Chicago Tribune from Chicago, Illinois • 137

CHICAGO TRIBUNE, SUNDAY, JANUARY 19, 1969 Section 5 -II Film Notes i RECORDS The Esoteric Fog Finally is Beginning to Clear Aivay By Peter Gorner ft I i i 1 .1 Mn Oirtwia El DnM Cltxw RnhuM Km B. mm ato.i. Films, Film Center, and Films Incorporated. The Amusement I company has announced that the Oriental theater will be converted into two separate theaters. The main floor and mezzanine will be Oriental 1 and will have 1,900 seats.

Oriental 2, the balcony portion of the present struc- i ture, will be enclosed and a new screen will be installed 1 above the existing proscenium arch making it a separata theater of 1,100 seats. The Oriental will continue to operate its main floor the- ater during the alterations. The current screen attraction is "Three in the Attic." Both theaters are expected to be in operation by June 1. Raymond J. Marks, Martin C.

Rosenfield, and Richard A. Rosenfield head the company which built the Old Orchard theater in Skokie in 1960 and introduced the concept of twin indoor theaters in 1964 with its Evergreen theaters 1 and 2. The firm also operates several drive-in theaters, including the Twin Drive-in in Wheeling, the Sky-Hi Drive-in in Addison, the Sunset, Double, Bel Air and Dundale. The company purchased the Oriental theater in September, 1967. The United States premiere of a British film, "The Rise and Decline of the Bird Watcher," will be held at 8:40 p.

m. Saturday in the Clark theater as part of a two-day conference, "Film: Its Creative Use in Education." The film, directed by John Krish and starring Robin Phillips, is based on Evelyn Waugh's satiric 1928. novel "Decline and Fall." The Chicago conference, which will begin at 9:30 a. m. Saturday and continue thru next Sunday afternoon, will be held except for the Saturday night program at the Clark-in the Chicago Illini union of the University of Illinois Medical center, 828 S.

Wolcott av. The program includes group discussions, an appearance by under- ground film maker Ed EmshwUler and documentary makers Gordon Quinn and Gerald Temaner, and showing of numerous short subjects and Peter Watkins' powerful feature, "The War Game." The conference is being sponsored by the Roosevelt university labor education division, the American Film Institute, the B'nal B'rith Anti-Defamation league, the Clark theater, Contemporary Art Kanul and Gertrude Befman art the harried parent! tin "What Did We Do Wrong?" at the Candlelight Dinner playhouse in repertory with "The Star-Spangled Girl." shy away from the Second Concerto. Gervase De Peyer, has mastered it, tho, on Oiseau Lyre 60035. Leister also 'has newly-recorded the Brahms B-minor Clarinet Quintet with the Amadeus quartet DGG 139-354, which Is enjoyable listening. If you can find them, Kell's recordings of the Mozart Concerto with the Zira-bler Sinfonietta on Decca 9732, and of the Mozart Quintet with the Fine Arts Quartet Concert Disc 203, and Bernard Walton's perform-ance of the Mozart Concerto with Herbert Von Karajan on an old Angel 35323 are gorgeous.

And those "esoteric" Brahms Sonatas would fall into another category if you heard Kell and Joel Rosen play them on Decca 9636. Finds 'Hadrian VIP an Extraordinary Stage Character MO By Walter Kerr recording, probably unavailable by now, on Decca. The young clarinetist, once he masters his Langenus, his Rose, and his CavaHini Caprices, turns to Carl Maria Von Weber or Wolf gang Ama-deus Mozart for his first venture In concertoland. And here he finally is receiving encouragement from the rec- ord Industry. Both Mozart and Weber were induced by clarinetists to write some of their finest music.

The rapacious Anton Stadler coerced Mozart's A-Major Concerto and Clarinet Quintet; Weber' clarinet Heinrich Barmann, apparently was an altogether splendid fellow and superb musician who modelled the "Grand Duo Concertante," the "Concertino," and the Two Concertos. Weber's "Concertino" stands as the clarinet's "Coronation" Concerto an initiation to be undergone by every student: and the Second Concerto serves as his "Emperor." But while there are dozens of pianists who can play a competent "Emperor." there have been but a handful of clarinets of sufficient mastery and artistery to make the Second Concerto work. Reginald Kell is one; Gervase De Pyer Is another Benny Goodman, who for the jority of Americans is synono-mous with the Instrument, comes close on RCA LSC-3052, where he plays both Concertos with Jean Martinon and the Chicago Symphony. When Goodman wanted to trod a classical path, he went to study with Reginald Kell. Kell first imparted the double embrochure, helped Goodman with his tone, and introduced the gracefully angular phrasing which is his trademark.

