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Chamber players to perform 'tranquil' music
By Val McPherson
Chamber Music has been defined by Nelson Potter
of the Lincoln Friends of Chamber Music as "a
classical type of music for three to ten instruments,
the prime example being a string quartet."
It would seem that chamber music, with its strong
connotations of tranquility, would be immune from
the turmoil of modern society. This has not held true
for the Lincoln Friends of Chamber Music's annual
semi of concerts.
Their first concert for the 1973-74 scries, featuring
the Tel Aviv Quartet with clarinetist Yona Ettlinger,
was canceled because of the Middle East war. The
appearance of the Czech Chamber Orchestra which
was scheduled for January 25 now has been cancelled
by the Czech government.
Fortunately, the Lincoln Friends of Chamber
Music should not be plagued by international strife
for their concert Saturday night. Starting at 8 p.m.,
the music will be provided by the Lincoln Chamber
Players.
Local artists who play chamber music requiring an
unusual combination of instruments comprise the
Lincoln Chamber Players. These local artists include
soprano Emily McKnight and two instrumental
groups, the Sheldon Trio and the University of
Nebraska Faculty Woodwind Quintet.
The Sheldon Trio includes UNL Prof. Arnold
Schatz on violin and Nebraska Wesleyan Profs.
Dorothy Lewis on cello and Cary Lewis on piano.
Lewis will be the pianist for the entire program.
The University of Nebraska Faculty Woodwind
Quintet is composed of UNL Profs. David Van de
Bogart on flute, Robert O'Boyle on oboe, Wesley
Reist on clarinet, Gary Echols on bassoon and David
Kappy on French horn.
The program for Saturday night includes Haydn's
"Trio for Flute, Cello and Piano," arias from Handel's
Bracket' Passion, two chamber works for voice and
instruments entitled "Panis Angelicus" by Franke and
"As It Fell Upon A Day" by Copland, the "Elegiac
Trio" by Rachmaninoff, the gavotte and finale from
"Sextet for Winds and Piano" by Thuille, and
Poulenc's "Sextet for Winds and Piano." The
Poulenc piece has been described by Nelson "as one
of the most cheerful pieces of music ever written."
The Lincoln Chambers Players' concert will be held
in the Sheldon Gallery Auditorium. This is an ideal
location for chamber music, as the acoustics are
superb and the seating capacity is approximately 300.
The Lincoln Friends of Chamber Music is
composed of the 300 people who buy their series
tickets each year for $15. There will be a few tickets
for the Lincoln Chamber Players concert available at
the door Saturday night. These will sell for $3 to the
general public and to students for $1.50.
Successful
play weak
as film
greg iukow
i
lieu on
Of the tnree American Film Theater presentations seen so
far in Lincoln, Harold Pinter's The Homecoming is the best
example of theater that is "on film," rather than "a film."
The movie is a harsh, love-hate battleground, a cruel game
between men and a women in a lower-class London family.
Pinter's characters are laughable, dispicable, and unreal, but
they are fascinating nonetheless.
He has said that many of his characters insisted upon being
created. "You can pour a drink, make a telephone call or run
'round the park, and sometimes succeed in suffocating them.
You know they are going to make your life hell. But at other
times they are unavoidable and you're compelled to try to do
them some kind of justice."
The old man (Paul Rogers), his three sons (Michael Jayston,
Jan Holm and Terence Rigby) and the woman who invades
their all-male home (Vivien Merchant), all are characters that
seem to cry out for creation, even though at the end they seem
headed for nothing but mutual self annihilation.
But The Homecoming on film has little that could improve
on the stage version. The bland, repetitive small talk between
Jayston and Merchant ("I think I'll go to bed now." "Why
don't I fix you a cup of tea?" "No, I think I'll go to bed.")
may servo a Pinter purpose, but it quickly becomes ridiculous
on the screen.
Other scenes, especially those where Merchant begins to
play the male game in a cold, lifeless sexual display, cry out
for action and a release foi a spellbound, but uncomfortable,
audience. Film here accentuates and makes noticeable the
neagative of what could have been a forceful positive.
Looking back with an overall perspective on the Lincoln
movie scene this past semester, it seems to have been generally
a mediocre season, but not one without very definite bright
spots.
Sheldon's Charlie Chaplin series was the biggest highlight for
me and, judging from a general response, for a lot of other
people as well.
As far as downtown films are concerned, Bertolucci's Last
Tango in Paris, in my opinion, looms above everything else as a
brilliant cinematic achievement. O Lucky Man,Electra Glide in
Blue and The Long Goodbye were three other personal
favorites. The American Film Theater showings, largely
because of the material they are taken from, also have given us
some excellent oTTerings.
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Carols . . .
Continued from Pago 1
"Deck the Halls," "The Virgin
Mary Had a Baby Boy," and
"God Rest Ye Merry
Gentlemen."
The Women's Chorale will
begin with "Nova, Nova, Ave
Fit Ex Eva," a modern
Christmas work by Williametta
Spencer.
J.S. Bach composed the
second piece, "Duet from
Cantata 78."
Randall Thompson's "The
Place of the Blest" is a modern
nativity piece. It has four
movements which tell of Christ
in literal, allegorical and openly
theological lyrics.
Accompanying instruments
will include guitar and cello as
well as piano. Ray Miller is the
director of both the Glee Club
and the Women's Chorale.
Sunday's concert is free.
Oker
--t.
i Ail
BECAUSE WE'RE ALL
IN THIS TOGETHER.
page 6
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daily nebraskan
friday, december 14, 1973