Star Tribune from Minneapolis, Minnesota • Page 49

His Mouth Never Forgets a Note Symphony Trumpeter Likes 'Noble and Brilliant Tones' Critic Hails Plullist Who Afternoon's: Fun to Get a Showing Portraits by March" Apres-Midi, "noted French artist," will be featured in a spring show that will have an invitational opening Tuesday night in Calhoun Beach hotel. The exhibition is of paintings by Twin Cities women who call themselves the Mardi Apres-Midi painters, and attend Tuesday classes conducted by William Diet-richson. Besides portraits, there will be about 60 individual works hung. The portraits are the product of an afternoon pastime, a co-operative project, that the painters turn to after the morning class. Each artist contributes to the portraits a phase of the work in which she is I 4 At Walker Girl Reading is one of 17 bronze sculptures in a retrospective showing of work by Hugo Robus, American sculptor, on view at Walker Art center through April 23.

MUSIC April 2, 1961 MINNEAPOLIS Rood's Styrofoam Works Get New York Showing Sculpture by John Rood, in the New York Times, Minneapolis artist, in a new the medium is described medium Styrofoam is as "an extremely light plas-being shown at Feingarten tic used as insulation but gallery, New York city. In more familiar to most of a review by John Canaday us in Christmas ornaments and as a base in which florists stick stems in mak SYMPHONY TRUMPET Lips vibrate 440 times a mmtmm By RONALD ROSS Minneapolis Tribune Staff Writer Stephen Chenette has an unusual mouth. It remembers things. It remembers exactly the shape it must take to hit a note right on the button, with neither too many vibrations nor too few. For when the Minneap- olis Symphony's principal trumpeter raises his gleaming brass horn to sound, say, the note of A above middle the standard tuning note, his lips must vibrate at exactly 440 times a second.

IN LOWER ranges his lips will murmur at slower than 200 times a second, increasing to over 1,000 times at the other end of the scale. A vibration or two too many, and he'll sound sharp; a quiver or two too few, and he's flat. "A trumpet player develops great sensitivity in his lips," the tall, broad-shouldered Chenette said. "In fact, they must be sensitive enough to remember the feeling, the pre-set, for any pitch, and with an accuracy of one in a thousand. "If a trumpeter changes mouthpieces, it may take three or four weeks to get that sensitivity back." CHENETTE, who is in his first season with the Symphony, explained that the lips are to the trumpet what the reed is to the oboe and strings to a violin the source of the vibrations that set up the sound.

"You hear people talking of a trumpeter 'losing his but I've never known of one. The problem here is more one of endurance. The exertion of keeping our lips at the correct tension is tiring and we have to take frequent STEPHEN CHENETTE Playing trumpet Symphony Completes Recording Sessions The Minneapolis Symphony orchestra last week completed its first recordings under the baton of conductor Stanslaw Skrowaczewski. Sessions were Monday and the preceding Saturday. Recordings were made by Mercury under a renewed contract, and Wilma Cozart Fine, Mercury vice president, was here to supervise the project.

Recital Monday The New Friends of Chamber Music will present the University Baroque ensemble, directed by George Houle, in a concert at 8:30 p.m. Monday at the First Unitarian society. 1 I ''it rests during a concert." The trumpet, he said, is one of the oldest of musical instruments and, like others in the orchestra, did not undergo appreciable change until about the 19th century, when three valves were built into it. EARLIER trumpeters could play notes only on an overtone series, he said, adding that "a trumpet without valves is a bugle." "Valves added length to the instrument and increased the number of notes that could be played. The range now is about three actaves." The 25-year-old musician, who has "never felt right on any other instrument" since he was 13 and who counts among his early idols jazz trumpeter Harry James, said that early-day symphony trumpeters had to change instruments as the key of the piece they were playing changed.

Chenette said there are eight possible finger combinations on the trumpet's three valves "seven actually, since two give the same combination." "NO TRUMPET is ever built in tune," he said. "The val ves are just a compromise. You adjust on the first and third valves by pushing a trigger andor a finger ring that operates a slide to lengthen the air column." From about 1875 on, Chenette said, as improvements were made in the valve trumpet, parts for the instrument not only got more difficult to play, but composers began to make more use of the instrument. "Modern composers began writing fast, high, very technical passages for trumpet And the range has been going up. "A HIGH of flat was normal in older scores.

