The Observer from London, Greater London, England on September 24, 1967 · 24
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The Observer from London, Greater London, England · 24

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24 The Arte THE OBSERVER REVIEW, 24 SEPTEMBER 196J ROYAL FESTIVAL HALL General Manner: John Denison. CB.R. -r- i LONDON !naarda SymnhotiT No. 101 ta D T i PHILHARMONIC ,L.,.D c.rt Jascha Uoremteiii Beethoven Symphony No. 5 In C minor sePT- Ida Haendel 8 p.m. 15!- Ill- (ail other cold) London 'Philharmonic Orchestra Ltd Thun, NEW PHELHARMONIA ' "".rN2(i.D" 3 28 Orto Marta Ghilhsl Dvorak Symphony No. 7 to D minor Sept. Ambrosia ii SLnsen P-m. s'rv Phflharmonux Orchestra Ltd 13- 21 15- 10- 7 Fri. London symphony p" SonTaT 2Q . . . Copland Dance Symphony Aroa CtfDUnd Tlppt1 Concerto for Double Strlni Sept. Orchestra g CopJand Symphonic Ode P11 London Symphony Orchestra Ltd. ,', 15. 126 7'6 Sat. 1AIX CONCT T, Mrn,rd FSrc1Aelt,-AB,ertt" The CbLrk TcfT7-Bob Broofcmeycr Osteite Sept. TOP BRASS Tbe Doc Cheatham-Reony Moftoa Qniotet - The Nat Pierce Trio with 6.15 and jakc Haniu and Eddie Jone 9.00 p.m. Barld Pulton Ltd. 21-, .6,-6, 1.W6. 106, Bf-. Bergman's tantalising treasures QUEEN ELIZABETH HALL Today 24 Sept. 7.15 p.m. SHURA CHERKASSKY (piano) JENIFER EDDY (Soprano) PAUL HAMBURGER (piano) Piano Music fay Rameaej, BcelltoTeii, Chopin Arias by Mozart, Detlbea, Meyerbeer, Henbeixer, Johaab Strancn M- 42- 21- Jn aid of the JNF Charitable Trust t Friends of A KIM Monday 25 Sept. I ti n m. 'J Detday f 2fi Sept. I 7. 4 f p.m. I GEETA-GOV1ND A Daoce-Irama by Jaya Deva Dancers of (he ASIAN MUSIC CIRCLE Choreographers and principal dancers : Krishna. Ro and CfaaodralriMta Deri Tl - i.1- - LP 7:6 5-- Allan Music Circle iL,tC GROUP OF LONDON Mozarl : Clarinet Ou Intel ic A. K.58J R. Straws t Sonata In E Hat Cor vioHn and piano, Op IS Brahmi 1 Horn Trio in E Hat. Op. 40 21 - 15 - 10.- 7-6 fbbs & Tilirtt Ltd. 37 Sept. 7.45 p.m. NEW CANTATA ORCHESTRA OF LONDON JAMES STOBART conductor) Janet Griffiths. Mark Knisht. Harold Lester. Bach : Brandenburg Conceno No. 5 Mozarl t Symphony No. 29 Berfcekr t Serenade for Strings Haydn t Symphony No. 44 tTrauerl 21 - 15- 10- 76 New Cantata Orchestra of London Ltd. Tttartda; 1 Sept. 7.45 p.m. PETER COOPER Piano Reef La L Bach btt. Harriet Cohen t Beloved Jesu, we are 4iere ; Moxart 1 Ten Variations on a Theme by Gluck, K.455 Bax 1 Sonata No. 2 In Q RachnaaolooT : Ten Preludes. Op. 23 15- 10- 76 Wilfrid Van Wyck Ltd. Friday 19 Sept. 7.45 p.m. A TRIBUTE TO GREEK ART London Philharmonic Suing EtuemUe. Demetrtoo. John Williams. G. Pludermacber : Readers Ashcroft. Diamandopoulos. Jackson. Rise, Rodway, Square. Stride, Theodoralris boazouU uoup 42- 307- jV. London Group for Restoration of Democracy tn Grtm PURCELL ROOM Tnewsstj 1i Sir. 7.30 JOHN BINGHAM Piano Recital Hardn i Sonala in F Frokoder i Sonata NoTi In A. Op. 82 Cbopln 1 4 Etudes from Op 10: Ballade No. 1 In O mtnor. Od. 23 John Batten : Rasra No. I (1st pert.) Debossr t 5 Prehidea (Book 2) 126 10- V- Jbbs & Tmtt Ltd. Wednesday 17 Sept. T J pia. MURRAY KHOUItl (cJnrtnet) DAVID BOLLARD (piano) Weber i Gram Doo Coocertam Ireland t Fantaay-Sonaia LntosuMnki : 5 Dance Preludee SeBer I Andaiulno Pastorale DebnBT : Petite Piece Brannu t Sonata in F minor Op. 120 No. 1 15- 10- 76 5- Helm Smntnts Concert Aimer Tbondaj U Sept. 7.31 p.m. Sarerdar 30 Sept. 7.30 p.m. LELLI M ALAND HA Kl (aoprano) DONALD SWNN (piano) " Man; aDow ute An Impression In worda and music 21- 10- BojfZ Doutteu Ltd. ENLOC mi (piano) Recital by tbe Winner of Corranonwealth Prlie 1966 and N.F.M.S. Contest. 1967 er,L BeeUion, Franck, Usrt, Chopin, Detmsi?, Rare!, KabateTskr 13' 10' Helen Jennintt Concert Agency ROYAL FESTIVAL HALL BBC SYMPHONY ORCHESTRA WEDNESDAY 4 OCTOBER at 8 Concerto for Orchestra Gerhard Piano Concerto in A minor Schumann Symphony No. 3 m E fiat major CEroica) .... Beethoven VICTORIA POSTNIKOVA COLIN DAVIS First appearance as Chief Conductor Tleken 15-, 31-. 1J., 10-. 