Chicago Tribune from Chicago, Illinois • 18

Chicago Tribune, Saturday, November 11, 1978 MOTION PICTURES 1 it. Run Chlcogoland MOTION PICTURES lit. Run Chlcogoland MOTION PICTURIS lit. Run Chicagoland MOTION PICTURES tat. Run Chicagoland MOTION PICTURES 1st.

RurrXhicagoland MOTION PICTURES 1 ft Run Chicagoland tW Mi il I 333ir mum Slatkin rummages too (Jeep in his mixed bag Section 1 17 1 Ktvjk 3IK Now Showing WOODS BOLINCBROOK BREMEN CENTURY DEERBROOK MlflnlbHI IHOn NIGHTLY) DIANA EVERGREEN HILLSIDE LINCOLN VILLAGE Hmanirim 111. Inrfm Pl 111 1100 ttilhil42U Ck.tMl .114 IMT. PROSPECT CINEMA NORRIDGE YORKTOWN DUNES PLAZA Mt PiogcV3 TOTS NtMt4M BOOB Ltmt)4lt-Mt0 6rv. In177 It 111 tTOO 4. -a.

IMA.NIfll.WOir rwtiirwi-i tiVumtuMlfmit A IUAN UOTO PRODUCTION Of AN ANOUW MrtAOJNMM NiiiiMltiiitiiRf.iii.MRiiifiia. I RICHARD i 1 RQCER HARRIS RICHARD MOORE BURTON HARDY KRUGER "THE WILD GEESE" RMTOmr HAMIFINtAV FtAIKV FOIft IONA10 CflAUI KFMNf TH CWflTH PUHNKANI 0AVHHA0O tOMilNDUOVO WINS ION NtiHONA LACKWAttON STEWARTGRANGER kwmpia UCWAtO KHI who on thi mkm tii came? ffsn 9 MAO THI IANIAM lOOk PftOOUCtttnlUANUOVO MtflDnANMEWVIAttAClfN I IWMlnrWIXIIOllt1HllU1(l euMtfuot ITPEmiEEZEH (tTOOSEVElT tfARLlNGTOfP (BREMEN DORAL) VawmlniOlcn.j VfcllnoW Wtf TIMe hi lLwni I ELMS CjCiNCOLN MAU ('TRADE WlrnKTOVVrT) the austere majesty of this music. Its formal concentration and lack of strong melodic profile can make, and have made, the symphony seem a ponderous bore. Slatkin, however, obviously believes in the score and knew how to scale its windswept climaxes convincingly, with plenty of intensity in the strings. IF THE SIBELIUS- Is patiently the handiwork of an old master who knows where he's been, the "Jeremiah" Symphony is obviously the work of a brash young man who knows where he's going.

Parts of Bernstein's 1942 essay are undoubtedly dated, and the Copland derivations are all too prominent in the fast central movement. But overall the piece wears its age with rather more grace and dignity than many an American work of its vintage, and it was good to hear it again, especially in a reading that was fiery and spirited and right to the point. Once again Slatkin proved his flair for the so-called middle generation of American composers. His performance, a homage to the composer in his 60th birthday year and the first ever at these concerts, enjoyed the not unestim-able bonus of Claudine Carlson's intense and lustrous mezzo soprano in the dramatic Hebrew "Lamentation" that concludes the symphony. Though it had also been intended as an homage when this program was originally announced, Slatkin's account of the Chavez symphony turned out to be an elegy to the great Mexican composer who died Aug.

2. It Is hard to resist this spirited synthesis of Mexican Indian folk themes and rhythms when played so well (the percussion players by themselves have a wonderful time with it), and Slatkin kept it dancing along with such heady excitement that it drew a resounding of appreciation from the audience. ERICH GRUENBERG, former con-certmaster of the London Symphony and Royal Philharmonic orchestras, was the guest recitalist on Wednesday afternoon's Dame Myra Hess Memorial Concert at the Chicago Public Library Cultural Center, and proved how well founded is his violinistic reputation with musically astute add sensitive readings of works by Leclair, Bartok, and Bloch. Steven Gathman was the capable accompanist. Particularly memorable was his account of the Bartok Solo Sonata, played with tremendous virtuosity that never called attention to itself but always illuminated from within Bartok's gnarled, musically abstract By John Von Rhein Music critic COHERE WAS CAUSE to worry" about Leonard Slatlrin Thursday night in Orchestra Hall.

We all know he loves to put together symphonic programs that combine infrequently performed music in unlikely ways. And we all know he takes a great deal of relish in proving to all doubters that these unlikely mix- hires of unrelated music really can work. But for this weekend's subscrip- tion concerts with the Chicago Symphony, the guest conductor is giving us a lineup that includes three count 'em, three 20th Century symphonies, not a single concerto or solo work, and a throat-clearing diversion by Mozart. Nothing is related to anything, at least not on the surface. Has the man, one wonders, gone too far this time? There were long stretches Thursday when this listener was forced to con- dude that he had.

Even when separated by an intermission, the Sibelius Seventh Symphony and Leonard Bernstein's "Jeremiah" Symphony added up to too much neo-Romantic breast-beating for these ears a surfeit of sound and Big Statement. It could also be argued that Carlos Chavez's wonderfully peppery "Sinfonia India" supplies enough catchy rhythms for one program without the redundancy of the jazzy "Profanation" movement of the Bernstein. A clear case of too much, too many times over. BUT IP SLATKIN'S proved on the whole a less satisfying and coherent mix of music than the program he had conducted the previous week, it was not without interest. No Slatkin performance can be considered boring (even when superficial, as some of them are), and when the Chicagoans deliver the kind of bright, attentive playing one heard Thursday, trespasses are easily forgiven.

Well, most of them, at any rate. There really wasn't a great deal to savor in the opening Mozart "Serenata Notturna," K.239. The reduced string body (with tympani) conversed blandly with the concertante string quartet (has the spell of Salzburg in August worn off this while Slatkin conducted without much sense of the music's lightness or charm. This is the sort of work that cried out for, but did not receive, the stylish caress of a Carlo Maria Giulini. Then came the Sibelius Seventh, and Slatkin roused himself and the orchestra to a reading that missed no iota of THE CRITICS AGREE DREYFUSS HAS DONE IT AGAIN.

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