

formed with Pauline Koner's ballet ''Cassandra" at the School's recent Copland Festival, consist of a ten-measure theme, twenty variations and a coda. The work conveys a feeling of strength. hardness and con­centration. Like many other twentieth-century composers, ropland treats the piano per­cussively. Most of the variations. are played loud and non legato. with many sharp accents. The Piano Variations was composed in l!l!lO.

"The Days and Nights of ReeBee Fenstermaker," a play by William Snyder about a Southern girl who journeys to New York to begin a writing career, was presented as a workshop under the direction of Robert Murray. by the School of Drama Monday , March 15, through Thursday. March 18. Through the courtesy of Salem rollege, the production was held at the Fine Arts Center in the Drama Workshop Theatre.

The action of the play covers a span of sever~ years and takes ReeBee Fenstermaker from idealistic enthusiasm through disillusionment to resignation. When her money runs out after her first three months in New York, BeeBee is forced to take a secretarial job and then finds it increasingly difficult to work on the novel she hoped to write. She tries other artistic outlets but little by little becomes j~st a

secretary. looking for someone she can bear. someone who can bear her for at least a little while.

ReeBee's life in New York is set against a background of scenes involving her mother and her two aunts back home. These three sisters are in many ways like a chorus and their scenes are in­tended to give background and perspective to BeeBee's struggles in New York.

Mary Beth Zablotny played the title role with Elaine Rinehart as her best friend. Richard K~plan and David Marshall were the two men in her life and Monte Mclntyre was the interviewer who helps her find a job. The three sisters back home were played by F.laine Rinehart, Enid F:isenstein and Joyce Solkov.

Robert Murray, who directed the earlier NCSA production of "The Sign in Sidney Brustein's Window ," has just been named rhairman of the Acting Program in the School of Drama.

Among the attempts to add something .genuine to the literature of the pianoforte sonata. the Grand Sonata in F sharp minor. Opus 11 by Schumann is the most in­teresting.

Matthews , who came to the School in 1968. received his B.S. and M.S. degrees from the .Julliard School of Music, where he was a student of Irwin Freundlich. who is also a member of the faculty at the School of the Arts.

Architects Named

Cantpus Master Plan "The School nas been in­

nuencE'd by its buildings ... said Norman Pfeiffer in discussing the new contra<·t. " It has been necessary in the past to organize the School phy:::icalJy by departments . Eventually. the School can be organized bv ac­tivities." He has suggested- that perhaps the daily and routine of classes, rehearsals and study can take place in the existing buildings and that a new area could be developed for per­forming .

The North Carolina School of the Arts has engaged the ar­chitectural firms of Hardv Holzmnn Pfeiffer Associates of New York and Lashmit. Brown and Pollock of Winston-Salem for :1 threefold development program. according to an an­nouncement made a few weeks ago by Robert Ward, President of the School. Working as a 'team. the two firms will survey the campus of the School and other facili t ies in Winston-Salem ; develop a master plan for the campus. including recommended new buildings; and design those new buildings.

Hardy Holzman Pfeiffer ,Associates have specialized in performance facilities and in campus planning. Their firm designed the Tufts University Performing Arts Center, the Playhouse in the Park in Cin­cinnati. the New Lafayette Theater in Harlem and the Toledo r.enter for the Performing Arts, which has not yet been constructed.

The local firm , Lashmit. Brown and Pollock, has been involved for years with the facilities of the School of the Arts. It was this firm that in 1929 designed the original r.ray Hi gh School building. now occupied by the St'hooL They were also architects for the Salem rollege Fine Arts r.enter . the na vidson College Fine Arts renter and the acoustical and technical renovation of Reynolds Auditorium in Winston-Salem. The tw~ firms \\'ill be associated Mchitects for the School and will work together on all phases of the project.

The three young principals of tht' Nrw York firm , Hugh Hardy, a former scenic designer . Makolm Holzman and Norman Pfeiffer. who have made theater clesig,n a major thrust of their work. believe that the School will take a new direction in the future as a result of campus planning.

Pfeiffer said of the present performance areas. the Main A·uditnrium and the Drama Theatre. that these large spaces nre well suited to many of the School's activitvneeds such as an E'xperimental· theater and facilities for film and television. A major part of the master plan will be determining the best use of the present buildings.

rommenting on the sense of isolation often inherent in the pursuit of an artistic career, Pfeiffer said that new spatial arrangements would make students more aware of each other by providing the best en­vironment for interaction . " Architects can 't make this interaction happen ," he con­cll!oed. "but they can set the basic environment for it.' '

The highest priority in campus development is a new library. Funds for this project have already been requested from the legislature and the proposed huildin )..: has a lready been designed by ('olvin. Hammill and W:ilter of Winston-~alem . This building would also include a small recital hall.

The two firms working on the master plan expect to complete the fniti<)l survey and submit recommendations by the end of April. The state has provided funds for planning rela ted to new buildings and further support for the development of a master plan has come from the School of the Arts F'oumlation.

Cafeteria Changes The following directive ap­

peared in our mailboxes recently. Perhaps you'd best read it :

"Rec.ause of the large amount of food eaten by students, staff and non-students who do not pay for it, the Cafeteria may lose as much as $9,000.00 in its operation during the 1970-71 school year. Such a loss would necessitate a raise in the cost of board during the 1971-72 school year. After consultation with Mr. Childress. head of the food service, and with the Student Government. the following policy has been agreed upon i'n order to eliminate these losses :

( 1) The rate per meal for off. campus students will be as follows : Breakfast, $.50: Lunch, $.65 : and Dinner, $1.10.

