Democrat and Chronicle from Rochester, New York • Page 92

PasaSZ ROCHESTER DEMOCRAT ANT) CHRONICLE Sunday, Febnray 16. 1975 Changing times at Eastman School of Music "I euess that it's the responsibility of the Eastman School to be the best possible school of music in Rochester, New York that it can possibly be. It has a very distinguished faculty. Iff up to me to make sure that it remains so," Freeman said. "We have a lot of competition from a lot of other schools.

We are a national institution and our responsibility has been for the development of the education of musicians in the whole of the United States. "It's important that the graduates of the Eastman School be strong as performers. That's been the case in the past and it will continue to be the case." because he faces the question: What is the role of a music school in the 20th century? "Bob has this philosophy of being the devil's advocate. If you told him Beethoven was a better composer than Cecile Chaminade, he would say, 'Now wait a minute, I think Chaminade Sometimes it gets him into trouble. "I don't mind if you quote me on being on Bob's side.

If you gave me the chance, to replace him today, why I don't know whom I'd pick. I have no idea. Bob is very bright and he's searching for the solutions to the problem." The "problem," as Freeman has often stated it, is: how best to educate the musician of the future? And: what is the role of the Eastman School of Music of the University of Rochester? Beglarian said. "They made quite a serious offer, a very attractive offer, but it came at a time when we were doing many things here. I would have let a lot of people down if I had left." Beglarian is 'in his sixth year at USC.) Freeman heard of the opening at Eastman while in Boston at MIT.

He wrote a letter to the committee searching for a successor to Hendl. (Daniel Patrylak, the school's assistant director under Hendl wanted the job, sources say, but was turned down. "FREEMAN was recommended by a number of people," said Samuel Adler, chairman of the composition department and the search committee now on sabbatical in Vienna. "He happened to write me a letter. He did not write that he wanted the job, but he expressed his ideas on how a music school should operate." Other members of the committee interpret that as wanting the job.

In the interview, Freeman denied that the committee had asked him his opinion of whether the school should move closer to the UR River Campus. But Donald Gaudion, Chairman of theBoardof Trustees of the University, said "we talked at length about the move with all the candidates for the job. Bob was very open-minded about it." Hanson said he doesn't "have the questions that some do" about Free-man's discharging of his job. "I think the school is going along the same general path it always has. Any dean or director of a school of music has a difficult role, Continued from IE downtown in his remarks, and said, "I acquire an unfavorable reaction to the blunt statement that what may be a boon to the city is a disaster for the University.

"The Eastman School is committed to the training of professional musicians. The main focus of its activity within the University must be in that direction. To the extent that it is possible to provide courses of enrichment in music for the non-music student, we shall be pleased to do so. However there are many departments and schools of music within universities that have as their main philosophy the training of students in music within a liberal education. "The music profession in the future will be dealt with in terms of quality of the performer rather than quantity.

It is to this purpose that the Eastman School of Music feels it may best serve the University of Rochester I am dedicated not. in the vernacular, to the common man, but to the uncommon talent" HOWARDHANSOM.Hendl'sprede cessor, considers himself a Freeman backer. When he first took over the fledgling school, Hanson realized that "the schools at which you could study compositionandhistory andperform-ancewereveryfew," andhedeter-mined to make his school such a place. George Eastman gave him complete control, and as time went on and the school became established, there was no one on the River Campus to obstruct Hanson's wishes. Now there is another young director at the school.

Freeman is 39 he was unknown, a professor of music at the Massachusetts Institute of Technology, when he got the job. Grant Beglarian, the dean of the Performing Arts at the University of Southern California turned down the job before it was offered to Freeman. had artistic commitments here," the question of "The TOMORROW: Move." Jiffs' 11 1L1 Peter Fa Ik as Columbo questions Richard Basehart and Honor Blackman. WASMINdJTOI'OX THREEpgf NLY SALE! SAVE iilABULOUS FUR FAWipNS NOW fit 'V I'll 'A vi AT IBIEY'S FALK- THE UNLIKELY ACTOR John used to work all the time. I'nj not saying he wasn't good.

I thought he was very good. I just didn't understand why some of it didn't come my way. Then I must have heard somewhere that a guy named Cassavetes had a workshop here in New York. Then I heard about a picture called "Shadows." That was his first movie, and it was long before the French guys did it and it became a whole thing, the New Wave. And he was dealing in civil rights 20 years before they started making pictures about the blacks and the whites.