Goodman, already a mature musician, employed vibrato as do clarinetists in every country but Germany and America where myopic teachers continue the rootless tradition that a "good" tone is A HIGHLY-SUCCESSFUL chamber music concert series in Los Angeles displays the avant-garde, and to diffuse the impact somewhat, blends It with earlier esoterics. A piece played on a Moog synthesizer, for example, may be Mowed by two flutists rendering duets by one of the brothers Hotte-terre, early baroque flute One evening, the Brahms Clarinet Sonatas were presented as esoteric fare to an audience which obviously was' surprised and delighted at discovering these two jewels. I was appalled. In every American village there live clarinetists young and old who diligently wrestle with the leaping complexities on the sonatas, and who just as diligently seek a pianist capable of assisting them. If you were a violinist and had discovered the Wienawski Second Concerto, or the Vi-otti, or the Goldmark, or the Szymanowskl on such a series you would have been equally stunned.

But hold on: when is the last time you heard these pieces? Or that most popular challenge of the high school contest: the Ru-, benstein Piano Concerto? The Schwann catalog, a fair measure of consumer taste, lists one old recording of Goldmark, and two of Szymanowskl and Wienawski, one of which is brand-new. There are, moreover, 18 versions of the Grieg Piano Concerto, and none of the hoary Grieg Piano Sonata, once a Horowitz staple. But to return to the clarinet: Alban Berg wrote Four Pieces for Clarinet and Piano in 1913 and Gervase De Peyer has the only recording of them. Stravinsky wrote Three Pieces for Clarinet In 1918; Hindemith wrote a Sonata for Clarinet in 1940; Saint Saens wrote an utterly charming Sonata tor the instrument in 1921. The great English clarinetist Reginald Kell has the a straight tone.

Goodman also became a patron, commissioning both Beta Bartok's "Contrasts" and the Sonata by Aaron Copland. The two Weber Concertos are really Weber operas with the clarinet playing all the roles. The Second Concerto, in particular, emphasizes the weaknesses Inherent in the instrument: the opening two notes jump from the highest to the chalumeau three octaves deep, a tuning trap which snares all but the finest. The abominable leaps are everywhere, as are climatic runs where every note is exposed, tiring tracks of tonguing, and lung-busting phrases. Both concertos contain lovely arias and witty comic things which are squeak-prone.

The Goodman recording contains the Chicago Symphony playing with a loveliness and grandeur of which Weber only could have dreamed. Goodman rises to every task well enough to thumb his reed at purists, and never lets a grotesquerie collapse his poise. This is a beautiful record. Karl Leister plays the Mozart and Weber First Concerto on DGG 136-550 with the Berlin Philharmonic conducted by Rafael Kubelik. He has edged his German tone with a soft vibrato, and lined it with warmth.

Technically, he is more polished than David Glazer who plays the Weber on Turnabout TV 34151s, tho the Vox reissue also holds the Concertino and Weber's cheery Clarinet quintet, where he is assisted by the Kohon quartet which contained if I'm not mistaken Bernard Zaslav, the Fine Arts quartet's newest member. Both these records are excellent, but notice how they MOTION PICTURES MOTION PICTURES 1 MOTION PICTURES NORTH NORTH NORTH Teoay st liOt ft liQO etwMin-Dtnn Oilly at "BEST PICTURE OF THE YEAR" ttm WINNER! 4J 3 ACADeMY AWAKDSI NEW YORK nun CRITICS AWARD NEW VII," finally arrived here after its tremendous success in London, is exciting In one respect and thoroly flattening in another. What the evening offers us, over-all, is the spectacle of an extraordinary character, extraordinarily well acted, thrashing about a play that can never hope to live up to it. The character is, of course, Frederick Rolfe, alias Baron Corvo, the late 19th-century fantasist, failed painter and "schoolteacher, who wrote an ornate and wistfully semi-auto-'biographical novel in which a reject for the Roman Catholic epriesthood was suddenly and most profitably elected pope. In the novel, Rolfe daydreamed himself onto the throne of Rome under another name.

In adapting the daydream to the stage, dramatist Peter Luke has simply skipped such non-sense and given us Rolfe plain, Rolfe perverse, Rolfe in per-son at all times. It Is Rolfe who slaps his leather-patched elbows for warmth as he paces a shabby room planning the story he will write and Rolfe who sits in the chair of Peter exhaling cigaret smoke between anathemas. XetaMWiMANAKOeMimrfM ia0T00L6 kmharin6 H6PBURN rutain at 19:4.1 MNOwrou S6 LION IN -mEDIDffffisss WINTER rA.NM'MllXkr)IUie UliiiWJJIf Clart-OiwtMF RESERVED SEATS NOW AVAILABLE AT BOX OFFICE OR SY For theatre party group rates calf Nancy Rose at DE 7-1116. m.ii mum num ILEOJIRE t. oak arTV ce mid Omi MS Lut FMtwtl fn 7n MGM presents VfJtheJohnFTankenhemier-.

