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THE'
CTOUR. MUSKETEERS
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TECHNICOLOK®-PRINTS BY DE LUXE®
PLUS
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W.W. AMD THE DIXIE
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[PG) COLOR BYTVC • PRINTS BY DE LUXE" ll^Q*
5:40-7:35-9:30
1.50 1st HR.
Call For Times
EMANUEL L.W0LF presents
A MICHAEL KLINGER Production ol
A PETER HUNT Film
ROGER SUSANNAH
MOORE YORK
GOLD
TECHNICOLOR* An ALLIED ARTISTS Release CMD
West Screen At Dusk
“PICKUP” Plus (R(
“TRIP WITH THE TEACHERS”
East Screen at Dusk
“GIANT SPIDER INVASION”
Plus (PG)
“BROTHER O’TOOLE”
PLUS
Steve McQueen
in
PAPILLON” (PG)
1.50 1st HR. - Call For Times
“PAPER LION”
Plus (PG)
“DROWNING POOL”
Starts Sunday
“BREAK OUT”
Plus (P)
“WHITE LINE FEVER”
QUEEN THEATRE
' Oowfltown 8ry*n 82lSt1.1
Call For Times
“SLAUGHTER”
.Plus (R)
HELL UP IN HARLEM’
Orchestra, soloist
blend prime talents
THE BATTALION Page 3
FRIDAY, OCT 17, 1975
By DANIEL E. WHEELER
Battalion Staff Reviewer
Soloist Renee Hostetler com
bined talents witli the Bryan-
College Station Chamber Orchestra
to present an impressive and well-
rounded performance last night in
the Rudder Theater.
Under the baton of conductor
Charles Johnson, the concert began
with a dramatic rendition of Lud
wig van Beethoven’s “Egmont
Overture. Based on Goethe’s five-
act tragedy of the same name, the
“Egmont Overture is a virile work,
and was presented as such.
The elemental originality of the
colossus Beethoven, one foot in the
Classical period, the other in the
Romantic, was dynamically pro
jected by the Orchestra. Firmness
in the strings, in the winds, in the
percussion, in the brass combined
with meticulous balance, strategic
use of dynamics, and phenominal
communication between conductor
and orchestra gave “Egmont” more
drama in four notes and a pause than
five acts, a prologue, and an
epilogue of Goethe.
When the applause of the audi
ence subsided, the second selection
of the concert, Johann Stamitz’s Or
chestra Trio in C major began.
Stamitz’s work is very appropriate
for the Bryan-College Station
Chamber Orchestra in that it was
written at a time when there was no
formal differentiation between a
chamber orchestra and a symphonic
orchestra. The orchestra has grown
from ten string players to in excess
of fifty musicians of diverse talents;
hence the analogy.
The Stamitz piece, one of ten
composing his Opus 1, is by nature
colder, more formal, more stoical,
less human than its Beethovenistic
predecessor. The Allegro move
ment is one of a restrained, dig
nified gaiety. The formality relaxes
in the Andante ma non Adagio, be
coming almost jovial. The Memiet,
however, returns to the forebod
ingly rigid style of the first move
ment. The final movement, Prestis
simo, epitomized the age of its crea
tion — sharp, terse, rigid and per
fectly in tune. The Orchestra’s per
formance would certainly have
satisified Emporer Karl VII, in
whose palace, under Stamitz’s di
rection, the Ten Orchestra Trios
were often played.
The enthusiastic welcoming of
soloist Renee Hostetler to the stage
marked the beginning of the con
cert’s finest offering, Frederic Cho
pin s Piano Concerto in F minor. To
the keen but poetic, strict but elas
tic, and emotional but controlled
accompaniment of the Orchestra,
Hostetler played as though in
structed by the composer himself.
Her fingers fell like summer rain
on the keyboard, with the accuracy
of sniper fire, as she made child’s
play of difficult runs and arpeggios.