So he was ahead of Martin Luther King. But I still didn't know John. What happened was, Elaine May wrote a screenplay that I was very impressed with called "Mickey and Nicky." And we were talking about it one night. And my wife Alyce comes from Port Washington, N.Y., and she went to high school with a guy named John Cassavetes. Did she know him? FALK She had dim memories of a guy who used to cut in on everyone when they were dancing.

(Laughs.) And she thought John would be wonderful in this part. So on the strength of that we decided to ask him if he would be interested. We went to the Paramount commissary to talk with John about this picture. Now I'm not saying he wasnt listening when I was talking. I guess he was.

But I also have to feel he had something else in his mind, because when I got done and asked him if he woulddo 'Mickey and next spring.) I was surprised because he never asked to read anything. And then he said, "But I want you to do a picture." A picture called "Husbands." So apparently, independently we were thinking of him for "Mikey and Nicky" and he wanted to make his picture with himself, Benny (Gazzara) and me. So "Husbands" was made first. And that was the beginning of the relationship. But I didn't have an affinity for his work.

I hadn't seen "Faces" or "Shadows." But I always found John interesting. Has your manner of speech which is such an advantage in roles like Columbo ever held you back in your career? FALK: I've never allowed my diction to interfere. I always felt uncomfortable trying to speak any other way than the way I speak. Just like I feel uncomfortable dressing in another way. So I just do it the way I do it.

As an actor, you can't always be the same. In the beginning and even now, I suppose, if I'm called upon to play another part I do it. But I'm not gonna abuse it. Are yon planning to direct? FALK: Yeah, I'd like to direct sometime. I directed one "Columbo." I don't know if I'll direct another.

But I like to direct. I don't rush unto anything. It took me eight years to get married. (Laughs.) Took me until I was 25 or 26 to become an actor. So I dont rush.

So if you see this old guy (Laughs) directing. They're helping this old man and they point to the camera and they say it's over there, that'll be me. Continued from IE crazy about her, I know I am crazy about her. And I'm also crazy. It's a strain to be with this woman.

The guy's got a lot of responsibilities. I mean, he takes the responsibility of supporting that family very seriously. He's gotta work. He money, he's gonna support the kids and his wife, he dont slough that off. But he's gotta support her in ways he don't know how to do it.

But he's willing to do that. He's trying to manage the kids. Didn't the problem with his mother compound things? FALK: I'll tell you, Italian mothers you gotta put in your time there, too, with an Italian mother. And Jewish mothers, maybe all mothers. But he takes that seriously, too.

When his mother doesn't feel well, she calls him. On the phone he says, "You want us to come over, ma? What is it, you ate fish? In a Hamburger Heaven you ate fish? What's the matter with you?" He's got a million problems. The whole thing is tumbling down. He's gonna run over there. Now Idon'tknow whether he's trying to avoid the problem at home running over to the other problem over there.

But he has taken on all these things. I love him for that. He's worried about everybody. Now he don't even know he's in trouble. He's in such trouble, this guy, at the end of the picture he's running around like a crazy person.

He don't even know who the hell he is. Some havedescribed It as an Archie Bunker situation. FALK: See, that's what I don't understand. (Long pause.) This man's emotional vulnerability has nothing in common with what these people are talking about. His commitment to have her, to keep her, despite the fact he doesn't know how to do it He's at such loose ends without her in the house.

I wanna tell you, a single man, that category of the population, is in the worst trouble of all. I just read an article about it in Commentary. They live, they die quicker. They drink more. They're more mentally disturbed, susceptible to all kinds of diseases.

The criminal rate climbs. There's no forward motion job to job, city to city, going around in circles. Single women can handle it much better. So you can see what happens to this guy (Nick, in the film) when she's sent away. He don't know where to turn.

He's grabbing the kids, he's running along the beach he's crazier than she is. So when they say about an Archie Bunker, I think that that kind of emotional vulnerability that he has, his preoccupation with his love for his wife and his need for his wife, I don't think that has anything to do with Archie Bunker. How far back does your association with Cassavetes go? There seems to be an affinity for his work. FALK: I remember when I first started acting there was this guy on television that was on every week, that's all I remember. I kept thinking, why is he on every week? (Laughs.) This was during the early flourish of live television, and orig.

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