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n’ ~â€" uiaae 20 â€" ++ . 20. 1078 When a dynamic, charâ€" ismatic music director takes over the direction of an already fine symphony orchestra, something sensaâ€" tional is bound to happen. And so it did with the Winâ€" nipeg Symphony Orchestra when Maestro Piero Gamba with his prodigious musiâ€" cal talents, joined the orâ€" chestra nearly seven years The Winnipeg Symphony Orchestra â€" has _ become one of the greatest orchesâ€" tras in Canada, with reâ€" cordings for the CBC, and invitations to represent Canada â€" at â€" international festivals around the world. By Liz Papas Smith Mar. 2: Marta Hidy, violinist, and Alla Brat, pianist, put on a wellâ€"played and interesting proâ€" gramme for WLU‘s onâ€"going Music at Noon series. Just looking at the menu of Vivaldi, Brast. Bloch, and Hugh Hartwell piqued my. musical appetite. According to Contemporary Canadian Composers (1975), Hartwell was born in Hamilton in 1945, studied at McGill, and then at the University of Pennsylvania with Rochberg, Wernick, and Crumb. 1'?6&’ who teach piano might look into his Four Piano Pieces for Children (1966) and Piece for Piano (1968). Hartwell‘s Waltz Inventions for Violin and Piano (1977) was as well played as it was composed. The title gave us some guidelines for listening and the waltz rhythm was apparent throughout, even though there were many free passages. ‘"Invention‘‘ here seemed to mean free variation and at least part of the original idea did reappear from time to time. One section of the work called for Brat to mute some of the piano strings with her left hand. The comâ€" position had more appeal than many modern works do on first hearing because it had a driving rhythmic pulse and an overall unity enhanced by a great variety of ideas and dynamics. The Respighi Sonata by Antonio Vivaldi (1678â€" 1741) had a grand introduction with many recitaâ€" tive passages. Hidy has a beautiful, solidâ€"seated tone with absolutely sure intonation and attack. This fourâ€"movement work demands great control for making quick changes in tone quality, playing those etudeâ€"like parts without making them dull, and playing inâ€"tune double stops. The whole sonata has a distinctive texture; was it transcribed by Respighi? In the Vivaldi Brat did not measure up to WLU‘s Music wherever she goes This fine Canadian Orâ€" chestra will perform two distinctly different concerts at the University of Waterâ€" loo Humanities Theatre on Sunday, April 2 at 2 p.m. and 8 p.m. as part of a Crossâ€"Canada tour, sponâ€" sored by the touring office of the Canada Council. The â€" evening. concert which will be conducted by Gamba will include the elegant Capriccio Conâ€" certante by Gramatte, the beautiful Prelude to Act III of Manon Lescaut by Pucâ€" cini, the impressive La Valsée by Ravel and the rich,~ melodic Symphony No.5 by Shastakovitch. on the March 31 programme is the Canadian short subâ€" ject "Herring Belt", a 1964 English, blackâ€"andâ€" white film, that is a sensiâ€" tive documentary study of Toronto‘s cosmopolitan Kensington Market â€" a babâ€" el of fresh earthiness in a city of supermarkets. The final chapter of the serial ‘‘The Phantom Creeps" entitled ‘‘To Destroy the World" will wind up the programme. Admission to the films is by $2.00 membership, available at the UW Arts Centre Box Office, 254 Modern Languages buildâ€" ing or at the door. Film fee per night is $1.50 (Stu./ Sen. $1.00). accompanist Marjorie Beckett, but this must have been lack of rehearsal because she excelled for the rest of the programme. Perhaps the piano lid should have been open only part way because the piano ocâ€" casionally drowned out the violin. The Brahms Sonâ€" ata for Violin and Piano, Op. 108 (1887), was a fine example of ensemble playing. In the second movement some of the 3:2 rhythms were too obâ€" vious and this movement bogged down a bit toward the end. ‘‘Nigun‘‘, from the Baal Shem Suite (1923) by Ernest Bloch (1880â€"1959), speaks eloquently of the Jewish soul by incorporating Hebrew melodies and using the pentatonic minor. It was splendidly played. For an encore Hidy and Brat offered the delightâ€" ful Hungarian Dance by Erno Dohnanyi (1877â€"1960). It is a perfect encore piece, full of real gypsyâ€" fiddler stuff but also well constructed. How does one play that fabulous mix of LH pizzicato with RH Although one may disagree with various phrasâ€" ings and other points of interpretation, it is clear that each point was carefully considered. Such meticulous â€" articulation (meticulation?) â€" bodes well for a programme at the Guelph Spring Festival when Hidy will conduct the Chamber Players of Toâ€" ronto. Mar. 3: The KWCMSâ€"sponsored Stratford Ensemble gave a stunning performance of Schuâ€" bert‘s String Quintet in C Major, Op. 163, D. 956 (1828). This work is so broad and so profound I found I had to enlarge my listening frame. It would be unaesâ€" thetic, if not impossible, to select certain areas of the music or its interpretation as outstanding. The acoustics of the Church of the Good Shepherd comâ€" in Winter. â€" In this moving .novel, the author treats a classic theme of fiction with insight and humor: the inâ€" terlocking of the past and They don‘t claim any Irish ancestry, but Mr. and Mrs. Carl Stailkie, 345 Louisa St., Kitchener, were certainly in the spirit of things as they enjoyed an lrish Casino night Saturday at the Waterioo Adulit Recreation Centre. The evening was sponsored by the Recreation 361:class from University of Waterioo. Leonard, Phyllis: Warâ€" rior‘s Woman. â€" Set in the FICTIQON Cohen, Stanley: 330 Park. New books at the lib bejeweled cities of Mexico at the time of the Spanish rior King. â€" The reign of latest addition to the imâ€" perishable Sainte Monique Yellow Streak. â€" A satiriâ€" Leslie, Doris: The Warâ€" IRISH ROVERS plemented the beautifully controlled ebb and flow of this work in which the special role of the added cello was extraordinarily well played by Patricia Mullen. Kudos go also to Irving Iimer and Young Dae Park, violinists, Tom Wermuth, violist, and Ifan Williams, cellist. The opening work, Mozart‘s rather lightweight Flute Quartet, K. 298 (1786), began with quite a square theme and variations. Although Tom Kay, flutist, played very expressively, this first moveâ€" ment was monochromatic. As the music itself imâ€" proved, the dynamics became more interesting, parâ€" ticularly in the last movement which has a graceful tune of distinctive character. Park, Wermuth, and Williams also did fine work. The other focus of the evening was the Variations for Viola and Four Drums (19%7) by Michael Colâ€" grass (b. 1932). Tom Wermuth, violist, and Ronald Brown, percussionist, gave skilled performance to this odd mix of instrumentsl at first found difficult to blend in my ear. I never really grasped the tune so was not able to follow its variations on this first hearing. The 5 tunings of the four specially made drums made possible .various intervals as well as melodies, and it was interesting to hear the percusâ€" sion timbre participate sometimes as accompantâ€" ment or ground and sometimes as counterpoint. Although the viola part called for pizzicatos, spicâ€" catos, glissandos, harmonics, and mutes, and the percussion part called for different tunings and strokes as well as the use of different drumsticks and even the hand, perhaps the work was a bit long in proportion to the variety. However, I‘d like to hear this provocative work again. â€" cal and funny book and the Church‘s efforts to update itself. â€" on ent state. Pell, Sylvia: The Shadow of the Sun. â€" The reign of lems of a~newly independâ€" t *