The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 117

section Desmond Ryan 2 Pop topics 3 Classical records 4 Going-out guide 6 4 Sunday, May 12, 1985 Ufa ftilabrfpfita matter entertainment art Using new anthology shows and old favorites, the networks draw fall's battle lines. By DAVID BIANCLLLI Virtuosity now plays 2d fiddle to scholarship The performer as great musician is being replaced by the performer as faithful translator of the composer's writings. oping the On television The networks have announced their prime-time schedules for the fall. The dust has settled. It's time, once again, to ask the TV viewer's annual question: "What's in it for me?" For the season just ended, NBC gave us another reason to stay home on Thursdays (The Cosby Show) and a reason to get home early on Fridays (Miami Vice).

ABC gave us a reason to stay home, too Call to Glory but took it back. Next year, the most impressive additions are on Sunday, Friday and possibly Saturday. If the networks don't blow it, this could mean there will be something worth watching on al- Fridays, and my VCR and I will be there for all of them. Another interesting move is the return of CBS's Saturday-night movie. According to CBS research, the Saturday-night TV audience is so different each week (kids one week, retirees the next, depending on who's got tickets to what) that it's difficult to build a loyal audience for a weekly series.

That explains why CBS's Cover Up and ABC's Finder of Lost Loves flip-flopped in the ratings each Saturday, and why neither was considered successful enough to renew. It also explains why NBC's Berrenger's (See NETWORKS on 10-G) suspense will tune us in most every night of the week, not counting PBS, independent stations or cable. This is good news. The best news is the sudden, overwhelming rebirth of the suspense anthology genre. NBC has Amazing Stones and Alfred Hitchcock both half-hours on Sundays, and CBS has the hour-long The Twilight Zone on Network Prime-Time Schedule '85-'8S Season CBS 60 Minutes Murder, She Wrote Crasy like a Fox Trapper John, NBC Punky Brewster Silver Spoons Amaiing Stories Alfred Hitchcock NBC Sunday Night Movie ABC WglejBelievelrNot JjJjvvJ ACundvJjighMovie Shaded area indicate new teriet 7T.

IfiW HIE mm Newhart CBS Kate Allie Cagney Lacey Scarecrow It Mr. King TV Blooper Practical Joke NBC NBC Monday Night Movie ABC Hardcastle McCormick ABC Monday Night Football CBS Hometown CBS Tuesday Night Movie Alfred Hitchcock A rebirth of suspense NBC The A-Team Remington Steele Riptide Who' the Boss? ABC Drff'rent Stroke He' the Mavor Crowmq Pains Moonlighting CBS The Equaluer Ceorge Burns Comedy Chaitia tii Company Stir Cry St. Elsewhere NBC Hoi! Town Highway to Heaven rrr" "i Hotel The Insider ABC Dynasty Simon Simon CBS Knots Landing Hill Street Blues Court Cheers NBC Night The Cosby Show family Ties 2020 ABC Dynasty ft: The Colby The Fall Guy Falcon Crest Dallas CBS The TwBight from Miami Vice NBC Misfit of Sclwwe Knight Rider JMromthmer Mr. Belvedere family Honor Benson ABC Webster CBS Airwolf CBS Saturday Night Movie Hunter The Gulden Girls NBC Gimme a Break! The Fact of life" Steven Spielberg Creator of 'Amazing Stories' The Love Boat J.G. Culver ABC Hollywood Beat By Michael Kimmelman Inquirer Music Critic For many listeners, violinist ltzhak Perlman, who performed in recital recently at the Academy of Music, is the definition of a great musician.

They would agree with Franz Liszt, the archetypal virtuoso, that "virtuosity is not an outgrowth but an indispensable element of music." Liszt's thoughts reflect, in fact, a longstanding and widely held notion about musicianship: Virtuosos such as Perlman or pianist Vladimir Horowitz are the standard-bearers of the musical elite. But lately there appear to have been subtle yet undeniable shifts in those standards. Many record buyers no longer gravitate toward artists like Perlman or Horowitz, and there is even a sense of reluctance today among many young musicians to be' labeled a virtuoso. Their hesitation says quite a bit about the way musical ideals seem to have changed in the last few years. The term "virtuoso" itself has evolved over the centuries.

It is defined in the Harvard Dictionary of Music as "a performer who excels in technical ability; sometimes, one who excels in this only." But that is somewhat misleading because it is only a recent interpretation of the word. "Virtuoso" comes from the Latin virtus, meaning excellence or worth, and for a long time it designated anyone distinguished in an intellectual or artistic endeavor; with musicians, it more often applied to a composer or theorist than to a performer. But, as Owen Jander notes in the New Grove Dictionary, with the growth of opera and the instrumental concerto in the late 1 Sth century, the term began to apply most often to a solo performer. And by the 19th century, it took on the connotation of a performer with what Jander calls "exhibitionist talents." Many musicians of the time looked askance at such talents, insisting on more than mere technical prowess. Wagner said: "The real dignity of the virtuoso rests solely on the dignity he is able to preserve for creative art; if he trifles and toys with this, he casts his honor away.