76 from Hall (01-92S 3191) and tanal Acenta LPO LSO NPO BOOKING OPENS during the coming weelc for the following concerts In THE 4 ORCHESTRA SERIES ROYAL. FESTIVAL HALL RPO FACED whh the prospect of writing about Ingmar Bergman's Persona (Academy Two), I feel rather like the peasant in a long-forgotten historical epic who was asked the way by an intrepid traveller somewhere in Asia Minor, and replied with an airy wave of the arm. ' China's that way.' There are so many threads and possibilities in this extraordinary, tantalising film that it ts impossible to give precise directions : more perhaps than any other film in the history of the cinema, it is a treasure trove in which each must seek his own jewels. The story seems simple enough. A celebrated actress (Liv Ullmann) suffers from a mentai collapse in which she cannot, or will not, speak. In hospital she comes under tie care of a nurse (Bibi Anders-son), who takes her to recuperate in a remote country cottage. Here, as the patient listens silently and the nurse chatters on about her life, a strange bond grows between them, both physical and mental, until gradually they merge in a momentary exchange of personalities. The casebook aspect is done with superb technical virtuosity, and one watches hypnotised as, in a deiicato play of light and shadow, move ment and gesture, the metamorphosis takes place. As soon as one says this, though, the questions begin. Is this strange transference of personalities actually taking place ? Or is it only in the nurse's mind, or the patient's (or, possibly, ours) ? Bergman never really tells us, but does offer a clue in the bizarre opening sequence. Two distant points of light on the screen draw nearer, until finally one realises they are the burning arc lamps of a projector. There follows a jumble of images which range from a shot of a fat cartoon lady to one of a nail being driven bloodily through a human lhand. What we are seeing and what we will see, Bergman suggests, is only film ; and fihe film proper goes on to ask, 'what does only film mean ? ' If one can be moved to real terror and disgust by an image which one knows to be faked (like the nail being driven into the hand), then what is real, what is fantasy, in one's reaction to a newsreel image (like a Buddhist monk burning to death) 7 ' The Silenco raised the question of the difficulty of true comrriuni-cation between human beings ; Now About These Women ' explored the essentially egocentric nature of art ; and ' Persona ' combines the two themes in an agonis- The latest film of one of the world's great directors, Ingmar Bergman, reached London last week. Here Tom Milne explores its mysteries. ingly honest analysis of Bergman's own responsibility as an artist The actress (significantly bearing the same name, Voglcr, as the charlatan in The Face ), dries up in the middle of a performance of ' Elektra," and by refusing to speak again, refuses to exercise her art. We are not told why, but we aro shown her horrified reaction to a television newsreel of the bombing in Vietnam and of the self -immolation of a monk. It is a fair guess that she withdraws from a feeling of inadequacy in the face ot the horrors of the modern world ; and in her withdrawal, she watches with detached tolerance as humanity (the nurse and her troubled sex-life) reveals its petty woes. Their comes the moment of almost mystic communication when the nurse breaks through to an understanding of the actress (and possibly vice versa: charlatan or not, the artist can still be understood, so can still understand, and this sequence is repeated from the point of view of both women), and. they momentarily become one. Art, Bergman seems to be saying, is difficult but necessary. So, I would add, is ' Persona.' Coming down from the higher reaches to Chicago1 and the twenties, I also recommend Roger Corman's The St Valentine's Day (.Massacre (Rialto) for those with strong stomachs and a sneaking fascination for the cool insolence with which gangsters in those days waged open warfare in the streets. After the pastoral landscapes of ' Bonnie and Clyde,' we are back in the familiar urban chiaroscuro .: of the gangster film. Ancient cars rattle along the glistening, rain-soaked streets to some bullet-strewn settlement of account's; racketeers court respectability in Homburg hats and dank black coats; henchmen ply their trade in sordid bars and warehouses ; and gunmen peer from behind the lace curtains of dingy hotels, inevitable machine-gun at the ready. A factual record of the epic battle for the kingdom of Chicago between Al Capone and Bugs Mo ran, which ended with the celebrated massacre of Moran's gang in one fell swoop on 14 February, 1929, Corman's film is done in documentary style, with a dispassionate off-screen voice greeting each new character with a recital of his police dossier, past, present