frrt 5R ik tons IBiRT.Sn-rimn MMMouNrncniattMM interna Franco Zefttreiii r.based on the Pulitzer Prize- 14 I. fwrrsns novel by VI F7 a Bernard Malamud Alec McCowen plays the role, and he has gone at the double image with an insight that is inspiration. There was r' an initial danger here that we should find the tone of the oc-m casion queasy. After all, Rolfe was writing about himself, was reciting his own grievances, was justifying his failed life. How much should we have enjoyed his thunders against bis Vfellow men, his snappish challenges to a money-minded church, his proud use of outrage, if we had listened to it all a suspect, as a feverish color for secret guilts? The program notes at the Helen Hayes theater want us to see Rolfe as a "homosexual paranoid." The more closely we attend to motive the more uncomfortable we might have become.

mini Mr. McCowen has overleaped the difficulty brilliantly by making the man profoundly uncomfortable with himself. -There is no point of rest in the universe for this heated, harried, self-loathing figure. He must move, his very becomes physical, his body darts about because his knows no peace with itself, the floor must be quickly iv scrubbed of cigaret stains. Rolfe is his own hound of heaven, m.

his own unrelenting judge, not even in the confessional, where -i'he is urged to spare himself some love, and he pretends to think kindly of himself 1 Concerts and Recitals Romeo 4)10. 7i09 lata rot oftour rates call fu-im MatlUM Tttfay it nounwv ion, NORTHWEST 'tut CARNEGIE' AT Th lafaaiMii UMtririua film ay Jiek ltd. Bililaa rilra rntival Wlnmr. Banrnd mHoutiT? m.etew la N.V. "A trMtmiirt if lava wNlah nakii awara ar lia rattralat af all ar.vliui akin.

LiMral-miMii Adulla Only I held overi nuni nth 22S N. B. 'la pimt'i Aiuy AARDVARK IMt M. Willi 197-4694 UAWUiJWeik! 0ns of 10 Best Zero Mostsl VILLAGE OPEN "Till FRC3UGZRS" iiirk-mrtii Vivian uigh, CMrk fcabl HELD OVER and Dill N- aoultsi AUCbrnl oivk TWO OF YEAR'S TEN BEST FOREIGN FILMS nwwiw caamry ai Jamaa Iim "5th Horseman Is Fear" "THUNDERBALL" also "FROM RUSSIA WITH LOVE" "Closely Wafchid Trains" RIAKR1DU "Mil bi miss at so-4 i Av' 30 R.M- I Adults 11 or Older Only w.wM.ini BEAM CONNIBV ''Fnia Runla tlta ttm" tharidaa WJ Ebert, Sun-Times Zero Mostsl One ef 10 Best NORTHWEST "ARTISTS MODELS" Alfons (left) and Aloys Kontarsky "TIE TWO US" ISlenSwrtMaTRr rr, rm. ai HUB "From Rossis With Love" l49 MTHUNni RRil 7Z WINNER! I 3 ACADBMY AWARDOI CE3KS 9 I KM Omairy ARTUR RUBINSTEIN and Nathan Milstein will each give a concert this week in Orchestra hall sponsored by the Allied Arts corporation.

Rubinstein will play an all-Chopin program built around the two piano concertos at 8:30 Friday evening. Milstein will play the Tschaikowsky and Mendelssohn Violin Concertos at 8:30 Saturday evening. Both artists will be assisted by members of the Chicago Symphony Orchestra, conducted by Irwin Hoffman. Those interested in music from pre-classical times will have much from which to choose today at 3 o'clock. In Orchestra hall, William Scheide and the Bach Aria Group will perform arias, recitatives.

and chorales from cantatas by their namesake; while in the Auditorium theater, John Reeves White and the New York Pro Musica will play and sing music made available by Ottaviano Petrucci, the first printer of music, centered around the Flemish tradition 1400-1500. The first program of the 1969 Contemporary concert series will be presented by duo-pianists Alfons and Aloys Kontarsky Tuesday at 8:15 p. m. in the Arts club, 109 E. Ontario st, The Kontarsky brothers, from Cologne, spe-i cjalize in contemporary music and in urtext editions of earlier music in the two-piano and piano four-hands rep-' ertoire.