(2) No student eating in the rafeteria will be allowed to feed <1nother student, visitor, faculty or staff member.

( :1 l Students. faculty , and staff will be allowed to meet in the raf£>teria without purchasing a

meal ticket , prov.iding they identify themselves to the person on duty at the cash register and let that person know that they are in the rafeteria for the purposes of meeting.

( 4 l A. Visitors on campus will be asked to pay the same rates as are now charged per meal. The rates are as follows : Brea~fast , $.75: Lunch. $1.25: and Dinner, $1 .50.

A, Each visitor in the rafeteria must have a visitors pass which may be obtained from any Houseparent.

( 5) Any person who eats food in the Cafeter ia without paying will be barred from the Cafeteria for the period of one r 1) month for the first offense and for one (1) semester for the second offense.

Ill) 'This policy will go into t>ffect with the breakfast meal on Thursday. Aprill. 1971.''

The directive was issued by MArtin Sokoloff, Administrative Director . and Robert Hyatt. Dean of Students.

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~ W• rec•;ved th• m:~T~~~~~ that srud'"~ b• ;~ of the All-School Advisory r~ware of what happened . ronnel! rather late for this Therefore, there will be a i~sue rand also thev are t·omplete ropy of the extremely long l. However . r .linutes available in the as several important topics Essay office for anyone were discussed at the last whfl cares to read them. meeting, we feel it is im-

PAGE 2- N.C. ESSAY

Commentary And Perspective

PRIDE AT NCSA

EDITORIAL From my renaissance of

training at The North Carolina School of the Arts, a sense of pride has built within me. This pride stems from the in­volvement of the total school community that never stops moving. Tn music, drama , visual art or dance. there is always something happening on campus. For instance. there are student recitals. concerts, plays, films, dance productions, auditions, visiting dignitaries and artistic professionals. Hence. students are busy either performing , rehearsing, touring, practicing, studyi ng or just attending regularly scheduled classes. This may no.t excite the average student but for me it does.

All of the forementioned student activities fall under the topic heading of education. At "'WSA. the word education is prefaced by " artistic professionalized" education. In Agnes de Mille's book ''To A Young Da ncer", she states that the danchg college student leams how to discipline himself "and how to study. how to analyze :md interpret". This can he said for any of the arts taught in this school and should be reemphasized as professionalism. This sense, worthy of high standards, is a commodity that must be un­clerstood to grasp the challenges of the artistic world outside our campus.

Tn that world outside, there is rompetilion. The striving for the ~ame objectives. usually in ac­cordance with certain {ixed r ules. shoulrl be harnessed and instilled throu~hout each student. The point is. it shouJd be cherished as a building block for personal rharacter and development .

Photo by Bruce Roberts

by Cortlandt Jones

Some people have not discovered this and T believe they will fail in their art.

Another factor of my pride is being exposed to the constant interplay qf the four schools ( Drama , Music, Dance, and Design a nd Production) . A student learns, and could use, more then he realizes. His course of study does not stop in the classroom or at the desk. It should be carried over and mixed with the exposure to the other a rts: the resuJt is mind ex­pansion.

A better description of ex­pansion is a statement by John Dewey. "The artist is driven to submit himself in humility to the discipline of Objective Vision. Rut the inner vision is not cast out. Tt. remains the organ by which outer vision is controlled, and it takes on structure as the latter is absorbed within it. The interaction is Imagination."

The transfused injection of all the factors is leaving an ac­cumulation of development . Resides giving me a trainin& in dance. a sense of professionalism, an attitude toward competition and basic academic instruction, NCSA is widening my visions in areas that are in need of exploring; for this I am proud and thankful.

Granted, the common practice :~mong men is to find fault in something rather than to find good. Why discuss the good points when the bad should be con­centrated on an corrected ? Nevertheless. as a college fresh­man whose major is dance, I find a lot of good in The North rarolina School of the Arts and would rather expand upon that point than the other

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Are You For Peace? by Celia Sparger

On Friday, 5 March, the newly formed North Carolina Com­mittee to F;nd the War in In­dochina sponsored a public lecture with David Schoenbrun as guest speaker. The committee, which began forming several weeks ago, is composed of prominent business, educational, civic, and church leaders from throughout the state. Dr. Irving F.. Carlyle. co-chairman of the committee, introduced the committee and defined its pur­pose of striving, through educational and legislative ap­proaches, to achieve a rapid end to all American military in­volvement in Indochina.

Mr. Schoenbrun repeated the familiar. but not-so-funny joke that tlie secret plan for with­drawal from Vietnam that Nixon spoke of in his campaign has now become evident as a withdrawal from Vietnam into Cambodia, T .aos. and possibly other In­dochinese nations.

Referring to Nixon's recent press conference on foreign af­fairs. Mr. Schoenbrun proved sophistic Nixon's argument of ending the war by spreading it throughout Indochina, with the alleged function of destroying the enemy's main roads and sup­plies. by relating incidents in which he had seen the North Vietnamese repair roads and bridges immediately after the U.S. Air Force had dropped its bombs and disappeared. And, of course, the Air Force reports ''mission accomplished " to Washington . As for the destruction of Vietnamese trucks, Mr. Schoenbrun said that this is impossible because the Vietnamese ride bicycles.