and future. But it also bristles with characteristic Corman coups de the&tre, like the rose-tinted flashback in which Bugs Moran recalls the murder of his predecessor in a florist's shop, with the bright red blood : welling out as the victim falls beside a wreath of pink carnatiqns. The period atmosphere is superb (with a particularly splendid reconstruction job on the Hawthorne Hotel, where Capone held Jiis board meetings), and the cast have great fun recalling the days of Bogart, Cagney, et al. In an unusually heavy week, the remaining new films will have to be dispatched with brief notes : Robbery (Odeon, Marble Arch) is, of course, the Great Train Robbery, master-minded, by Stanley Baker. A straightforward, rather unimaginative thriller, which opens well but trails away. Some no-nonsense direction by Peter Yates and good performances keep it watchable to the end. The Dirty Dozen (Leicester Square Theatre). Much less prepossessing. The story of 12 assorted murderers, rapists and thugs, press-ganged from military jails into a do-or-die mission during World War Two. They turn out if you hadn't already guessed as heroic as the next man. Robert Aldrich directs with great skill, but can't conceal the spurious ethics and titillating violence. Good performances by Lee Marvin, Charles Bronson, Robert Ryan and John Cassavetes. One Born Every Minute (Rialto). Mild charm and much cracker-barrel philosophy as an elderly confidence trickster (George C. Scott) coaches his youthful partner in the ways of the world. But the boy ultimately teaches his mentor that there is at least one honest person in the world. Fortunat (Cameo-Poly). Snail-paced French comedy-drama with Bourvil as the drunken, disreputable poacher who turns up trumps during the Occupation by caring for the aristocratic Michelle Morgan and her children while her husband is in the hands of the Gestapo. Won over by his general lovableness, she indulges an idyllic affair with him; husband returns; renunciation. ijtijjL Toe.. ROYAL "" Symphony No. 88 tn O U PHILHARMONIC Four Soma Oct. Chart fa Dntoll StraTlmkj La Saero du Prlnterapa I p.m. Heartier Harper 76. 10-. 15., 2!-, 237- Ro.ol nntiarmonlc Orchesm Ltd. NOW AVAILABLE LONDON SYMPHONY ., Than. lso CHORUS Bartwa SytnpnooJe Fantaadqna 26 Mem Bosrlea Lell r Th Return to TJfe Oct. 'nnn Mtlchtxttoa p.m. ir&SSa".' -- -. W- W- Lonio. Symphony Orche.m Ltd. AVAILABLE FROM SEPT. 26 s. LONDON Bw""' M-"1 19 PHILHARMONIC iSS .Kd" Oct. , , , Anbroatan Slneen Richard Boards T P-m. 63-. 30-. 21. 1J- London Philharmonic Orchestra Ltd. AVAILABLE FROM SEPT. 29 Tlclteta from Royal Featival Hail Box Office (01-92B 3191) aod uaual Ajtcnu. LPO LSO NPO RPO QUEEN ELIZABETH HALL NEXT SATURDAY, 30tn September, at 7.45 ' 1250 Music Id England 1750 SOHO CONCERTANTE Laader i ALAN LOVED AT Directed bj NICHOLAS JACKSON THE JAYE CONSORT Snlohta t GERALD ENGLISH (tenor). DAVID MASON (trumpet). Medtaeral Moalc, ByrrJ, Dowtamd, ParcelL M arise Borre, Tallli, Bull, Glbboae. Tfcu :l .-. if-.. 10,-. 7 6 from Royal Festival Hall Bos Office (0I-92S 311 Annta. Manatement : HELEN JENNINGS CONCERT AGENCY. SUrVDAY NEXT. at 7. IS pan. Wilfrid Van Wrck Ltd. TOSSY SPTVAKOVSKY, violin PAUL HAMBURGER, piano Adaata Coreni Sonata tn G Bull or for lolo rtolln Bach 5ooata IB C minor. Op. 30 . . Beetnoren Sonata In G malor. Op. 96 Bcethoreai 21.-. 15.'-. 10.-. 76, trom Royal Festival Hall Boi Omcc tol-928 3191) A Aaenta. PHILOMUSICA OF LONDON Conductor Niels Gron Verdict on a birthday SIR THOMAS BEECHAM spawned orchestras with the abandon that Ludwig of Bavaria built castles, and while he was there to inspire them the results were, of course, splendid. But left after his death to its own devices, the last of his offspring, the Royal Philharmonic Orchestra, soon fell on evil days, and standards declined to a point where it not only found itself confronting existence virtually without subsidies and a secure foothold at the Festival Hall, but even threatened with the loss of its name. At this point, however, Lord Goodman waved a magic wand, money was found and the RPO is back in the running. But on its showing at two recent ' gala ' concerts, it is going to have to run pretty fast if it is to catch up with London's four other orchestras. Both at the Festival Hall last Thursday and a few days earlier at the Fairfield Hall in Croydon, its string-tone was meagre, its brass harsh and accident-prone, and its general sound lacking