Now, it frequently is a third or fourth higher. And, composers are writing chromatic melodies rather than just simple parts. "The art of the high-note specialist of Bach's day has been lost, but much of what they were able to do on their simple instruments, now can be played on the valve trumpet." Among modern composers with feeling for trumpet, he said, are Ravel, Stravinsky, Moussorgsky (especially "Pictures at an Hindemith and Aaron Copland. "When all's said and done, it's an exciting instrument to play," he said. "It has many noble and brilliant tones." "BUT," HE ADDED with a smile, "it does present a social problem finding a place to practice." Chenette said it wasn't unusual for him and his wife, Marjory, to have to "audition" for apartments, Chenette played his trumpet and his wife, the French horn.

"More often than not we were turned down." "Marjory played the horn when we were with the Buffalo Philharmonic and the Denver Symphony. We'll never forget one apartment we had in Buffalo. "When we started rehearsing, the elderly couple next door just turned down their hearing aids." 1 tnfJ is' 4ai' MINNEAPOtIS TRIBUNE PHOTOS BY DON BLACK VALVES ENLARGED TRUMPET'S RANGE Trigger and finger ring aid in tuning V' 4 Yir -5 IJt-ste A- SfewMc i. U1 i i PRINCIPAL HITS 'A' second at tuning note xmmwlS Ktil Si SIR THOMAS BEECHAM Vitalized Handel son's Minneapolis Symphony guest list) and Irina Zarickaja, from Russia, playing Chopin works. Included also are two runners-up, Michael Block from Belgium and Tania Achot-Haroutounian from Iran.

Here are four sides of fresh, dynamic, Chopin playing from aspirants ranging in age from 19 to 23. If you were a judge, you might" have a hard time deciding who was best. Marvelous flair and color are brought by Eugene Or- i i tl IBMHMMHHHHIMMII 'A Is Didn't Play That persistent legend about the music critic who reviewed a concert that never happened has been a so MUSIC long that even some ChAT people who are not music critics don't believe it. But it recently happened again. A critic for Paris-Press, one of the French capital's largest papers, wrote a brilliant review of a recital by Maurizio Pollini, Italian pianist.

Only Pollini had been ill the day before and didn't play Cornell MacNeil, Metropolitan opera baritone who will sing here on next season's University Artists course, has sailed for Italy with his family for a six-week a a i n. He will study the roles of Hamlet and Barnaba in "La Gio-conda" In what appears to be the final scene of a battle of words between Win-thro Sargeant, peppery foe of modern music, and Musical America magazine, the New Yorker critic writes a letter of resignation from its editorial advisory board. On the same page of the magazine Paul Fromm, president of the Fromm Music foundation, takes issue with Sargeant' down-rating of what he calls "foundation music." Fromm contends that music foundations are today's equivalent of the wealthy patrons of composers of bygone days James A. Stark, Minneapolis tenor, will sing the role of the Evangelist in Bach's St. John's Passion at London, Canada, Friday.

Aksel i former Danish and Twin Cities baritone with whom Stark is studying in Toronto, Canada, will sing the part of Jesus. mandyand the Philadelphia orchestra to Rachmaninoff's last orchestral work, SYMPHONIC DANCES (Columbia MS-6205). There's a lavish orchestral palette here, an enchanting saxophone solo in the first movement and the Philadelphia's usual virtuoso playing. The disk is filled out with Casella's glittering PAGANINIANA. HIGHLIGHTS FROM 'AL-CESTE', (Gluck) Kirsten Flag-stad, soprano, with Raoul Jobin and Geraint Jones orchestra and singers conducted by Jones (London OS-25204).

Flagstad in such a role as Aicestis is an experience, even though in this instance it is a slightly uneven one. The excerpts including the great first act soprano aria, "Divinities du Styx" are from Gluck's original score, not the reworked one usually heard. SERENADE FOR STRINGS. Eugene Ormandy conducting strings of the Philadelphia or-c a a (Columbia MS-6224). This includes Tchaikovsky's serenade for strings, Borodin's nocturne for strings, Vaughan Williams', fantasia on "Green-sleeves" and Barber's adagio for strings.