Regarding prisoners of war,

Mr. Schoenbrun restated the present deadlock between Hanoi's refusal to release the prisoners cntil all American forces are out of Vietnam, and Washington's refusal to make a total withdrawal until the prisoners are released. Mr . Schoenbrun believes that the prisoners will be released when all Americans are out of Vietnam because of the precedent set by Hanoi's releasing French prisoners after the French had made a total withdrawal.

Vietnamese sentiment towards Americans in their country can best be expressed by restating Mr. Schoenbrun's quote from a Vietnamese high official: " If you're getting out, why should I interfere with your departure?" It is this Vietnamese distaste for American interference that has led Mr. Schoenbrun to believe that a major North Vietnamese offensive will occur, not while Americans are leaving, but after all but a residual force, of no fewer than 200,000 troops, are out. This, of course, will lead to a " protective reaction" re­escalation of the war and it is this that Mr. Schoenbrun believes to be the danger of a residual American force in Vietnam.

Mr. Schoenbrun, claiming no powers of prophecy, but only the ability to see patterns, gave his rendition of Nixon's 1972 cam­paign theme: his reminder to the country of the cutdowns in the number of American troops, casualties, and finances in Vietnam in the last five years, with the conclusive slogan, "Re­elect me and I'll finish the job." Mr. Schoenbrun vehemently warned against the public's accepting such a statement as a promise to be fulfilled.

The Public Messiah by Robin Kaplan As da~n broke yesterday

morning, I could have been (and I was) seen running naked, spear in hand, through Washington Park.

1 would like you to come and ~e me here in this gypsy camp of higher intellect. Cashew here is a great guy. And they all worship me like crazy because in me they see themselves.

I have no doubt, you will be glad to hear that I have found, what the Inner Council of Gypsies will recognize as my grand­mother's long lost broomstick. With this means of transportation all things are now possible.

And the farthest distance is but a thought away.

I will see you when I see you. Here I remain for a while -Bobby, the First, Dardin, King of the Gypsies.

Dardin was in the observation ward. He was eating, but he stopped.

Hello ... Hello, Klein! I get four meals a day here and get higher on waiting for them then I've been on anything ...

Letter To The Editor: T .etter To The Editor: To The N.C. Essay:

T fail to see the purpose behind the article concerning ''Ma's" boarding house, other than angering a few townspeople who might happen to read it. Nor do I see the humor in ridicuJing what is obviously .an un-pretensious boarding house, not indented for the sophistication of our N.C. F.ssay reporter.

ArtCiompi

When he was sufficiently high on waiting for the food, he went back to eat it. But the con­versation was interrupted by a man, hopping on one foot, who had translated the diaries by a . contemporary of Cellini; the man turned out to be Cashew, who ate goats' brains. Klein made a note.

To Dardin the place meant nothing, He had daubed a large notice in the Occupational Therapy Ward:

DARDIN SLEPT HERE AND LEFT WITHOUT PAYING HIS RENT. and in small letters below it

how else can one hope to remain in the memory of the commercial classes?

Above his bed be had written: All the great men are dead. Omar Kbayyam is dead. Confucius is dead. Oscar Wilde is dead. I am not feeling too well

myself.

His only worry was that he would be classified as a professional patient and would be deprived of foor meals a day to fall back on when be wanted them.

Daniin described the last time he was in a mental hospital.

Continued on Page 4

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~\ll by Tony Angevine% ~ ~

One of the most important aspects of rock and roll is its relative new-ness as an art form and its consequent constant experimentation to discover and achieve whatever it is that it wants to become . Rock has by now pretty much outgrown its raucous heavy psychedelic days -- a time of experimentation when F.ric Clapton achieved godhood with the wah-wah, fuzz toned, full-volumned shrieks of his still­screaming-guitar - and is now relaxing into a quieter, more reflective mood. Tn fact, rock is so firmly entrenched in the worldwide youth culture ( as much an addiction as a diversion or a form of communication) and, unavoidably , in the capitalist market, that wide experimentation is taking place, and the groups follow each other through fads as rapidly as a new approach is conceived. From the screaming, stomping bom­bardment of Grand Funk and Led 7.epplin, through dope and sex, through the call :to revolution, through a turning to Jesus, to a more passive championship of the down-and-out lifestyle, rock has nurtured the needs and ideals of its vastly diverse audience.

After the wildness, this calming is welcome, and we at last take the time to look around at what we've been through and what lies ahead. We are maturing, and suddenly the Last of the Rig Screamers come off as juvenile.

rrazy Horse is one of the milder " new" groups whose approach leans toward this reflective , "grown older and wiser" style without alienating themselves from half their audience and without sacr ificing the earthy orig ins of rock and roll. A new band only in that this is the first record they have put out on their own,- they have all worked together before and they have all lent a helping hand to Neil Young at one time and another on all of his albums. This influence is strongly evident in their mournful mountain ballad style: simple, very singable songs, whose simplicity enhances their soulful beauty, sung over jumping, uncluttered, unforceq rhythms. Possibly, though not necessarily, indebted to Young, the band is by no means dependent on him, having the distinction, now, of one of the most skillful writer- musicians around, i.e. Jack Nitzsche, whose knowledge of, and experience in, the medium are no doubt responsible for the rockingest rock songs in the old style that any band has produced any time lately. His "Crow Jane Lady" epitomizes the rock style, with emphasis on the man - woman sexual relationship; beginning with a lazy drum beat backing up a prominent bass, lead guitar moaning. unhurried but very tight, the vocal pinched and fast; then. the entire thing stops for a beat and carries on in a very slow. lazy refrain. A Fifties' feeling inherent in the Seventies' quality. "rarolay", another Nitzsche tune, is, on the other

Continued on Page 4

Richard Watkins

N.C. ESSAY - PAGE 3

Featu~es, etc • • • • • The Draft and Your Alternatives

hymj£ Sooner or later nearly every

male in this school is going to have to deal with his draft board. I realize that this isn't a pleasant prospect, but for right now it's a necessary one. Since this whole hassle of military obligation is currently a part of my daily life Cl've [iled a C-0), I felt it might be good to relay some in­formation which will no doubt eventually be useful.