both in body and brilliance. Indeed, at moments its playing recalled those unregenerate post-war years before the founding of the Phil-harmonia reminded London of how a fine orchestra sounds. For these defects the conductor on both occasions. Moshe Atzmon, is not to blame. A meticulous craftsman, with a well-defined stick technique, hi sober yet searching musicianship makes a refreshing change from those jet-set conductors who seem to regard their job as primarily theatrical. Perhaps Mr Atzmon lacks the sense of rhetoric, that ability to ride a grand idea for all it is worth that is needed if a work as impassioned but precariously held together as Tchaikovsky's youthful ' Romeo and Juliet ' is ever to become airborne. But in Beethoven's Second Symphony he showed a scrupulous sense of detail and musical argument. Only the flesh was lacking on the well-made skeleton he presented. Perhaps this is something that the RPO's chief conductor, Rudolf Kempe, who has such a wonderful way of getting the best out of orchestras, will be able to remedy. But there is also the matter of general artistic direction.- The decision to include in the birthday concert at the Fairfield Hall the first performance of a piano concerto entitled 'Sections,' by Richard Arnell, who is an old associate of Beecham's, inspired more confidence in the orchestra's sense of loyalty than in its musical discretion. Had John Ogdon, who gallantly sustained a solo part that meanders through seven movements, simply improvised, the result could have hardly been more lacKing in style, shape and elementary coherence. Wilfred Josephs's ' Requiem,' which was the main work in the orchestra's Festival Hall concert, was an altogether better choice. A first London performance of a tcore that four years ago won a large Italian prize and has since attracted a good deal of attention dn America waa in any case long overdue, and it is in fact written with the sort of skill that in itself guarantees a certain level ot achievement. But much though I admire the clarity with which Mr Josephs has laid out bis material, the restraint and precision of his handling of. large forces, and, most of all, his avoidance of any easy emotionalism in a work that is written in memory of the Jews who died in the Second World War, the music's impact seemed to me to hang fire. In the main body of the work, which is a setting in Hebrew for solo baritone (well sung on this occasion by Thomas Hemsley), choir and orchestra, Mr Josephs is clearly aiming at the effect of ritual, while reserving his more personal and intimate emotions for Wilfred Josephs three sections written for solo string quinteL Yet on bom levels the work finally leaves a sense of disappointment. Because it reveals no ideas commensurate with its proportions, imaginative detail and teljing strokes of orchestration only serve to awaken expectations that the music fails to fulfil. In a word, this requiem is more impressive in manner than in content. For a brief moment when Ticho Parly (who I missed last year) first opened his mouth in Fridav's revival of Siegfried at Covent Garden my hean leapt. Here surely was a tenor voice of truly heroic dimensions, such as the world has not known since Melchior's prime some 30 years ago. Alas for such hopes, Mr Parly's use of this superb instrument is as yet so crude and lacking, in musical orecision and dramatic sense that it proved a sorry drain on the vitality ot the whole performance. As a result, the fires that blazed so brilliantly in last week s Walkure flickered only iiUermitten.tly into life. They did so most impressively during those scenes in which Theo Adam's weary yet scornful Wanderer, a god at the end of his tether, confirmed the strong impression he made earlier in this cyole. Though the role of Brtlnnhilde here taxes her voice to its limits, Amy Shuard none the less drew much more variety of emotion from the final scene than do most of her rivals: this is a satisfying and accomplished performance. afitf il Drumming at the top ANYBODY in London sceptical about the leaders functions in a jazz group would be well advised to catch the Max 'Roach Quintet at Ronnie Scott's Club while that group still exists. Officially it is booked to appear there for the next fortnight, but Watching it perform, one gets the distinct impression that it is liable to fly off in five different directions at any moment " The four musicians working for Roach seem