He is the intermediary of the artistic idea." The German expression Virtuosenmach-werk, meaning a routine work of showiness, was one of several that arose from the term's less positive implications. Yet the emphasis during the last century and much of this one on the performer, not the composer, as the focus of attention made the virtuoso a kind of heroic model. Players were expected to elaborate on and make changes in the works they played, (See VIRTUOSO on 11-G) i.iiiii. inimumiiwiyuk VVimmfrmnm -Mim immmiii mm. iii i i I i i i -t -i mm.

ill if. At Cannes: Films, of course, and lots of hype With an estimated journalists from 115 countries on hand to cover the festival, the publicity machine is in high gear. 111 1 Inside By Rick Lyman Inquirer Stall Writer CANNES, France "Excuse me, would you please sit down? We cant begin until everyone has been seated. Mr. Kingsley is here and will answer all of your questions.

Please, be seated. We're about to begin." With grumbling acceptance, the reporters, photographers and television crews scatter to whatever seats are left in the Carlton Hotel's elegant restaurant. The media encounter has not even begun, and already the room looks like the aftermath of a wedding reception. Press aides flutter through the crowd attempting to establish a sense of order. But at the Cannes Film Festival, which began on Wednesday and stretches until a week from tomorrow, order is an alien concept.

Along one side of the plush room, a buffet has been erected and loaded down with arrangements of smoked salmon, steamed shrimp and caviar. Waiters scurry about, carrying bottles of Bordeaux. The room is a marvel of ornate molding, glorious chandeliers hanging from golden cupolas and rich, rosy marble sliding gracefully up the walls. Its elegance makes the presence of the rickety movie screen that has been erected in one corner even more incongruous. We're going to have a slide show as soon as everyone sits down.

Associated Press The exhibition by the Clay Studio, a volunteer nonprofit organization in Old City, is reviewed by Edward J. Sozanski. Page 12-G. CASTING Darlcne Love in the Broadway musical Leader of the Pack was a smart decision, Ken Tucker says. Page 3-G.

LAST-MINUTE CHANGES by televi-sion stations update The Inquirer supplement TV Week. Page 10-G. Harrison Ford (left), Monaco's Princess Caroline and French Culture Minister Jacques Lang chat after Witness' screening Wednesday troHtPrt tn a taned interview with available to be seen. Rather than "Would you all please sit down? ley. looking tan and satisfied, strides "JS tajon hold a new conference whose ques- Youf Sit there, please.

All right, don't forcefully into the glare of the televi- SSSS. tions would focus on previous work stand back up. aim. ine Dan ot cnairs set up a Persian Gulf potentate the prerecorded presentation to en- A distant rumble in the hallway corner of the room, where Kingsley Sct) fo? sure that Atom gets its due. signals the approach of the guests of was to have sat.

is now forgotten TV n8s'ev' naps lor mmm iQ aH Qf honor who burst into the room monitors set up In various locations ihrough a sde entrance Ben flicker to life and the crowd is The film, in post-production, is not (See CANNES on 9-G) The city is the better for the Lits struggle Ml 1 XT 1. I a ii ii: 1 1 1 1 i 7T r-, ftt rit i I 11 ii ii j- -jr ox: in. (Mill tH" mm him! HviNiN tram 3 ation of 19th-and early 20th-century storefronts was to make it into a bus station. When that deal fell through, and fire officials declared the old department store a menace, it looked as if, this time, Lits had had it. Few who had devoted so much energy to keeping the building from being razed liked the idea of a bus station, but it seemed better than a large vacant lot.

Lits is one of Philadelphia's longest-running melodramas, and such stories have to have positive twists to balance off negative ones. For the last several months the news on Lits (See LITS on 12-G) By Thomas Hine Inquirer Architecture Writer Before I went on vacation last August I wrote a column that never appeared in the paper. It began: "Barring another miracle, Lits will disappear bit by bit over the next few weeks, and only memories and a few odd fragments will remain." That was a pretty good sentence, and I hate to let good things go to waste. Nevertheless, Lits is still with us, looking decrepit but still pregnant with possibility. One should never bar miracles.

It seemed last summer that the final hope for that fine old agglomer 7 A section showing the interior of Lits, north side, as proposed by the firm of Kieran, Timberlake Harris.