The San Francisco Examiner from San Francisco, California • 21

Monday, May I B-5 SAN FRANCISCO EXAMINER The Women's Philharmonic again proves its importance Chamber Music West announces 1 6th series EXAMINER STAFF REPORT Chamber Music West, the San Francisco Conservatory of Music's unique collaboration of professional musicians and talented students, presents its 16th annual series in Hellman Hall and the Sherman House in San Francisco, St John's Presbyterian Church in Berkeley and Villa Montalvo in Saratoga, May 26 through June 7. The roster of artists includes violinists Stuart Canin and Ian Swensen, violist-pianist Paul Hersh, cellist Laszlo Varga, guitarist David Tanenbaum, soprano Sylvia Anderson, pianist Mack McCray, the Francesco Trio, Cata-lina Trio and Fidelio String Quartet. Tickets range from $5 to $35. For information, call (415) 759-3475 or (408) 741-3428. Following is a schedule of the tions rage for Darius Milhaud, let it not be forgotten that Tailleferre, one of his colleagues in Les Six, would also have celebrated her 100th birthday in 1992.

The Concertino, to which Benet made a gracious contribution, offers pleasant, if not distinctive post-impressionist sounds. Fanny Mendelssohn's Ouverture and continued with Clara Wieck Schumann's Piano Concerto in A Minor, Op. 7. Canadian pianist Angela Cheng was soloist. THE second half of the concert brought some cooler sonorities to the airless church that, in Saturday's heat, began to feel like steerage on the Mayflower.

The all-French sequence comprised Germaine Tailleferre's Concertino for Harp and Orchestra (with Gillian Benet) and two works by the short-lived Lili Boulanger, "D'un Soir triste" and "D'un Matin de printemps." Parties turned away from the sold-out concert can take heart. This week, Koch International records the entire program at Sky-walker Ranch for domestic release in early 1993. Saturday was not an evening for discovering lost or overlooked masterpieces. But all five works on the program deserve wider exposure on the schedules of major symphonic organizations. And one hopes that Falletta will introduce one or more of the pieces in the other cities where she conducts.

The unpublished Mendelssohn Ouverture, given its U.S. premiere on this concert, involved considerable detective work. The piece was composed about 1830, probably for gxdhe (anno performance in the Mendelssohn home in Leipzig. Women's Philharmonic board member Judith Rosen negotiated for the release of the manuscript from the Mendelssohn Archive in Berlin. The docu- ment required a major editing job.

The results, however, justified all the trouble and expense. The Ouverture, a concert work without an opera attached, seems to owe as much to Carl Maria von Weber as to Fanny's brother Felix both in its structure (lyrical beginning, snappy wind-up) and temperament. The orchestration for double flutes, oboes, clarinets, bassoons, four horns, two trumpets, timpani and strings shows considerable deftness; and the composer's skill at fashioning appealing melodic statements asserts itself in the opening bars. FALLETTA led her forces conscientiously. But the performance needed a bit more crispness (the finale feels like dancing music) and less edgy registration from the brass.

The 21-minute Schumann Concerto isn't exactly unknown. Yet it took a powerhouse reading like Cheng's to capitalize on its possibilities. The writing is dazzlingly pianistic, abounding in bravura flourishes and florid octave runs. There's no place for timidity here. weighted against them.

They will have to work harder and do better, yet the result may be less recognition and reward. We all know life can be unfair. For black people, this knowledge is not an academic theory but a fact of daily life. You find yourself granting that there are more black faces in places where they were never seen before. Within living memory, your people were barred from major league teams; now they command the highest salaries in most profession al sports.

In the movies, your peo pie had to settle for roles as servants or buffoons. Now at least some of them are cast as physicians, business executives, and po lice officials. But are things truly different? When everything is add ed up, white America still prefers its black people to be performers who divert them as athletes and musicians and comedians. Yet where you yourself are con' cerned, you sense that in main stream occupations, your pros pects are quite limited. In most areas of employment, even after playing by the rules, you find your self hitting a not-so-invisible ceil ing.