unsure about what is expected of them, and it must be a very long time since the customers at Scott's witnessed the sight of a leader stopping his band in mid-flight and makine them start all over a sain. The musicians comprising the classic two-man front line ot trumpet and tenor seem intimidated by Roach's demands, and the consistency of their playing suffers accordingly. It is doubtful whether any leader is entitled to make such stern demands on bis musicians, but Roach's poor psychology is compensated in part by the fact that he is one of the greatest jazz drummers of all time, a technician of amazing skill .and subtlety, a virtuoso whose crashing never becomes a crashing bore. Glorious isolation The Roach Quintet is like all groups which are led by drummers. That is to say, the other instruments are no more than a supporUng cast to a show of relentless egocentricity. At times Roach does not even bother to maintain the fiction that he is part of a musical unit simply sitting on his stool in glorious isolation while the other four musicians stand among the audience watching the whirling drum-sticks. When Buddy Rich recently came to Britain the feeling was that at last we had heard the ultimate in jazz drumming. Roach's exhibition has made many people think again. Essentially a small-group wizard, he comes as close as any man could to creating the illusion that the drums can produce melody and harmony as well as rhythm. To watch him set up a simple waltz-beat and then cloak it in the most dazzling cross-rhythm disguises is to witness that rare jazz spectacle, the complete virtuoso in casual command. It would be asking too much to expect any rtoup to rise to these heights. But although it is quite evident that the Roach Quintet fluctuates in its standard of performance more violently than most, there are moments when the musicians manage to throw off their serfdom and raise the Quintet's potential to a high level. Perhaps if Roach were a more benevolent despot his band's consistency would improve, but perhaps then his drum solos might not reach so sublime a plane. In contrast to the tensions of this nightly musical lottery, the perform- Vi Redd an ce of Miss VI Redd has almost a backwater serenity. She sings with the earthy aggression of a Dinah Washington, and then enters the freak class by blowing several numbers on the alto saxophone. The best description of her version of I Can't Get Started ' is to say that it is what Charlie Parker might have done, had he been born Charlotte. Miss Redd's playing has the same characteristics as her singing, vigour, excitement and a natural feeling for jazz, rare enough in a man but virtually non-existent among the ladies. YI-UiM-liL-t V Pick of the keyboard FROM an impressive group of recent keyboard recordings I single out two issues in which George Malcolm not only plays the harpsichord magnificently but strikes a blow for two relatively little - known composers: from Argo a two-disc volume of Rameau's five Suites (ZRG 5491-2) and from the HMV Baroque Library a record divided between Handel and Couperin (HQS 1085). Bach's keyboard music has its advocates on all sides, but Handel's is not nearly as well known as it deserves to be, while to many music lovers their great contemporaries, Couperin and Rameau, are hardly more than names: so Mr Malcolm's exceptionally vivid and creative playing is exactly what is needed. Converts should keel over iike ninepins. There are three Mozart issues on my list, only one of which I would recommend without reservation. Alfred Brendel, coupling K453 and K459 for Vox Turnabout, is a highly gifted stylist, probably one of the most penetrating Mozar.t players alive today, but unfortunately he tends to record with orchestras and conductors not. of his calibre in this case the Vienna Volksoper Orchestra under Paul Angerer and Wilfried Boettcher. To hear him shape and phrase the opening movement of K4 5 9 is a rare joyand one that I still recommend, despite other drawbacks but he is hampered by the defective moulding in the orchestral accompaniment and the sour shallow recording CTV34080). If only Brendel would team up with Colin. Davis and the , LSO what a series of Mozart performances we would have. then. Julius Katchen on a JDecca pairing of K488 and K503 is altogether better partnered by Karl Mtinchinger conducting the Stuttgart Chamber Orchestra, but though Katchen is fluent, precise and tasteful, he