Daily News from New York, New York • 45

ONLY HUMAN BERRY'S WORLD mhel the Podium in in Ml -a pi I By SIDNEY FIELDS If Pierre Boulez, Music Director of the N.Y. Philharmonic, is not a popular idol, there is little, if any doubt about' expert musicianship, brilliant mind, or the bite of his acid tongue. He is one of a kind, a true original. Boulez, (pronounce the z), a bachelor who goes his solitary way, is French, 48, short, trim, and with such a lightning quick ear for error that he's been dubbed "The French Correction." The contemporary music he composes and likes, which he often includes in his programs to the dismay of some and de-lierht of others, has earned him another label, "The Twentieth Century Limited." On the podium he is untheatrical, almost detached; he doesn't use a baton. "Musicians learn music, not body movement," he said recently.

"One fine pianist makes a great deal of movement; another, equally fine, makes little. It is a reflection of the personality. I tell the orchestra what I want and how I conceive the music. Its intensity is more important than gestures. A small, intense movement for me is more sufficient than a big splash." He will premiere a new piece he composed for orchestra in London next March with the BBC Symphony.

He spends four months a -year with the Philharmonic, four more as chief conductor of the BBC, and refuses guest conducting assignments so he can spend the rest the time writing music. He begins his third season with the Philharmonic tonight conducting Bartok's Concerto for Piano and soloist Van Cliburn playing the Brahm's Piano Concerto No. 2. A born rebel looking for his own musical road in his youth he was irritated by the thoughtless veneration given to the dead masters, "the kind of veneration given to dead objects which locks the door to the future." At 19 he led a group of fellow students of the Paris Conservatory in a noisy booing protest at a concert of Stravinsky's neoclassical music. Later, they became friends, and even when the friendship waned Stravinsky said that Boulez was "the most intelligent conductor in orbit tndav 'I move that we male the standards for movies in our community the same as those existing in Las Vegas!" CROSSWORD PUZZLE ACROSS 1 Brown ermine 6 Soap-frame bar 10 Indecent 14 Home of the Reds 16 Holy symbol 17 Black cuckoo 18 Arctic explorer 19 Loosen 20 Indian peasant 22 Form of rummy 23 Clumsy boat 24 Samarium symbol 25 Pecan 27 Transformation 28 Conducted 29 Lofty train 31 Period 32 Chain 34 Turmeric 36 Confuse 38 Motherless calf 41 Palm starch 43 Underwater worker 45 Departed 46 Strap 48 Adjust 50 Early car 51 Gender 53 Oath 55 Type measure 21 Bushy clump 56 Slogan 23 River island 58 Assist 26 Seaman 59 An apostle 27 Salary 61 Sun god 28 Beer 62 Hail and farewell 29 Formerly 63 Attention 30 Jacob's wife 64 Greek letter 32 Screen 67 Oat genus 33 This minute 69 Loafs 35 Suffering 71 Staff 37 Discharged 72 Cipher 39 Arrow poison 73 Police dog 40 Harrow's rival 75 Verve 42 Somebody 76 Shade trees 44 Respected 77 Helots 47 Tropical fruit DOWN 49 Kindergartner 1 Mark 52 Draw game 2 Petite 54 Spider trap 3 Pungent vegetable 56 Fad 4 Electric current 57 Rip out 5 Peak 59 Italian port 6 Escargot 60 Old TV movie 7 Work for 62 Later 8 Piggery 63 Esau 9 Spanish "yes" 6 Inflection 10 Skating area 66 Increases 11 Performance 68 Generation 12 Clamor 69 Sickly 13 Work dough 70 Haggard novel 15 Nullified 73 Exist 19 Coaxed 74 Bone Pierre Boulez: He's more temperate now couraged.

If you. want to be an instrumentalist you don't begin at 16." He had made his choice. He would be a composer. He was accepted in Paris for counterpoint and harmony, but quickly found his teachers awful. "Really deadwood," Boulez recalled.

"I didn't stay very long. What you can learn from someone else you get in two years. The rest you must learn yourself. Later, when I taught in Switzerland I saw my best students develop in six months. Then I told them, now you must work by yourself." When he left the Paris Conservatory he had won first prize in harmony.

For 10 years he was music director of Jean-Louis Barrault's theater in Paris, worked in Germany and was asked to help reform and reorganize the moribund Paris Opera, of which he said, "I could easily console myself if a bomb hit it." But in a dispute with the government which subsidized it, he resigned before the reforms got under way. While guest conducting in the U.S., Boulez was named chief conductor of the Cleveland Symphony by its exacting master, the late George Szell. He came to the Philharmonic in 1971 with a three-year contract. It was renewed for another three despite some grumbling and growling from outside and inside the orchestra. "Grossly exaggerated," Boulez insisted.

"Some disagree strongly about what I do with the orchestra. That is their right. Most of the orchestra know very well what I'm doing, but even if they disagree they are true professionals and maintain the orchestra's standards. I am only concerned with the quality of work, musical discipline and my own capacity to react to the composers we play." He has a list of composers he doesn't play, but argues that he is not compelled to play them. "A composer is not the man who washes the dishes." He has called Tchaikovsky's music "abominable," Brahms "a bore," and once dismissed a piece by his own harmony teacher, Massiaen as "brothel music." Yet those he castigates are in his programs.

"I don't impose my tastes on others," Boulez said. "If you don't like a tree it doesn't mean it isn't there. There are no blinders on me. I am much more objective than is supposed." "As a young man I expressed my resentment with a little heat," he confessed. "Now, in a position of responsibility, it is more tempered.

But I have not changed my feelings at all. I am fighting for the life of music and its future. Life is not promoted by the mindless worship of the past to the exclusion of the future." He comes from Montbrison, a tiny town near Lyon. His father, Leon Boulez, an engineer, was proud of his son's high marks in math and science and wanted him to be an engineer too. But at 7 Pierre had discovered the piano and hid his high marks from papa.

"With a provincial outlook my father objected strenuously to a career in music because of its doubtful securitv Boulez said. (Answer to puzzle on page 20) At 16 he failed the piano exam for admission to the Lyon Conservatory and failed it again for the Paris Conservatory. "It was not a catastrophe," he said. "I wasn't good -enough on the piano. But I was never dis- i 2 3 4 i I 16 7 8 9 10 11 12 13 I 17 I lit) I Il9 20 2i 1 I lTr I 29 30 J1 Ji2 33 "1 34 35TT36" 37 I i 41 42 1 4J 44 145 44 47J48 49 56 57 I li8 I 60 I I 61 ll" iHF I i64 65 66 67 68 rT JU I 11 72 I li 74 75 76 77 fo) niMinio) urn Bp I I 'flliillMii MM REST-SEIIira 70mm.

According to latest U.S. Government Report PALL r.TALL GOLD 100 The longer filter that's long on taste would not affect your regular old-age social security benefits. They could affect disability payments. QUESTION: I received benefits for January, February and March because I did net work for those months. For the rest of the year "I will earn about $4,500.

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I have a workmen's compensation case coming up for settlement soon. Would a settlement from compensation hurt my old-age benefits in any way? R.G. ANSWER: Receipt of workmen's compensation ni Warning: The Surgeon General Has Determined That Cigarette Smoking Is Dangerous to Your Health. PALL MALL GOLD mg-nicotine. 14 mg.

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FTC Report FEB. "73..