It exploits the well-known richness of the "Philadelphia sound" in some easy listening. CONCERTOS FOR HARPSICHORDS (Bach) Sylvia Marlowe and other soloists with Baroque Chamber orchestra under Daniel Saidenberg (Decca DL-710028). The recording studio must have been crawling with harpsichords for this session involving, in turn, two, three and four of the antique instruments. Agile, energetic playing with crisp patterns and fluent motion. Secular and rather business-like Bach, Art in Review Handel's Airs in love in Bath' Are Full of Beecham Vigor ART SUNDAY TRIBUNE ing arrangements.

Images resulting from applying flame and heated tools to Styrofoam and adding molten bronze are "suggestive of the disruption and decay of matter and is often spectral in character," Canaday writes. Emily Genauer, art critic of the New York Herald Tribune, writes that Rood's "rippling, pierced bronze surfaces suggest Lipchitz in certain phases Analogies are to be found with twisted roots, stalactites, spectral trees. Nevertheless, his work smacks more of the studio and museum than of direct communion with University Art Professor Plans Painting Exhibit Edward Corbett, American painter who is visiting professor of art at the University of Minnesota, will have a one-man show of recent paintings opening next Sunday in Walker Art center. The exhibition, assembled by assistant curator Huldah Curl, will run through May 7. Of his art Corbett has written: "I intend my work as poetry," and his glowing, soft-focus abstractions fulfill for many viewers that definition.

Son of an army officer, Corbett was influenced in his early years by travel to the American southwest and the Philippines. He has taught on the east and west coasts and his paintings are in the collections of the Museum of Modern Art, Albright Art gallery, Buffalo, N. and the Art Institute of Chicago. School Notes Northfield, St. Olaf college: Flor Peeters, Belgian organ virtuoso, and Olaf C.

Christiansen, director of the St. Olaf Lutheran choir, will lead an organ-choir workshop at St. Olaf college Aug. 6 to 11. The new 86-rank organ in Boe Memorial chapel which Peeters dedicated last fall will be used in the workshop.

Gilombardo Music school: Chamber music classes for adults will be directted by Cynthia Britt during April and May. Information at FE 6-5680. University of Minnesota music department: Guy Duckworth will conduct a piano teachers' workshop June 12 to July 15 for Twin Cities area children 7 to 10 years old. Information is available at FE 2-8158, extensions 6596 or 302. St.

Cloud State college, St. Cloud, The college's 70-member concert choir directed by Harvey Waugh will leave Monday to sing at the American Choral Directors association convention in Columbus, Ohio. En route it will give a concert in Chicago's Oak Park-Lake Forest high school Tuesday. i gown, features, composi- tion. Members of the group whose portraits will be shown include Mmes.

Don McGlynn, Chester Bros, John Savage, Walter Stre- mel and James Wagner. Other portraits commissioned by Mmes. E. T. Ceder, George Dar-rell, S.

K. Fisher, Frank Higgins, Tom Moore, and Harlan Wheeler. Concert Calendar TODAY Waldorf College choir of For-est City, Iowa; Odvin Hagen, director; 8 p.m.. Bethel Lutheran church. Free.

Program of a cap-pella sacred music. First Covenant church sanctuary choir, James P. Davies, di-recor; Audrey Landquist, accompanist; soloists, Mrs. Warren Fall, Mrs. Donald Searer, Paul Knowles and Phaeon Nelson; 7 p.m., in the church.

Handel's "Messiah." MONDAY University Baroque Ensemble, George Houle, director; for New Friends of Chamber Music; 8:30 p.m., First Unitarian society auditorium. Admission $1. The program: Sonata Danican-Phifldor for recorder violo do gamba ond. Iwosichord Cmquleme Concert Rameau For harpiiehord. flui and cello le Pornaue ou I'Apotheose de Corelli For violin, oboe, harpsichord ond cello la Suiting Fof oboe, violin, viola, harpiiehord ond cello Cantata, Domin Dominui Nosier" Campra Soprano, oboe, harpiiehord ond At Home With Music, University of Minnesota music department presents pianist Evelyn Barry, faculty member, 9:30 p.m., KTCA-TV.

channel 2, Program of Mozart, Mendelssohn and Debussy. TUESDAY St. Paul Chamber orchestra, Leopold Sipe, conductor; Bloch, lute and recorder playen soloist, Mary Roberts Wilson, flutist; 8:30 p.m., Highland Park junior high school, St. Paul. Admission $2.50, students $1.50.