lacks Brendel's poetic insight and plastic sense of form (SXL 6297). The one unqualified success comes from HMV : Daniel Barenboim, both playing and conducting (the English Chamber Orchestra) in K466 and K488, is equally master of the tense dramatic passion of the first and the blend of gaiety and distress in the second. These are tremendous performances deep, beautifully shaped, all of a piece, very well recorded (ASD 2318). Pilgrimages Liszt's three books of piano music entitled ' Annees de Pelerinage ' and enshrining not only the external colours and tableaux of the composer's extensive European travels, but also his inner spiritual quests have been recorded by Edith Farnadi for the HMV Concert Classics series. So far I have received the first two volumes, ' Switzerland ' (SXLP 2Q097) and ' Italy ' (SXLP 20098), in which Miss Farnadi's evocation of Liszt's brilliant hues and big romantic gestures is entirely successful. The last volume, containing the later more inward and austere music, has not yet reached me, but I look forward to it on the strength of Miss Farnadi's earlier performances. Two excellent Schumann issues: (or DGG, Geza Anda, ardent, spontaneous, quick to follow Wherever the composer's darting fantasy leads him, gives the best account of both ' Davidsbtlndler-tanze ' and ' Kreisleriana ' that I have heard for many years ; and for Philips Claudio Arrau makes a memorable coupling of ' Carnaval ' and the great C major Fantasia (SAL 3630). ' Atta Boy! keep up our fight! ART ! hard at it don't quit because the ladybirds don't like it I ' said Charles Ives, and anyone with ladybird tendencies bad better avoid his immense Piano Sonata No. 1, written between 1902 and 1910, but not given a complete public performance until 1949, when William Masselos played it The same player has now recorded it for Decca and I can't imagine a more persuasive interpreter. The piece is hugely inventive, original, sometimes chaotic, but always life-affirming, and the way Ives stretches himself to his absolute limits (and . often beyond) 1 find enormously attractive (SB 6709). Also recommended: The Complete Schubert Piano Trios played with great accomplishment by the Beaux Arts Trio for Philips (SAL 3607-8): and two superlative pieces of Chopin playing Rubinstein's third volume of the Mazurkas for RCA Victor (SB 6704) and Tamas Vasary's second volume of the Nocturnes for DGG (SLPEM 136487). fHTnrri Nigel Gosling, our art critic, reports on new London shows. Hanover. It's amazing that the satirical sculpture (a rare juxtaposition of adjective and substantive) o( Marisol is not well known in London already. She hails from America, where she is a favourite, and makes a brilliant debut here with a scorch ing quartet Franco, de Gautle. Wilson and above all our entire Royal ramily in me glorious Woodemop family group including the Corgi, a piece which should be snapped up by the National Portrait Gallery at once Astonishingly lifelike. Asloundingly original. Irresistibly comic, etc., etc. Roland Browse and Delbanco. In his best show for some years Henry Inlander makes a dive into some new waters and surfaces with some highly satisfying calch. Whether it's an unfamiliarly familiar landscape, a snapshotted swimmer flailing and gliding or a great ape ruling over his cage kingdom, the translation into paint is free and sure. Inlander has something of Miiton Avery's gift for informal simplification which holds the image in a loose but unyielding grasp. These paintings seem to make no concessions, but they are pleasantly accessible. Mercury. It's always surprising to find a contemporary painter using an old idiom with conviction. Albert Houthuesen is 64 and Dutch. He is an out and out Expressionist in the style of Nolde with a touch' of Van Gogh. The necrophiliac unpleasantness of the best Expressionism is missing, making most of these canvases quite cheerful and colourful ; but they are assured and consistent. Lisson A pleasant air of serious avant-garderie blows through a four-man show in Bell Street. The roomful of finely calculated colour-paintings by Peter Joseph, which sing out at you like instruments in an orchestra, is life-enhancing, mind-expanding or what-you-will. Derek .larman shows a gentler variation of the canvas I admired at the Edinburgh ' Op I Hundred.' and a bunch of sensitively minuscule landscapes (these are best when toughest English nostalgia is his danger). Twenty-one-year-old