You wonder if you are simply corporate wallpaper, a protective coloration they find prudent to dis play. You begin to suspect that a "qualification" you will always lack is white pigmentation. NEXT: Black family life Reprinted by arrangement with Charles Scribner's Sons, an imprint ofMacmil-lan Publishing from "Two Nations," by Andrew Hacker, 1992 by Andrew Hacker. Distributed by Los Angeles Times Syndicate. A diplomat's wife, desperate to conceal the past A reporter driven to uncover the truth.

IIEII SCItCII Jill CHI united artists The movies Today at: 1:15, 3:25,5:35,7:45 No VIPS. ft 0 concerts: Tuesday, May 26, 8 p.m.: Haydn, Schuller and Schubert. Tickets: $15 general, $12 students, seniors and friends. Hellman Hall, S.F. Conservatory, 19th Avenue and Ortega Street.

Friday, May 29, 8 p.m.: Plazzolla, Ives and Brahms. Tickets: $15 and $12. St. John's Presbyterian Church, 2727 College Berkeley. Saturday, May 30, 8 p.m.

Conte, Schumann and Mendelssohn. Tickets: $15 and $12. Hellman Hall. Monday, June 1, 8 p.m.: Plazzolla, Ives, Strauss and Beethoven. Tickets: $35.

Sherman House, 2160 Green St. Tuesday, June 2, 8 p.m.: Milhaud, Strauss and Beethoven. Tickets: $15 and $12. Hellman Hall. Thursday, June 4, 7:30 p.m.

Haydn, Ives and Dvorak. Tickets: $15. Villa Montalvo, Montalvo Road, Saratoga. Saturday, June 6, 8 p.m.: Armer, Bee thoven and Dvorak. Tickets: $15 and $12.

Hellman Hall. Sunday, June 7, 7 p.m.: Stravinsky, Berg and Dvorak. Tickets: $15 and $12. St. John's Presbyterian Church, Berkeley.

Boulanger, the younger sister of pedagogue Nadia, might have developed into a major force if she had survived beyond 25. Falletta led the two fascinatingly scored orchestral miniatures with sufficient feeling for their surge and texture to earn the philharmonic a standing ovation. CASTRO Castro-Market, 621-6120 Louise Brooksl PANDORA'S BOX wBob Vaughn on the Castro's Mighty Wurlltzer 7:00 DIARY OF A LOST GIRL 9:10 Tues: MaratSade The Devils CLAY Fillmore near Clay 346-1123 TOTO LE HEROS ENDS THURSDAYII 2:30, 4:45, 7:00, 9:15 Bargain Show at 2:30 Opens Friday: WATERDANCE GATEWAY 215 Jackson at Battery 421-3353 RAISE THE RED LANTERN DOLBY STEREO 1:30, 4:15, 7:00, 9:45 Bargain Show at 1:30 LUMIERE 3 California at Polk, 885-3200 PLAYBOYS DOLBY SR 11:30, 2:00, 4:30, 7:00, 9:30 DELICATESSEN 12noon, 2:30, 4:45, 7:15, 9:45 DAUGHTERS OF THE DUST 11:45, 2:15, 5, 7:30, 10 First snow Bargain Matinee. Reduced Parking: Van NessPine Holiday Inn OPERA PLAZA CINEMAS 771-0102 Van Ness Avenue at Golden Gate IN THE SHADOW OF THE STARS DOLBY 12:20. 2:50, 5:10, 7:20.