The program: Suits No. 2 In ft minor for Flutt and String Bach Elizabethan Suite for lute and Chamber OrcheMro Mm Sloch Fenansanct Dancet for Descant Recorder, String, Recorder ond Percuision arr. Miu Bloch INTERMISSION Symphonia Concertante. Klein Symphony No. 39 in WEDNESDAY Northfield, St.

Olaf College Viking Male chorus, Earl Beals, director; end of tour homecoming concert, 7:30 p.m., Boe Memorial chapel. THURSDAY Leontyne Price, soprano; David Garvey accompanist; for Schubert club; 8:30 p.m., St. Paul auditorium. Program of Handel, Schubert, Cilea, Poule'nc, Samuel Barber and spirituals. Minneapolis Symphony Preview: Stanislaw Skrowaczewski, conductor, and Boris Dokoloff, manager, discuss the orchestra's 1961-62 season, 10 p.m., WLOL-FM radio.

NEXT SUNDAY Dance Repertory Group, Coffee Concert; Gertrude Lippincott and Robert Moulton, directors; Joan Loque, pianist; Larry Whiteley, stage director; 3:30 p.m., Hamline university theater, St. Paul. Program of modern dance including six premieres. Admission $1. Unitarian Chorus and Orchestra, Thomas Nee, conductor; Gerhard Track, guest conductor; Micaela Maihart, pianist, guest artist; assisting organization, White Bear Unitarian chorus, Clare Carlson, director; 8 p.m..

First Unitarian auditorium. Admission $1.50, students 75 cents. Macalester College Choral union and orchestra, Ian Morton, conductor; guest artists, pianist Donald Betts, soprano Betty Irwin and baritone Matthew Murray; 8 p.m., Macalester college gymnasium. Free. program: Fontosio for Pmno, Choruj and Orchestra Requiem Brahmi STUDENT RECITAL MacPhail School of Music auditorium: Wednesday, 10 a.m., MacPhail Music Rack Players in readings of one-act plays.

ICAELA Maiharf, pian-IVlist, will play Mozart's "Coronation" concerto at a concert of the Unitarian orchestra and chorus at First Unitarian auditorium next Sunday night. Guest conductor of the orchestra for her appearance will be her husband, Gerhard Track, who is in charge of music at St. John's university, Collegeville, Minn. Thomas, Nee will conduct the rest. of the all-Mozart program.

Six Premieres Set for Modern Dance Program The Dance Repertory group, directed by Gertrude Lippincott and Robert Moulton, will give a "coffee concert" at 3:30 p.m. next Sunday in Ham-line University theater, St. Paul. The directors are also the choreographers and the program of modern dance will include six premieres. Dancing with Miss Lippincott and Moulton will be Susan Buirge, Frances Finch, Marcia Holm, Mary Rae Josephson and Tom Meuwissen.

Joan Loque is pianist and Larry White-ley stage director. New dance numbers will be "Tree of Sins," "Sonic Discourse," "Ghosts of the Heart," "New England Scenes," "Light in the Spring" and "Excursions for Dancer and Pianist." New Art Shows Edward Corbet visiting professor of art at the University of Minnesota, recent paintings, opening next Sunday through May 7, Walker Art center. Mardl Apres-Midi painters, William Dietrichson's Tuesday women's painting class, invitational opening Tuesday, Calhoun Beach hotel. 1 Minnesota chapter of Artists Equity association traveling show, through April, Duluth Art center. Contemporary Swedish Architecture, photographs of latest buildings in progressive design, through April 10, First National bank lobby.