Keith Milow, still experimenting, is technically very assured. Raymon Ginghofer from Wisconsin is a bit brash but lively. Piccadilly. A lively mixed show. Particularly fresh and genuine are the watercolours of Loerttia Yhap (Anglo-Chinese. In her twenties. Pronounced Yap). Commonwealth. Two interesting 30-year-olds from the East. Thomas Yeo is from Singapore, though you would hardly guess it. He paints abstracts with' a heavy flowing rhythm, related to plant growth but hinting also al sensuality. Most assured in his small landscapes on rice paper. Rama Rao comes from Madras (via the Slade). Fifty works trace his development from a figurative style closely based on traditional Indian art to abstraction, using curves and colours and rhythms derived from it. These are much the best, particularly when they .are purely lyrical like the recent gouache 'abstract' loaned by the curator. Piidar, 13(h October Bach Sin ton ta Church Cantata No. 42: Conceno Violin A Oboe ; Harpsichord Concerto In E ; Suite No. 1 in B minor. Guest Conductor RAYMOND LEPPARD Sofoiiti RAYMOND LEPPARD, JOSE LUIS GARCIA, TESS MILLER Friday, 10th November StraTlnilu Dumbarton Oaks ; Mozart Sln-rnia Conceriantc tor violin, viola and Orchestra tn E flat: Hlndemlth Five piece for String Orchesira : Haydn Symphony No. A3 in G minor - La Poule ' S"fr. :M MANOL'G PARIKIAN. FREDERICK RIDDLE Bach - FridBi. lib December - Sunt Nli. 4 in D: Beethoven Piano Cnierlo Sc I tn t : Lutmlriwkl Funeral Music. Mozart Symnhnnv No. 40 In G minor Snloul MALCOLM BINNS Friday, 12th Janaarr Bach Suite No. 3 In D: Roxbarxb Recitative after Blake: Mozart Adasio and Rondo K.617 ; Bartok Music tor Celesta Percussion A Strinas Soloist PAMELA BOWDEN Friday, 91n February Mocart Adaeio and Fugue; Mtuarara Chamber Concerto for nine Instruments : De Falla Harpsichord Concerto : C. P. E. Bacn Harpsichord Concerto in D minor: Stravinsky l-'Hisloire du Soidat Solo, si RAFAEL PUVANA Friday, Sth March Bach Suite N(i I in C : Shotnko-rltcl Concerto for Piano, Trumpet A. Strings ; Schubert Five Minuets and SI Trios: Strarlosky ApoUon Musagete. Sototui DAVID WIl.DE PHILIP JONES Tickets a1'- I? 10' - 76 from Royal Scr.es T(cVcti l(i'- 71- SI.'- JO, from All concerts conn Festival Hall Box Office and usual agenta. Philomusica Offices. 1 Montarue St.. W.C.I. mence at 7.4S p.m. FRIDAY, 20 OCTOBER, at 7.45 p.m. DANIEL BARENBOIM JACQUELINE du PRE ENGLISH CHAMBER ORCHESTRA SCHUBERT Symphonj iOi-. 21.:-. No. 5: SCHUMANN Cello Concerw ; MOZART Symphony No. 41. 10,-. NOW ON SALE from Bnx Office (0.-928 311) & ARentu PURCELL ROOM ROYAL ALBERT HALL Kensington, S.W.7. MANAGER: FRANK J. MUNOV VICTOR HOCHHAUSKR present! TONIGHT at 7.30 TCHAIKOVSKY Nutcracker Suite Piano Concerto No. 1 Swan Lake Violin Concerto in D OVERTURE " 1812 " ISO MUSICIANS with Cannon and Mortar Effects ROYAL PHILHARMONIC ORCHESTRA THE BAND OF THE GRENADIER GUARDS Conductor : BORIS BROTT BORIS GUTNIKOV RAFAEL OROZCO (1st Prize Winner of 1962 Moscow (1st Pnrc Winner ol f'Jhn Leeds Tchaikovsky Violin Compeiulon) .1-, Wit. 124. I7J6. 21-. 25- Piano Competition fK EN 823 2) Open tnday frnm 10 a.m. Wednesday, October 4 at 7.30 p.m. Purcell Consort of Voices EE DEI. ME STRING QUARTET JOHN BECKETT (harorichord) mrceii : welcome uae tor Jamca 11 : lYiJc&aei tasi 5 Ma an sals : Httidn i Lark Quartet and three firit perfi. llh,.'., M an?sirmert . Chrisi optier Finn; Ltd FAIRFIELD, CROYDON BOOK INC OFFICE 01-68 9291 c , . i LONDON PHILHARMONIC ORCHESTRA Saturday V0 : JASCHA HORENSTEIN PETER KATTN Piano j HAYDN SymDhnnv No mi September ; bEfthoven Piano cncerio Nu. 4 7.45 p.m ' FFFTHOFN Svmp.ir.nv No 1 , jkou 6. I -. H 5. m 6. S 6. . TOMORROW FOR ONE WEEK ONLY Mon to Thurs 7.30 Fri 5.30 & 8.30 Sat 2.30 & 7.30 THE OMSK RUSSIAN STATE ENSEMBLE of 100 Singers, Dancers, Musicians "THEY ARE FANTASTIC " Sco Daily Mail. " THE ENTIRE SHOW IS GAY COLOURFUL RUMBUSTIOUS AND WELL WORTH SEEING " Daily Telegraph. " THE AUDIENCE THUNDERED ITS APPLAUSE " Sro! Daily Express. " OMSK SUPERB " Glas Ev. Times. "SWELLING WAVES OF SONG AND THE GAY MUSIC" Scot Daily Express. BOOK NOW KEN 82 1 2 or agents. Victor Hochhauser presents SUNDAY NEXT at 7.30 ORGAN FESTIVAL 1967 THURSDAY, OCTOBER 5, at 7 JO at the Great Royal Albert Hall organ JEAN L ANGLAIS Famed blind orgaitfel uod composer from Sle. Clotflde, Pari. ALEXANDER SCHREINER (The Great Salt Lake Tabernacle, U.S.A.) " Exhibition of Magic at Keyboard and Pedals." Toronto Langlade. Franck ; Bach ; Vierne ; Mendelssohn Presented by Cathedral Recordings Ltd. TlcKetl : 3-. 