9:10 HEAR MY SONG 12:10, 2:40, 5:00, 7:00, 9:30 LIFE IS SWEET 12:30, 3:10, 5:30, 7:30, 9:40 EUROPA, EUROPA 12:00, 2:30, 4:50, 7:10. 9:20 First Show Bargain Matinee THE RED VIC 1727 Haigm, 668-3994 Felllnl's SATYRICON 7:00, 9:30 ROXIE 3117 16th St. at Valencia, 863-1087 "A masterpiece!" THE NEW YORKER AMERICAN DREAM 700.930 May 22: INCIDENT AT OGLALA UNITED ARTISTS VOGUE Sacramento-Presidio, 221-8183 SHADOWS AND FOG (PG) DOLBY STEREO 6:30, 8:30, 10:20 GENEVA 4 Next to Cow Palace. 587-2664 DEEP COVER (R) SPIT SECOND (R) WHITE MEN CANT JUMP (R) SLEEPWALKER (R) AMERICAN ME (R) BASIC INSTINCT (R) LAWNMOWER MAN (R) FOLKS (PG13) IMaMili ELECTRIC 980 Market Street 673-2207 STEAMIN! INCREDIBLE XXX TRIPLE BILLI From 9am Daily) First Runl Mlml Miyagl In MADAM XNlna Hartley In STAIRWAY TO PARADISEMIRAGI New CAMPUS All-Male Theater 220 Jones Street 673-3384 3 ARENA SHOWS 4 SHOWER SHOWS Daily! 13 Entertainers Daily: 15 on Frl Sat The Ultimate Video Production System! SO REAL, you'll think you're there! VARSITY SQUAD w7 Video Stars! HEIDOVER BY POPULAR DEMAND! JESSE KING CORY EVANS 7 Free Video 6U00Y-B00THSI NOB HILL MALE SHOWPALACE 729 Bush at Powell (Open 761-9468 STUD-MAN BRAD STEELEI THRUST Mag covermancenterfold! Video star Live stage In person today 12 305 3010pm Prime beef strippers Arcade! 3-way buddy booths! Magsvideo sale! TEAROOM MALE st. 885-9867 Live shows dally: 1216:307:30 (.

9 00 p.m. AMATEUR NIGHT: 6:30 Dm Tonight: TRAINING SESSIONSIN TENSE HEAT 2 By Allan Ulrich EXAMINER MUSIC CRITIC WHEN Miriam Abrams, the executive director of the Women's Philhar-monic, told the capacity audience Saturday evening that none of the composers with works featured on the program would be present for a bow, she was scarcely indulging in flippancy. Abrams was, in fact, reminding the community of the substantial quantity of contemporary music (it just happened to be composed by women) introduced by the orchestra to the Bay Area during the past 11 years. For all its various awards and commendations and sundry acts of self-aggrandizement, Herbert Blomstedt's San Francisco Symphony should do as well. The Women's Philharmonic, which only last year changed its name from the Bay Area Women's Philharmonic, has demonstrated its importance to the music scene, far beyond any simmering political agendas.

But for this season closer at First Congregational Church, music director JoAnn Falletta turned to the past and compiled an admirable program of works by four of the more celebrated women composers of the 19th and early 20th centuries. The evening began with HACKER from B-l Separate and not equal place to ask for $50 million, or $1 million for each coming black year. And this calculation conveys, as well as anything, the value that white people place on their own skins. Indeed, to be white is to possess a gift whose value can be appreciated only after it has been taken away. And why ask so large a sum? Surely this needs no detailing.

The money would be used, as best it could, to buy protections from the discriminations and dangers white people know they would face once they were perceived to be black. Of course, no one who is white can understand what it is like to be black in America. Still, were they to spend time in a black body, here are some of the things they would learn. In the eyes of white Americans, being black encapsulates your identity. No other racial or national origin is seen as having so pervasive a personality or character.

Even if you write a book on Euclidean algorithms or Renaissance sculpture, you will still be described as a "black Although you are a native American, with a longer lineage than most, you will never be accorded full membership in the nation or society. More than that, you early learn that this nation feels no need or desire for your physical presence. (Indeed, your people are no longer in demand as cheap labor.) You sense that most white citizens would heave a sigh of relief I were you simply to disappear, While few openly propose that you return to Africa, they would be greatly pleased were you to make that decision for yourself. Then there are the personal choices you must make about your identity. Unless you want to stress a Caribbean connection, you are an American and it is the only citizen ship you have.