When you turn eighteen you are expected to register with your local board for the purpose of giving them vital statistics about yourself and your availability for the draft. You are bound to do this by law. Some people don't. That's cool, if you get away with it. But if you're caught, you may face severe penalties. There are better ways to play this game.

When you turn nineteen you will receive a lottery number (drawn at random). If your number is past, say "250" or thereabouts, chances are good that you won't be called. If it's lower, you should be aware of some ~hings.

Physical

Most of you will eventually take a pre-induction (you remember, like in "Alice's Restaurant" ). If you have a physical disability you will probably be rejected. r .ikewise if you are considered (by the board) to be mentally unfit for military service. Some people see a psychiatrist and receive letters attesting to their inability to cope with military life. This will work. although : (a.) it can be expensive, (b. ) doctors will not always write convincing letters, and ( c.) boards often do not believe the most convincing of words.

If you have committed a felony or are awaiting trial your draft case may be delayed con­siderably, pending results.

If you are temporarily injured, you will receive a 1-Y

classification for a limited period of time.

And, if you are in school with a ll·S deferment, you're ok for the time being; however, it would be wise to know all about this anyway.

The other feasible alternative is applying as a C-0. This is a difficult thing to do and a decision that should not be made in­discriminately. It entails a great deal of self-analysis and questioning of ideals and prin­ciples. It is not an easy choice to make. But if you are sincere and honestly cannot serve in the armed forces because of your convictions (or if you are willing to serve as a non-combatant), then you should file as a c-o.

c-o The C-0 classification is no

longer based entirely on reHgion; it does aDow for personal beliefs. Rut, you must convince your board of your sincerity by sub· mitting a written statement, gathering letters of support, and, in all probability, a personal appearance before the board. If these fail, you still maintain the right of appeal. If you fail to receive the C-0, there is a possibility that you will be im­prisioned (assuming that you stick to your convictions) . Think it over. Even with the C-0 you are expected to serve two years civilian alternative service (i.e., hospital work).

If you reach your twenty-sixth birthday and haven't been called, you are relatively safe; boards will not ordinarily pursure you.

Advice The entire workings of the

Selective Service System are far too complex for me to understand or to explain. Also, regulations have a nasty habit of changing monthly, so it's really difficult to know what's going on aD the time. But I can. give you some advice.

U you have any questions problems, see a draft counselor. He has the facts and he is willing to help. He'll know what you can and should do and he'll also be aware if your board is doing anything wrong (not at all unusual these days; many people have avoided the draft simply because of board's errors ).

Find out as much as you can about the operations of your own board. Know their in­terpertations of regulations, their assumptions, their prejudices (i.e., against long hairs ). Discover early that boards are not uniform and do not function in accordance with other local boards.

Read as much as you can. There are several fine books out on the subject. Guide To The Draft is an excellent general survey, while Han book For Conscientious Objectors and Face To Face With Your Draft Board are important specific references to the C-0 possibility.

lf you can't handle any of this, emmigration is another possibility. Again, know all you can and make sure that you are doing what you want to do. There's no way back once you leave.

This is nothing to play around with. Get the facts now, even if you are not presently concerned. My own mistakes and fears so far have been c.aused by a dreadful lack of knowledge. lf you do not beHeve you can serve in the military know what you can do about it. 1f you are willing to serve, find out how it can most benefit you. Above aU, know what you think and why. And once your decision is made, live by it.

(Note: Sam Stone and David Wilson, both within the im­mediate area, are both excellent draft counselors. If you have any questions, contact either. Also, I'm willing to talk to anyone who wants general experience-related information.)

AARON COPLAND DIRECTS THE NCSA ORCHESTRA at a rehearsal during his recent visit here for tbe Copland Festival. Related stories below and on Page 1. Photo by Nicholson

Copland and Creamcheese Aaron Copland is a rather

remarkable seventy-year-old man who responds to life as if he were twenty . Answering questions at a press conference during his recent visit here for the r.opland Festival. the renowned conductor and com­poser spoke with a verve and enthusiasm that is uncommon anywhere these days. The man is obviously still enjoying what has already been a full and r.ich life.

Mr. ropland, in talking about audience reaction to new, in­novative music, said that most people seem to expect a "per­manent condition" to exist even in the music they hear. ''Most audiences have difficulty with 'new music,' ' ' he said, " they want to hear the familiar things, not the music of their own time."

This brought up the question of the works of avantgarde com­posers, such as K<Srlheinz Stockhausen, ~erry Reilly. and Pierre Boulez (whom Copland admires greatly l. "Some of their work is quite good, but again, they are forced to write and play for extremely tiny audiences." As for electronic music as a genre, Mr. Copland feels that " it's in the cards," but also thinks that muc h of it " has a sameness."

questions, but added that very often his selections differed from popular opinion.