Birney Quick, 35 recent paintings and drawings, Alley 29 Art shop, St. Paul. Jazz Recording Session, 34 photographs by Lawrence N. Shustak of jazz" personalities including Bobby Timmons, The-lonius Monk and Charlie Rouse, through May 5, University of gallery. El Greco's "Christ Driving the Money Changers From the Temple," painting of ihe month, and motion picture on El Greco at 2:30, 3 and 3:30 p.m.

today, Minneapolis Institute of Arts. Free. CONTINUING: Young French Painters, Easter Print Exhibition, Eugene Larkin paintings prints. Minneapolis Institute of Arts. Hugo Robus, retrospective sculpture show, Walker Art center, Minneapolis School of Art faculty exhibition, Fireplace room, Minneapolis Institute of Arts.

Richard Brown Baker collection of modern art, Walker Art center. By EDWIN BOLTON Sunday Tribune Staff Writer The best executed and meaningful version of Handel's "Messiah," to these ears, NEW is one which the late Sir RECORDS Thomas Beecham recorded not long ago. Now, as one of Sir Thomas' final recordings, comes another example of his vitalizing treatment of Handel, a less serious enterprise called LOVE IN BATH (Angel S-35504). This is a collection of Handel airs from a number of- sources. The Beecham-arranged items, some 20 in number, made up a ballet which the conductor put together in 1945 and called "The Great Elopement." As the album notes suggest, the musical product is in some instances as much Beecham as it is Handel, and there is even room for speculation that certain segments are all Beecham.

Nonetheless, what is plainly Handel is enhanced by Sir Thomas' native musi-cality, his vigor and wit the latter an attribute not confined to his speech and writings. THIS IS Handel's grand style set off by a greater variety of expression than is traditional. Gerard Souzay, French baritone, has turned out a series of recordings of exceptional interest and artistry, latest of which is devoted to songs by Gabriel Faure. The first side offers LA BONNE CHANSON, to poems by Paul Verlaine; the second side POEME D'UN JOUR and eight other songs (Epic BC 1122). Dalton Baldwin, pianist, is an adroit partner in these delicate, highly distilled and touching songs of the heart, immaculately balanced in the performance.

Deutsche Grammophon has started something that may prove popular the recording of prize winners at one of the world-famous musical contests. Two disks, INTERNATIONAL CHOPIN COMPETITION WARSAW 1960 (DG-13621819) introduce first and second prize winners, Maurizio Pollini, 19-year-old Italian (on next sea- French Painfers Offer Smart Parisian Styles I couldn't help think while browsing through the exhibition of young French painters at the Art institute that we've seen most of these pictures before, or something like them: a smart anthology of current styles from Paris, variations on familiar themes. All abstract, these 36 examples by 12 artists carry varying moods from apathy to excitement. These 12 painters on the whole are a pretty composed group of young men, coolly objective and generally aloof from the "action" crowd whose efforts are on-the-spot experiences rather 1 4 v- A Hill -A 1 3k How for Js it from your living room io ihe FAR EAST, EUROPE, AFRICA? Not far it all for Minneapolis Morning Tribune readers. One reason: Each day the Tribune brings readers outstanding dispatches from the New York Times foreign news staff.

These difpatches include solid news reports appearing on Tribune MEWS pages of foreign political and diplomatic affairs. They include commentary and interpretative stories appearing on Tribune EDITORIAL pages that make events abroad clear and meaningful. To assure yourself of a fuller understanding of foreign news, read the dispatches of the New York Times foreign staff in your iJli'nneapolte jfflorning Cribune CtOM than pictures as such. Most of these are "pictures as such," and recall earlier traditions of abstraction. Marc Antoine Louttre's oils look like a marriage of analytical cubism and impressionism; Jean Cortot has luminous cross-hatch effects remindful of neon-lit towns seen from an airplane at night.

Martin Barra's paintings retreat behind a translucent white veil with a bit of black or gray peeking hat meekly here and there. Pierre-Ladislas Kijno paints what seem to be magnified beetles. Jacques Busse's repeated patterns seem to be turned out by an intelligent IBM machine. My favorites, on first viewing, were Alain de la Bourdonnaye, who achieves subtle balances and grayed harmonies in flat, spacious patches, and Pierre Fichet, who flaunts brushy oblongish forms in a spirit of pageantry. On view through April 9.

J. K. S. Pmt Leontyne Price, soprano whose per- in 2T iQUI formances have been a sensation of the Metropolitan Opera's New York season, will be presented by the Schubert club in recital in the St. Paul auditorium at 8:30 p.m.

Thursday..