At the same time, you realize that this is a white country, which expects its inhabit Monday: Put yourself in a black American's shoes. Tuesday: Growing up black: Black youths do what they must to survive in a hostile world. Wednesday: Why integration hasn't worked: If you're black and looking for a residence outside your designated areas, you can expect chilly receptions, evasive responses and outright lies. Thursday: Making it to the middle class: If you're black you may, by a combination of brains and hick and perseverance, make it into the mid-dle class. Friday: The future of the United States: Our economic system has ensured that black Americans were and are kept far behind the starting line.

ants to think and act in the white ways. How far do you wish to adapt, adjust, assimilate, to a civilization so at variance with your people's past? For example, there is the not-so-simple matter of deciding on your diction. You know how white people talk and what they like to hear. Should you conform to those expectations, even if it demands denying or concealing much of your self? After all, white America gives out most of the rewards and prizes associated with success. Your decisions are rendered all the more painful by the hypocrisy of it all, since you are aware that even if you make every effort to conform, whites will still not accept you as one of their own.

There will be the perplexing and equally painful task of having to explain to your children why they will not be treated as other Americans: that they will never be altogether accepted, that they will always be regarded warily, if not with suspicion or hostility. When they ask whether this happens because of anything they have done, you must find ways of conveying that, no, it is not because of any fault of their own. Further, for reasons you can barely explain yourself, you must tell them that much of the world has decided that you are not and cannot be their equals; that this world wishes to keep you apart, a caste it will neither absorb nor assimilate. You will tell your children this world is wrong. But, because that world is there, they will have to struggle to survive, with scales A Angela Cheng: A powerhouse reading of Clara Schumann Cheng introduced a massive technique and stylistic authority.

A bit of overpedalling and a handful of smudged notes barely mitigated the favorable impression. We must remember that Clara Schumann was only 16 when she completed the three-movement concerto in 1836 (her future husband, Robert, orchestrated the third movement). Yet the bold pianistic personality of the opening Allegro maestoso, the soaring of the cantilena of the Romanze and the catchy Polonaise of the finale bespeak a notable talent. While the centennial celebra- i mz Titles and Showtlmes Subject To Change. Please Call Theaters.

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742-9200 Off El Camlno 2 blks. No. of Tanforan Shop Ctr. "Call theatre for Barg. and pass policy DK2(R) 12:50, 3:15, 3,20, 7:50, 10 LEAVING NORMAL (R) 12, 2:20, 4:50, 7:20, 9:45 SPLIT SECOND (R) 1:15, 3:30, 5:40, 8, 10:15 WHITE SANDS (R) 12:30, 3, 5:30, 8, 10:20 PASSED AWAY (PG13) 5:40, 7:45, 9:55 CITY OF JOY (PG13) 2:30, 7:30 YEAR OF THE COMET PG) 12:20.

5:15. 10:20 THE BABE (PG) 5:25, 7:43, 10:15 DEEP COVER (R) 12:15, 2:45, 5:10, 7:40, 10:05 FERNGULLY (G) 12:10, 2, 3:45 BEETHOVEN (PG) 12, 1:45, 3:35 CINEMA 21 Chestnut-Stelner, 921-6720 THX SOUNDCall for Barg. and pass oollcy THE PLAYER (R) 12, 2:30, 5, 7:40, 10:15 CINEPLEX ODEON CINEMA NORTHPOINT CASABLANCA (PG) Today: 4:30, 7:00, 9:30 Bargain Matinee Sat-SunHol 1st Show Only Free Parking: Mon-Sat after 6 pm. All Day SunHoi. block North on Powell CINEPLEX ODEON CINEMAS PLAZA TWIN Daly City.

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