Mr. ropland has an earfor rock music too. " I think that the rock music of today is in an extremely healthy period ... at leas~ it was last week .'' While Mr. Copland said he wasn't as aware of rock as he would like to be, he men­tioned Frank 7.appa and The Mothers of Invention as his favorites . and 11of course, The Reatles . . . it's a shame they won't be playing again.'' His main objection to rock and roll as a form is its ·'drug-like repititious quality."

Mr. Copland began studying music seriously at age 13. "But it should be younger . . . six is a good age," he said. He also stated (with perhaps a tinge of regret) that opportuniti.es for young musicians today are far superior to when he began.

What does a man who has composed and played music all his life listen to when he is just listening? " A good question, but J•mnfraid T'll ~ive a poor answer. 1 rlon'tlisten to any one tbing in partiNllar, there's no one thing l .J!O to. To me, all music is in­teresting. And 1 listen!"

ASTROLOGY ''I'm A ~t ••• ?" by Robin Kaplan Of his own work, Mr. Copland

admitted that "some of it can be appreciated and understood by only a very small crowd." Asked what was his favorite of his own compositions, he said that he didn 't like to answer such

Aaron Copland has been listening for a long time. And yet, he still finds It a new, vital, ex­citing experience everytime. There a ren't many like him around .

F.ven a nonbeliever knows his astrological sign. If his birthday falls, for example, between May 22 and June 21, the charts have always told him that he is a Gemini. He is reassured that deep down he is restless, ver­satile, clever, e.wberent and expressive, even if his friends and neighbors find him stolid, sullen and introverted. Sudden notification that this same fellow is in reality a Taurus -stubborn, systematic, kind hearted and musical - is sure t~ prove un­settling. particularly when he a ppears decidely sloppy, mean a nd congenitaly tone-ilea£.

Worse still would be the news that he has been reclassified a Cetus, a sun sign thal points to no personality traits whatever ••nd cannot be round emhassed on a singl~ watch job, dish towel. or shower curtain. Nontheless, such a possibtlity now exists. So says Sleph<"n Schmtdt, whose book Astrolog) H Bobbs·Merrill; $4 .95l not onh shifts tht? old s1gn to difrerent nates but adds two morl' constellations to the Zodiac Schmidt's theory turns upon the

ract that in the 2,000 years since the old astrological rules were set up, there has been a slight change in the tilt of the earth's axis. This has caused an apparent shift in the positions of the constellations. Tn addition, he notes that astrologers have refused to recognize that there are actually fourteen constellations in the Zodiac belt, not twelve.

An even dozen, of course, is covenient for reckoning points of

ran you dig Aaron Copland getting behind Suzie Cream­cheese?

the compass or months of the year. Fourteen is a bother. Hence the two additional constellations, Cetus (the whale) and Ophiuchus ( the serpent) have been ignored. Not by Schmidt, who assigns each constellation twenty-six days instead of thirty, making room for Cetus between Aires

Southern California's Astronomy Professor. Gibson Reaves, points out that "astrology is essentially irrational, and to try to give it such a rational, scientific ex­planation would spoil for most people, anyway:"

'The Public Messiah" Revised Chart : by Robin Kaplan

and Tarus, and for Ophiuchus 1st House Pisces 21iii • 15 iv C:ontinued From Page 2 between Scorpio and Sagittarius. 2nd House Aires 16iv - lliv J was arrested uptown near the Let the horoscopes fa11 where 3rd House Cetus 12v • 6vi Interstate 40 west exit. The they may; his way, Schmidt 4th House Tarus 7vi - 2vii li f d kn lin

5th H r.e . . ., .. 28vi' po ce oun me ee g on my a rgues, gives a better guide to ouse ' mtm ·•Vll - 1 h ds d k tin ·t

1 "th House r.-.,1n cer ""-•" "'3vi"' an an nees ea g grass ... 1 ana yzing character. 11 ... ""vn - "' n la t M Th Astrology 14 has not moved 7th House T.eo 24vii- t8ix ;as tys. htaa. .ey ~vela me

heaven or earth within the o::cult 8th House Virgo 19ix - 1~ Yo~n :C~- wi~s ~ the& ~ trade. Established astrologers !lth House Libra l5x. - 9:n.. telligence they couldn't say to like Carroll Righter , who built lOth House Scorpio l~J - 5~. themselves "Now wby was that reputations and fortunes on a 11th House Ophiuchus fi~ ll - ~lxu man eating grass?" If I saw a twelve-sign system, dismisses 12th House Sagittarius h - 26t ti I'd th t Schmj dt's theories as 13th House r.apricorn 27i - 21ii man ea nhg grass, say a

