The Minneapolis Star from Minneapolis, Minnesota • Page 4

THE Ml.WT APOLIS STAR Tups Oft 19.197 n.Minwif i. ji iiiiiiiii iii i miayi i mil i TOjra iiwujh Health News Idea Explosion' Aimed At Workers' Injuries ,1 In i -T I I II CY'S 4y- ANNIVERSARY Freshness of witty, gracious Boulez is hard to surpass "The pace modern day such that an of oukS iving ti mjuredj is tore A frequent participant in seminars, we asked Dr. Bill Ashford, of the Columbia workingman By BRYON BELT Newhoui Niwt Service tteignts Clinic, what he thought to he the important benefits that could be derived from the type of shford Dr. 1 XI if quickly forgotten ir wt, can't get him back org his job and at peak effiJ cioncy. I've heard of too manv fellows who losfiS their position and evetfj their job because thejg had been laid up by job-connected injuy Many voiced thg opinion that Dr.

Ash ford's 'track record' ir caring for on-the-job injuries is one to he ad mired. "The workingmart needs the best det serves the best if hdd is hurt on the job and therefore I will go any where in this country to exchange ideas withfi others; to share anrjj learn so that I can know the most advanced methods and science outf; profession has to offer. "When a fellow comcsJ to me from an on-the job injury he expects to give him the best pos-' sible care so that guided by the most knowledge I can get hirrjg back on the job quick. lv," continued Dr. Ash ford.

"I'm not about betray that confidence." The first Boulez encounter was performed by an ensemble of Philharmonic artists, with the conductor serving as moderator. A well-balanced audience of the hip and square sat in bleachers, on the floor, and generally relaxed, absorbed and participated. The session lasted from 7 pjn. until midnight long, we'll shorten them an hour in the Boulez cannot seem to refuse challenges to move forward. "Our current obsession with nostalgia is a sickness.

We should seek to preserve less (actually, of course, an age such as the 18th century was very much worse than good) and we must create more." Hopefully, his quiet reserve and gentle wit will not preclude a large public from discovering the creative genius as well as the humanity that lies within Pierre Boulez. As Hubert Saal has quoted the conductor, "I'm a great friend of mankind, but not of men." Such a friend was never more needed than today. research seminars he attends. "There would be absolutely no purpose in attending a convention or seminar If my patients were not to be the ultimate beneficiaries," said Dr. Ashford.

"The leaders of our profession are currently involved in what you would call a virtual 'idea expolsion' concerning effective treatment of on-the-job injuries. "Let's face it," said Dr. Ashford, "we've got to get the fellow that works on a day-to-day basis back on the job as quickly as possible if he is injured and therefore temporarily removed from that job. SUITS SPORTCOATS SHOES FURNISHINGS Save up to 50 on merchandise from our regular stock of nationally advertised famous brands LOOK! N.E. AREA'S 36 HOUR SHOP SERVICE Sale on Oct.

20 Through Oct. 23 OPEN WED. THRU FRI. NITES 'TIL FREE ESTIMATES Bring 'em in! NEW YORK, N.Y. So much has been written about Pierre Boulez (including the last issue of Newsweek's cover story) that it seems hardly essential to add to the current volume of words.

Yet, in several national-1 televised interviews, and in the overwhelming bulk of what has been written, Boulez emerges as a rather formidable creature a scholarly, serious man, and a great musician. That tells only a part of the story. In person, Pierre Boulez is winningly wan, witty and gracious. His easy smile is in striking contrast to the somewhat forbidding concert hall demeanor he perhaps unconsciously assumes in his concentration on the challenges at hand. While the conductor clearly realizes both the seriousness of the world today and his own role as the champion of a viable present and future for music, he is not the pedantic intellectual machine even some of his admirers would make of him.

It is not in the nature of Pierre Boulez to gush over music or people. His one musical aim is quality, and audiences everywhere will have to learn to really dig in and listen when he conducts. If Boulez' hips don't convey the sort of visceral superficial excitement favored by some podium starlets, however, his music itself emerges with a freshness and excitement rarely matched in our day. Boulez is an innovator, to be sure. But those who expected that he would transform the Philharmonic into a wasteland of avant-garde activity are in for a surprise.

Boulez remains a revolutionary figure indeed. Yet he has "no desire to cause subscribers to shut their ears entirely to future adventurers, by a constant shock of contemporary scores." As a matter of fact, Pierre Boulez the conductor is extremely reticent about promoting Pierre Boulez the composer in his new positions as music director of both the Philharmonic and ondon's BBC Symphony. BankAmericard Ljt-jJl 'Blow-up' studied ENGLEWOOD CLIFFS, N.Y. In "Focus on 'B 1 -U p' editor Roy Huss reawakens the reader's memories of that film through analysis, photographs and commentary by international film critics. It will be published by Spectrum Nov.

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Eve. 'til 9 FREE PARKING AT REAR OF STORE PIERRE BOULEZ "By avoiding my own music, for the present," Bouluz notes, "I'm free from pressure in selecting the works of my contemporaries for introduction to the public at large." The New York Philharmonic season reflects several Boulez innovations. Having a sufficiently wild reputation to make him free to act with caution, Boulez does not fear the charge that the concert hall is a museum. If it is, he implies, so be it "Let's just be sure it is a good one!" Boulez has planned for his first season "retrospective" surveys in depth of the music of two noncontemporary musical innovators, Franz Liszt and Alban Berg. Next year's composers will be Haydn and Stravinsky.

"Adventure" and "Perspective" are two words that creep into Bou-lez's conversations frequently. Both are important to another new feature of the Philharmonic season, a series of four "prospective encounters" in the informal Greenwich Village setting of Joseph Papp's New York Shakespeare Festival Theater. For his encounter events imply something terribly structured and 19th Boulez stresses music that will be new to most of the audience, and the high quality of its presentation. "More harm has been done contemporary music by inadequate dilettantism performances than even by public neglect," notes the conductor with a vehemence that betrays his determination to rectify the situation. SMO-CUB SNOWMOBILE 1970 EST.

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