76, If.-, 15-, 21-. 25-. NOW ON SALE (KEN 8212) A Atentt. OV. FINGAL'S CAVE PIANO CONCERTO No SCHEHERAZADE -BOLERO - Stanford Robinson Royal Philharmonic - MENDELSSOHN 2 - RACHM ANTNOV RIMSKY-KORSAKOV - RAVEL Malcolm B.nns SUNDAY, OCTOBER 8th, at 7.30 p.m. CONCERT IN AID OF THE YEHUDI MENUHIN SCHOOL in the presence of H.R.H. PRINCESS MARINA, DUCHESS OF KENT YEHUDI MENUHIN HEPHZIBAH MENUHIN MAURICE GENDRON CLEO LAINE (Narrator) LONDON PHILHARMONIC ORCHESTRA Leader : Rodney Friend. Conductor: SIR ADRIAN BOULT OVERTURE : THE STORY OF BABAR THE RUSSLAN & LUDMILLA Glinka LITTLE ELEPHANT Poulenc TRIPLE CONCERTO in C, Op. 56 CONCERTO IN A MINOR FOR Beethoven VIOLIN 'CELLO & ORCH., Op. 102 Brahms Boa OrBce novr open for dekets 176, IS,'-, 2!-. 30-, lens., 5 ens. (KEN S212) and uhua. cents. Tickets at S ans. and 10 ans. alo rrom the Secretary, 90. King's Roast, Richmond. Surrey (01.948 14511, cheques pajable In Yehudl Menuhln School. Please enclohe tlamprd addressed envelope. I Saturday, October 7th, at 8 p.m. the meat American sinner jimam iter TOM PAXTON KFN k:i; Ticket 1 irt.'ft. 7 -f Aiso BirmiJisliJini Tow jtircfttTvcdh (mm R H Hl.- KEN 8212J and usuaJ aeenu lUct fiirij. Maruhesier Free Trade Hall Oc 9ihh r'ol Philharmonic l(Xi ith WIGMORE HALL, W.l. Tickets : 126. S6. 5- Ceacept Manager : William Lyne. Bo OfEce : 01-9J5 2141. where otherwise stated). THIS AFTERNOON at 3 JOHN ALLDIS CHOIR Conductor : JOHN ALLDIS with AMICI QUARTET Works bv Purcell, R. Rodney Bennett, Hoist. M. WKIiamson. Deerine, Elaar. Management : Ingpen & Williams Ltd. SATURDAY NEXT, at 3 Reappearance of the youna French njamsr. JEAN-CLAUDE PENNETIER Bach Sulie 3, Becihovcn Op. Ill, Brahms 16 Waltzes, Fauri. Mcssiaen. Jolivet. Cho vcaux M a naacmcn i Salfords. RcdhEll, Surrey. (Horiey 4.191). For One Year'i malthaa Ittt send 36 to Wiemorc Hall. WEDNESDAY NEXT, at 7.3 Recital by the French Piarusi GERARD MASSON Management : Ibbs TUIett Ltd. Ticket also from Box Office 0.-933 84 1 8. THURSDAY NEXT, at 7.30 RcctiaJ by .he Jjnmican Pianisi OSWALD RUSSELL Management ; ibbs Tilteti Ltd. Tickeu al&o from Bos Office 01-935 841 a. FRIDAY NEXT, at 7.30 Recital by ihc mciio-sorjrano HONOR McKELLAR Management : Ibbs & Ttilett Ltd. Tickets also from Bolt Office 01-Q3S R41B. Sept, 30 Kinta.on Parlsb Chorcb p.m.. Bach programme THAMES NOV. 3 Queen Elizabeth Hall 7.45 pan.. The Early Keyboard ' CHAMBER Dec, 2 Kingston Parish Chnrch 7.50 p.m.. Music of the lull Ian Baroaue. ORCHESTRA ' wiLh Thames Chamber Choir Oct 21 Twickenham Parish Chnrch B p.m., AEOLIAN STRING QUARTET Brochure trom THAMES CONCERTS SOCIETY. 49 St. Winifreds Road. Teddington. Middlesex Ul-yi zys. VICTORIA ft ALBERT MUSEUM. S.W.7. SUNDAY NEXT at 7.30 JULIAN BREAM GERALD ENGLISH DAVID SANDEMAN DELME STRING QUARTET Serine Quartet In C Op. l No. 3 . . . . Haydn Guiniei far euiiar fc strings Boochcrini Solitudes (st London perf.) .. Tom Eastwood Italian Serenade Hugo Wolf 15-. 10-. 5- from Basil Douglas Ltd., S St Georitc's Terrace N.W.1 101-722 7142). ChappcU's (MAY 76f)fl &. acnti. ASUN MUSIC CIRCLE Monday September 25th. 7.45 p.m. The new Dancr-Drama. GEETA -COVIN DA (Juecn Eliiftbeth Hall, a d jo i n i n a R oya I F e t i va. L Hall Gen. Man. John Denison. C B K. Mnnday Octuber 2nd. 7.30 p.m. A STTAR & VOCAL Rpcllal ARV1ND & K1SHORI PRIKH Muhalma t. and hi Hall, 41. Fiuioy Snuarc. W L Ticket ai lh door and from rhe A M C . 44. Fnzalan Rd , London N Tc 46 WESTMINSTER ABBEY LaM of the Weekly Organ Reclta Is Wednesday next, Sept. 17. at 6.15 RONALD ARNATT Works by Bach, Purcell. Handel. Darke. Sowerhy. Ginastera. A malt . Tickets : 5,'- unreserved from Ibbs & lilies Lid. (01-9JJ 84181 & Chap:er House, Ww-mmsler Abbey: or at door on day Irom .in SIR JOHN BARBIROLLI with recordms nrn-ducer Kinloch Anderson introduces Tracts from his new HMV Anjjcl record in a uf M ADA M BUTTERFLY a 5 the Lcis e 1 h rce Trade Hall M NCH F.STIiR , Ocnci J id at 7. .10 and at The Dukes Hall Royal Acad em v of Music. Manljhoni: Ru,.j I CiNDON. October fih aL 7.0. Wme or tree lickrt to FiMI Records (Department MB, GPU Bo 1 F.S. London V L or phone (d ) -w&fj-44KK ci. Ctmtmrjrtiieallli inilHuie. WHS 12 Sepicmbct :rh a -Otn at " 4 n m VIBRATIONS OF RHYTHM AND TAGORE SI'RY KLMART and Campari in Pmu:rn.inme n( Indian Dan ce A L r a m

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