14th H A • 22.. 201.. man was ungry ... "meaningless .. University of ouse nquanus " - u The only problem the hospital ~,:::.;::~!'.f<::X=-::::::::::::::::::::~::::::·:;:·:·~::~:x:::x:;::~:·::~'Y-::::-:!:·:::::::~::::~::-:;:;:·:-:~:·:::r;:::;:;:::-";!:;i: seemed to have was the recovery qx,"?:·:~;;.;:t~·:·:-:-:-:·:·:·:·:·:·:-:·:·:·:·:·f.:-:~·:·:,,~:..:.:.;.;:o. ::::!!:-:::!:::;:=:-:·:·:·!l:~~~;~::lf.~:~::~::::.::~;::-.:.~::: of Dardin 's clothes They wanted :>··· l>!i'l ~~:; ;:·:·:~ him out of the place as soon as ~li NOTICES m possible, but Dardin was quite =~·'· ··:-:.... prepared to take off the street ~ ~ ;:;~:: \otice · \parently a lot 1)£ they've had to revise It, and ·;:~;~ clothes provided by the hospital ::::::: freaky thin~s happened that's where we left off. ~:..:..:: and walk out of it as he had been ·.:.·.~·~:~··:1 while we were away. We're Recause we had a depleted :~·r.:.·=.:,;.:. brought in originally by the meat • referring to the situation in staff when all this occurred .... wagon from Washington Park. ~·> h ""~ · d · d 'th .... · Klein said that exhibitionism :·A:: l c • ~t:Stgn and Production an were gomg rna WI :~;:;:: ::5:.- nept. ( and also the fact various and sundry other :·····:· was suppressed more for shame ·'=··· ·~:::-: at the reaction it prompts than ~:;:$ that members of the Dance things and because this ~:;~: ~:::~ and Music departments issue was sort of rus hed, ·=·=~·: for anything else. ~i: met and discussed what we haven't been able to :;~~~ You know, son, Dardin said, I ~;:~; they felt were prbblems talk to ~11 sides and get an :~::;:; found a little jungle in the middle :.·: .. :.:.:.;,:.: within their schools) . we accurate account of what .:.:~.f .•. ·.~.· of the park, and 1 could have · h r;· · d charged around in it with tnt .;:.,.,~·· were present w en the D & wen IS gomg own. ·:::··:;::·.~ "'" p d d H ' 11 h •· spear, stark naked, and nobody ·;~. ept. presente their ow ever, we ave a ·. :·:.: ~~ multi-facted document to report in the next issue of ~§ would have noticed. I buried all ~:;:<:. the SCA. but since then the N.C. Essay. ~:::'~ my writings there. But I decided

m!-::::~:;?:'~f;:~~~~~:T.<~~=*~::w.-~:;~~:~;:~· . ·t.::::o::~ Jf' ~:.~! ~~Y f~~~ m~~dening ~ ...... :>::.o:o,.::i.0:«•:.:~..!*~ .... . .. :;::;X::•:.r».'.:;:> .. :·:·:-f.:·:«oo(-::(.~~=·)!,~.w .. =**i-.:<·&

The next day the police found his clothes, and his writings, "The Terrible Confessions of a Gypsy Vamp," and Dardin was told that he would be released the next day. Jenny Drake came to see him. She is much older than Dardin; and when she could get about more, she used to keep a fruit barrow outside the park gates. Before that she drove a bus, and before that whe was a stripper . She still has her hair bleached a flash blonde. The head nurse showed her in and she sat beside Klein.

Did you bring me my favorite tome wine? said Dardln, taking a bottle from his pocket. 'fhe stooks are running low.

I did not, said Jenny. Pul thal away l came down to see if you were being treated okay .. J'm going to have a rest...I'm going away. ll's not the house !.hat's falling in on me, it's t.he people ... I didn't come down to moan; bul I'm going to have a rest-twenty­one days voluntary patient as a mental drug addict. Not your kind of drugs.

You have a rest, said Dardin. I mean you might as well avail yourself of all the amenitie8 of the welfare state.

To Re Continued

PAGE 4 -N.C. ESSAY

Reviews Boys' Workshops OHer Tense Drama bymjf

" Landscape'' - Written by Hi! rold Pinter . Wi tb Carol Rogers, Barry Boys.

" Endgame" - Written by Samuel Reckett. With Delle C'ha tma n. Frederick Avery. Gregg Wilson, Carol Walker.

Roth plays directed by Barry Roys.

These recent Drama Workshop productions were important for several reasons. They were not flawless by any means (nor should they bet but what they accomplished , in terms of drama at this school , made them the most adventuresome and in­novative shows of the season. And the clarity and preciseness with which they were presented indicated that the actors involved grew considerably because of their involvement.

T saw each show twice. opening night (Mon.\ and then three nights later (Thurs.). Although there were obvious fluctuations in degree of intensity and in­terpertation (especially in "End­game"\. the overall quality of the performances remained con­stant. Each was a well-molded production.

Contrasts "T .andscape" is a short play by

Harold Pinter. It is not "ab­surdist" in the "traditional'' sense. although the action does not occur by necessarily con­ventional means. The scene is a drawing-room setting. where an aged (and aging ) couple reflect upon their lives in a "con­versation' ' of alienation, con­tradiction , unfaithfulness and repentence. While Duff rattles on about his experiences in the local pub f " 'This beer is piss,' he said" \ and his other daily inanities. Reth remembers aloud her meetings with a lover and in the course. expresses her fears of age r "T a m beautiful! "). This dialogue a nd the characters emphasis on distinct and separate -nemor ies - makes for striking contrasts of nostalgia, fear and pathos.

The lar.guage is the key to the play and both Carol Rogers (as Reth 1 and Rarry Roys (as Duff) strongly conveyed the eloquence of Pinter's words. Boys' voice a nd cha racteristics perfectly captured the s taid. (lonely), Rritish husband the author must have intended. Miss Rogers, seemingly tense opening night, gave a perfectly controlled and fully realized Thursday night performance that communicated the delica te power of her character.