Their program holds Pierre Boulez'a "Structure, Deuxieme Chapltre 1 and Earle Brown's "Corrobboree;" Sylvano Bus- AUYIrt oma ii time to sing" ILVIS REBLIV "BPEEDWAY" ID CHICABO fVVVf IHOWIN 2j.AI.1aJ WEST DESP IN LOVE" 2i9iMHiaaH Off ITC 4 PIllON There is quick, dog-like self-satisfaction in his smile, -jthere is arrogance in his lower lip as he details the shortcom- tags of cardinals. There is a backbreaking effort at authority In the very articulation of his words but it is all surface, wish, dream. The interior life of this rattled but indestructible man and it is the interior life that Mr. McCowen has got is urgent with inward contempt a scorpion's nest occupied by two, and it is always headed toward a moment of cracking open, a moment that comes when the silver-tongued pope is commandingly defending himself, only to discover that he is jabbering nonsense syllables at the height of his wrath. Wrath cannot release this man's torments, they will still trip him.

All that he does can only end in fatigue. The fatigue is desperately real in Mr. McCowen's blinking, shivering, studiously arrogant performance. Wrinkling a nose that seems full of pepper whenever he la briefly pleased, catching his breath over the thought that he may at last have made contact with one other human being, screaming with delight at the Sistlne ceiling and flippantly describing himself as a simple religious maniac, the actor anticipates "and circumvents our distrust by openly sharing it with us. Unfortunately, what is genuinely arresting about the evening is seriously undermined, sometimes made dull and finally made foolish, by its dramatic structure.

Mr. Luke seems to bring no more than a journeyman's hand to patching scenes together. The first act survives on promise almost nothing Is happening, but we stick It out in hope and trust. The second wobbles awkwardly between effective from a white-cassocked Mr. McCowen and unbe Jievably gauche accountings of a plot that Is being hatched In London to blackmail him.

At the last, tho, we have got to excuse Mr. Luke and turn once more to Mr. Rolfe, the real Mr. Rolfe. There was probably no getting around the sillinesses he thought would pass for a story.

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Admission to the concert is free. The Vienna Choir boys will return to Orchestra ball next Sunday at 3 p.m. on the Allied Arts choral series. Anton Neyder will lead the chorus in Franz Burkhard's "Exsultavit" and "Dextera excerpts from Michael Haydn's "St. Leopold's" Mass and his "In All the a newly-translated and arranged version of Rossini's i Robert Schumann's "Gypsy Life" and "Beautiful Flower" Hugo Distler's "Prayer" and "Song of the Wind" Joseph Strauss' "Chatter-Box Carl Ziehrer's "Townsmen from and several folk songs.

Frank Miller will conduct the second concert of the Evanston Symphony Orchestra's season Friday at 8:30 p.m. In Evanston Township High school auditorium. Arnold Jacobs, Chicago Symphony tuba player, will be the soloist in Ralph Vaughan Williams' Concerto in Minor for Bass Tuba and Orchestra. Miller also will conduct Mendelsoohn's Symphony No. "Reformation" and Zoltan Kodaly's "Galanta" dances.

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A BUN 3d CAlin CTRD BEAN CONNERY ryUn elAn "thunoerball" "thou RUaaiA witu louim AI 1:10 4 9:30 Fall-Ungttil 2424 N. I sotti's "Tableaux Vivants" and "Avant La Passion selon Sade" and Stravinsky's Concerto for Two Solo Pianos 1935. The Kontarskys come to Chicago from Detroit where they performed the Mozart Concerto for Two Pianos with Sixten Ehrling and the Detroit Symphony. Mrs. Paul M.

Corbett, president of Contemporary concerts, has announced that the series has been awarded a matching grant for 1969 by the National Council on the Arts. The Borodin String quartet from Moscow will play a program of chamber music on the Pro Musica society's series at 8:30 p.m. Tuesday in Orchestra hall. The quartet, comprised of violinists Rostislav Dublnsky and Jaroslav Alexahdrov; violist Dimitri and cellist Valentin Berlovsky; is on its third American tour. The program Includes Borodin's Quartet No.

1 in A Major; Shotakovich's Quartet No. 7 in F-sharp Minor, Op. 108; and Beethoven's Quartet in Major, Op. 59, No. 3.

The Contemporary Cham-' ber Players of the University of Chicago will present a concert of 20th' century choral music at 8:30 p. m. Friday in Mandel hall, 1129 E. 57th st. Ralph Shapey will conduct the chorus and musicians in Arnold Schoenberg's "Friede auf Erde" and Salvatore Martirano's That Shakespeherian Rag." James Mack, chairman of the music department at Loop city college, will conduct Igor Stravinsky's Cantata a Henry Weinberg's "Vox in Rama;" Elliott Carter's "Heart Not So Heavy as Mine;" Anton Webern's "Entflicht auf Lelchten Kuchnen;" Orazio Vecchi's "Fa Una Canzone;" and Jacobus alius' "Mirabile 'MMnUTILTSKIH" EVERVONI SM Ir Caltr LABT WIIKII 7:99 an( It SOUTHWEST 1941 MllwaukM On.

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