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1IT PAYS T0 ADVERTISE ... ADVERTISE WHERE IT PAYS... I was really quite ‘"undone‘"‘ by Thursday‘s Stratford Enâ€" semble performance of Messiaen‘s "Quartet for the End of Time.‘‘ Even Messiaen‘s mysticism seemed less mysâ€" terious. I think the entire audience in WLU‘s TA responded strongly, judging from the special silence before applause. (This was not the usual silence during which the audience is wondering if the work has ended.) My notes on previous performances of this quartet, writâ€" ten for violin, clarinet, cello, and piano, showed some deveâ€" lopment. I wrote a fair amount about "ugly‘‘ sounds on first hearing, in California. I found last April‘s Ensemble perforâ€" mance quite moving, and also began to find meaning in the music so that I wanted to hear it again. This thought proâ€" gression seems logical in the light of growing familiarity. In addition, Thursday‘s concert gave me new ideas about listening to conteéemporary music, although of course Mesâ€" siaen is nowhere nearly so "far out" as, say, John Cage or electronic music. This work has plenty of dynamic variety, and even a "programme.‘‘ I began to find new.â€"ways to listen to the traditional elements. For example, I tried listening for motion rather than rhythm ; for simultaneity rather than harmony ; for statement rather than melody. I‘ll have to see how workable these approaches are in performances of other contemporary works. Victor Sawa gave a truly superlative performance of the difficult clarinet part which demands everything and then some, including control of attack and decay rates. His playâ€" ing was outstanding because, using his fabulous technique as a tool, he surpassed the score itself and gave a riveting and responseâ€"evoking performance. The fifth section is probably the most accessible moveâ€" ment, and it was lovely to hear cellist Ifan Williams‘ gorâ€" geous tone on those long sustained notes, soaring over pianâ€" ist Raffi Armenian‘s subtly shaped repeated chords. Wilâ€" liams occasionally played a note quite out of tune, but fortunately not during those wondrous ascents via intervals of fourths and thirds, which in some way made me think of Beethoven‘s chromatic ascents in the Archduke scherzo. YOLNG MENYF" SUKT '%&9 %LA%H@% 7 â€" RAMLPFoSE& \);\y’s A : aprim "‘:‘}-‘-‘\‘f"J 8 w DL . ‘ aA AIN MA WATTERIM SNIIARF 226. 12?60 OPEN: Mon., Tues. and Sat. 9:30â€"5:30 Wed., Thurs., and Fri. 9:30â€"9:00 for kittens, Cats & Toms The Area‘s Leader in Unisex Fashions MAIN MALL WATERLOO SQUARE 886â€" 1260 We have all the very latest European fashions in a big variety of fall colours and styles. $4999 All Suits & Blazers regularly up to $195.00 now only 4 DAYS ONLY! Sale ends Saturday Oct. 14 pertormance goes awry for only a moment, the ear corrects . COUNTERPOINTS and forgets. When the trouble continues, the listener bee _ Teachers should see that their advanced students control comes distracted. body movement while performing. Many pianists belong to Violinist Irving Iimer‘s solos in the eighth section profâ€" the school of Body Pumpers. Recently a flutist‘s willowy fered beautiful tone quality and good intonation, whether . motions began to resemble calisthenics (I might have found ppp or fff. Was it the acoustics? A different violin? them less distracting if her playing had been more accuraâ€" All in all, this Messiaen performance constituted a sub te). And I can remember a famous flutist who looked as if lime hour in the midst of a ridiculous day summarized by he were going to bite off the mouthpiece each time he preâ€" the phrase "All fall down"‘ ; in addition to a sick husband, a pared to play. Some performers hyum while playing. I wondâ€" sick furnace, and a sick piece of plumbing, 3 buildings were â€" er if one could break this habit by practicing with a tissueâ€" torn down in my neighbourhood. paperâ€"wrapped comb between the lips: humming would NEXT WEEK : cause unbearable tickling which might make the player Oct. 12, Organist Jan Overduin, WLU Chapel, 12:30 (free). aware enough to break the habit. ' Oct. 15, Oktoberfest Lollipops, KW Art Gallery, 8 p.m. ~ But of course some performers have capitalized on perâ€" Oct. 18, Mindenâ€"Johnston Duo, CG Chapel, 12:30 (free). formanceâ€"appearance rather than on peformance itself. Oct. 19, Piano Duo, WLU TA, 12:30 (free). Think of Liberace! NOTE : I am sorry to be unable to attend the Conrad Grebel After an exhaustive survey of audiences in several cities, Wed. noon concerts: I have a job on Wed. from 12â€"1:30. Last I am prepared to say that more men than women fall asleep week I got through a bit early, so I dashed over to ML thinkâ€" during concerts. (Haydn was right: sudden forte passages ing I might catch at least the last participle, but no luck. I‘d . wake the sleepers with a start.) The players had a rough time (also in April) with the rhythmic difficulties of the zigzag sixth movement. When performance goes awry for only a moqment, the ear corrects and forgets. When the trouble continues, the listener beâ€" comes distracted. Violinist Irving IIimer‘s solos in the eighth section profâ€" fered beautiful tone quality and good intonation, whether ppp or fff. Was it the acoustics? A different violin? and 9 ‘9 § 2999999 621 KING WEST, KITCHENER â€" 745â€"9495 GEORGE SCHELL RATZâ€"BECHTEL FUNERAL HOME & CHAPEL Convenient parking, entering Welling{on or King Street Waterioo Chronicle, Wednesday, October 11, 1978 â€" Page 21 After an exhaustive survey of audiences in several cities, I am prepared to say that more men than women fall asleep during concerts. (Haydn was right: sudden forte passages wake the sleepers with a start.) like to see more of our local music students at these perforâ€" HARRY HUEKHN Service worthy of your confidence â€" a tradition since 1925.