" Endgame," by Beckett, is a bizarre absurdist- nihilistic play of possession . love-hate and

obedience. Tt is a most complex and shattering theatrical ex­perience, if only because of tbe overbearing nature of the play itself. I do not like "Endgame;" I think it is woefully tedious and loses much impact. Were it shorter and tighter - while still maintaining its abstract power · it would have greater balance and strike harder . Despite these inherent weaknesses, this production was compelling.

The " scene" is another dimension. The cnaracters are f'lov. an animal-like servant; Hamm, a god-like figure who demands all attention : and Nagg and Nell, Hamm's father and mother who spend the entire play crouched in large trash cans, subjects on their son. Their existence, their end (-less) game of ritual, ownership and con­frontation , is the heart of the play.

On opening night, Miss Chat­man was a strong-willed Clov, which conflicted directly with Roys' vision of Clov as a character without the ability to perceive, an instinctual being. As a result, Delle's performance was confused, going in opposite directions. On Thursday, she was consistent a nd (paradoxically perhaps l her character had a greater depth .

Psychodrama

Avery was masterful on opening night. Although the play was almost unbearably long, Fred had a control and power that was spellbinding. His Hamm was demonic and fierce. The performance, charged and in­tense. verged on psychodrama . Thursday Cwhen the pace was incredibly quicker ), he lost some of his intensity . Still, he was deadly. lin all fairness, the role of Hamm is extremely difficult; to sustain one absolute level of intensity would seem im­possible ).

Gregg Wilson a nd Carol Walker, operating from the trash cans , were quite good in brief appearances as Hamm's tor­tured, derranged parents.

Scene and costume design (by Robert · Tompkins and David Marshall , res pectively ) were superb.

"Landscape" and "Endgame" provided me with the most ex­citing , rewarding evening of drama I've seen at NCSA. They were taut. arresting per­formances and a credit to all involved. It's a pity if you missed them. (And as a footnote, it should be quite interesting to see what this ensemble does with the upcoming " Uncle Vanya" ).

RECORD REVIEW by Alan Zingale

( the sixth in a series of reviews of records in the NCSA library)

RA RTOK : Concerto for Or­chestra . KODALY : Dances of \.alanta . Seiji Ozawa , Chicago Symphony Orchestra. Angle SF0-36035. rQnly the Bartok is heing reviewed).

This somewhat recent Angel disc features the brilliant young .Japanese conductor, Seiji Ozawa, leading the esteemed Chicago Symphony Orchestra in Bartok 's roncerto for Orchestra. Though not the most distinguished recording available, f considering those by Karajan. Solti, Stokoski, a nd Szell ) it is undeniably an important addition to the 1ist, establishing Ozawa as perhaps the most promising among young conductors today.

Ozawa approaches this work carefull y, considering the various moods or the five sec-

lions, but also the general theme of the entire work. In this respect he is successful. Bartok's in­tentional design to begin pessimistically, then transce.nd to life-assertion in the fmale, comes across masterfully. But unfortunately for Ozawa, be is otherwise hampered in this recording by what appears to be faulty enginee ring . Many details are missed in the violins as a result of improper balance and muffled tone. Also, the brass sections sound unusually close as opposed to winds that sound very distant. However, it is also possible that Ozawa himself is responsible for some of this curious bala nce . There are, occasionally. noticeable in­tonation problems that obviously are not due to the engineering. Rut on the whole, tl'le playing is of virtuoso caliber, especially in solo pasages and in the finale .

As mentioned above, Angel 's

"Crazy Horse" f'ontinued From Page 2

hand . very melodic ... sharp staccato piano chords carrying the burden of the tune a nd emotional impact , guitar following meekly. strumming s low chords .. voices ha rmonizing with each other and with the pi a no to rea ch an effect somewhat like a church choir. " (;one Oead Train", written by Nitzsche and Russ Titelman, churns a long under the weight of deliberately jerky wah-wah lead guitar. smoothed over by the regular rhythms put down by bass and drums. In a ll instances, Nitzsche's fmgers jump and fly over the keyboard with calculated fury , providing a strong backbone for all the crazy Horse songs.

Though such an impressive musician and composer. Nitzsche doesn't overshadow the others; they are all fine talents. Ralph Molina bangs languidly at his drums. so easy and calm that he creates a jazz mood in some of the songs: Billy Talbot per­severes stoically on the bass, putting down fairly uniform rhythms. adding a faintly (cowboy) western, happy trails feeling to the overall sound; Gib Gilbo adds a square-dancey fiddle to one cut, a song by Neil Young called "Dance, Dance, Oance": Nils Lofgren and Danny Whitten play guitars and do some really Eine songwriting; with a little help from friend Ry Cooder doing his usual astounding slide guitar thing. adding deminsion to the really rocking ( already mentioned ) "Crow Jane Lady", the hand-clapping chant "Dirty, Oirty' ', and stretching his talents further still on the soulful " I f)on't Want to Talk About It". The complete sound is polished, controlled early rock , that manages somehow to still sound spontaneous.

n anny Whitten, who does most of the vocals, deals with the songs in an easy, down-home manner, but with a fierce sincerity, a nasal twang, mountain grown voice interpreting sensitive lyrics with a beau tiful , burdened believability that neither strains nor rides on the music. His own songs a re ballads, vaguely reminiscent of Neil Young, not happy songs, but inspiring ex­citement through their simple elega nce and expansive un­derstanding . " I'll Get By" is simply a statement of how we all fit together: " I' ll get by, won't you? .... J get high, don't you? .. . T'm gonna die, aren't you? ... " And "T .ook At AU The Things": " Just give me time, oh precious time and I'D come home- But right now T gotta go, and I gotta go alone ... " And "Downtown", a delightful, skipping tune, belied by the lyrics which relate a horror , thJugh somehow less a horror since it's happened to most of us by now and seems almost a joke: "Sure 'nuff they'll be selling stuff when the moon begins to rise- Ain't it bad when you're dealing with the Man and the light shines in your eyes" .. And Nils I.ofgren's one con­tribution, "Nobody", a more personal. rather urgent message with a jumping beat that comes close to making you rise from your stoned stupor to dance ...

Kepp an eye on Crazy Horse. This is the time for their sound; they're likely to be an important force in the direction rock music is taking.

engineering is not satisfactory. The mike placement seems strange and unfocused, and the overall sound considerably lacks reverberation or depth. What results is an undersirable stale­dry quality in the orchestra. At least the pressing is clean though, with very little surface noise to disturb pianissimo passages.

"B · B BeeBee" y, y, The T .evel Three production of

"The Oays and Nights of BeeBee Fenstermaker," by William Snyder. was run a few weeks back at Salem College. Robert Murray directed this workshop with what. T feel, is less than total success.

To begin with, the play itself is less than a work of art. It is, in fac t . nothing more than a mediocre 1contemporary' drama which shows the slow decline of a girl's dreams of a career in writing. a nd her desire to make a name for herself. A subplot is awkwardly included , in the form of ReeRee's mother and aunt 'back home.' The work is too long and too low.

As for the acting, some good things are happening in Level Three. Mary Beth Zablotny was cast in what appeared to be the only well constructed character the author came up with, BeeBee. Rut she seemed a bit rushed in the piece. She appeared to run off dialogue in an attempt to stay under a three hour running time, or l~ keep up the pace, or something. She did well for so large a part, but I had trouble finding sympathy for the awk­ward girl with the shrill voice who seemed to be losing out on all sides. She made it difficult to be compassionate toward ~eeBee.

F.specially good work was done by F.nid Eisenstein. Although cast in a less than huge role as ReeRee's mother, her character of a middleaged country woman was very well executed. Even her sharp facial features made her

CONCERT

by ]on Thompson

right for the par.t. Also worth notice was Elaine

Rhinehart, who doubled roles, first as ReeRee's neighbor and then as ReeBee's Aunt Betty. As Retty she was. perhaps, a trifle loud.

The other characters included .Joyce Sulkov as another of ReeBee's aunts, Monty Macin­tyre as a Personnel Man, Richard Kaplan as ReeBee's lover­goofoff. and David Marshall as the rountr y Roy who has been kicked out of home and come to New York.

The whole job of producing "ReeRee" at Salem was crip­pling as they were kicked out every night at 10:30 and the set had to be removed.

Rehearsals there must have been difficult.

The set was interes ting, especially for a workshop. lt included three levels. The floor , which was BeeBee's apartment, a middle level for the interview office , and upstage in the back, a framed scrim which separated the audience and BeeBee from the ' folks back home.' It reminded m e of an old photograph one keeps on the dresser, and it helped the scenes.

The whole show ran almost two and half hours and had two intermissions. It was by no means a great show and in some respec ts, it was less than a good show. Rut " BeeBee Fen­stermaker" is the kind of thing most actors will have to wrestle with sometime or other. Level Three has had theirs .

Miss Nyro At Duke by Cortlandt Jones

The Duke University Student Unjon , Major Attractions rommittee, presented a living experience. l.aura Nyro. Saturday, ·March 6, at 9:30P.M.

The appetizer of the night was .leremy Storch. a Columbia recordin~ artist. Tn anticipating the hea dliner , the audience twiddled their thumbs the first half hour as Storch sang about nine unlively songs in a Donovian libratto voice. One, titled "Billy" (his road manager ). did appeal to me : " He is the only one who sees inside of me."

After a fifteen minute in­termission Miss Nyro appeared in two follow spot lights in a black full length skirt and frilly white off the shoulder blouse. Entering to center stage, she sat at the grand piano, complete with four mikes, and sang! Her deep love of life seduced the occupants of the indoor stadium with the wor-ds and music of her soul .

He r bellowing voice surrounded her followers as if it led them to water. Although water was something they did not need, what with the smell of

strong beverages and grassy smokes in the air , they were still ready t~ follow.

tiss Nyro gave such songs as "Stone Soul Picnic," "Stoney End, " ''Save The Country ," "Timer .'' and "Up On The Roof." Although "Roof" is not one of her works, her command of the piece made it so.

The li(lO dollar. rented. sixteen speaker sound system captured and released the same energetic, versatile. colorful, fl uid musicality tha t is heard in every one of her four albums, the latest of which is "C'hristmas and the Reads of Sweat." A small sound problem of · feedback prompted Miss Nyro to state, in a con­trastingly sm all speaking voice, her lack of mechanical knowledge and asked the sound man to " turn a switch or push a button ."

For the third encore she in­troduced a song, not yet finished , called " Do You BeHeve In Mother F.arth." This beautiful song and the concert ended with the words "She will hear you with wisdom and love. Peace to the world."

A paa1er k\t~

~ 1M.. Bo.k..~.t

au.