If the seven-foot Steinway piano is,
as rumored, strung like Odysseus
bronze bow, Hostetler effectively
hid the fact with her mastery of the
legatto, her absence of breaking of
hands or halting rhythm, and her
enviable control of rubato. To the
splendid background of Hostetler
and the Orchestra, one’s mind be
comes that of the young Chopin
thinking of his first real love, De-
Iphine Potocka, to whom the work
was dedicated. The beauty evoked
by both Hostetler and the Orchestra
certainly justified the standing ova
tion they received.
The final selection, Franz
Schubert’s Symphony in B minor
No. 8 is reminiscent of a BC Athe
nian tragedy. The music is hellish
for the orchestra, with many oppor
tunities for error. If the orchestra
effectively presents the piece, in
spite of its difficulty, as did the
Chamber Orchestra, the audience
involuntarily experiences what
Aristotle called “catharsis. Because
of the subtly tragic and poignant of
Schubert’s “Unfinished Sym
phony, those who hear cannot
evade feelings of fear and pity.
After hearing this piece, which is
a war, the war ofa man with himself,
a brilliant mind, finally terminating
in harsh, strong resolution, the au
dience leaves the theater or concert
hall feeling cleansed, fortified, up
lifted. The orchestra’s performance
of what is perhaps Schubert s most
sublimely intellectual work can only
he called lyrically and aesthetically
superlative.
The Arts Committee sponsored
the performance and will sponser
them again on December 4 at which
time they will perform Bach’s
Christmas Oratorio.
Children meet chickens,
pigs, horses, one cadet
By WILL ANDERSON
Battalion Staff Writer
Do you remember field trips from
elementary school? You got away
from your drippy classes and got to
see something new.
Do you remember your first
grade teacher? She looked like
somebody’s grandmother, she al
ways smiled and she scared the
ever-living hell out of you.
I took a walk through the past
(and from my Thursday morning
classes) when I went with a busload
of first-graders on a field trip to
A&M’s agricultural facilities. The
kids were from Bryan s Bowie
Elementary School and the event
was the Children’s Barnyard Tour,
sponsored by the Saddle and Sirloin
club.
About 1450 Brazos Valley first
graders took the tour which was
supposed to instill an appreciation
of agriculture. By showing the cows,
pigs, chickens, horses and their
products to the children they were
supposed to realize that this is what
makes living in the United States so
good.
I stepped on the bus and met the
teacher, Anne Hatfield. (They don’t
look nearly as scary from above as
they do from below.)
The kids and I spent the ride star
ing at each other. When we got off at
the Poultry Center, the man gave us
a tour of the Center’s several var
ieties of fowl and the children were
interested. Then, we came to a
scraggly white chicken with a bald
neck. She lays blue-green eggs.
The reason the blue-green egg is
important is the higher nutritional
value which the poultry science
folks are breeding into the scraggily
necked bird. Appearance isn’t ev
erything.
“Ohhhhh, ’ they said in unison.
How are kids so easily amazed?
How can even the simplest things
fascinate them ? How DO they make
scraggily white, bald-necked chic
kens that lay blue-green eggs?
After the poultry, we climbed
hack on the bus.
“Walk with your partner. Form a
line. Ricky, where’s your partner?”
Mrs. Hatfield said.
“Move to the back of the bus.
Three to a seat.
I leaned against the back door in
the aisle and met the little kids
around me. Michael, Vincent,
Meredith, Connie, Tracy, Ricky,
Patrick, Richard and Sally-with-
the-blue-eyes.
One of the kids reached out and
asked, “What’s this thing?”
“My Corps brass, kid; please
don’t touch. ”
I asked Sally-with-the-blue-eyes
how she liked her first year of school
and she replied earnestly, “Fine!”
“Do you know how long it’ll take
you to get out?” I asked.
“A long time, she nodded. “A
whole year.”
“Sweetheart, I said. “If you go to
college it’ll take you 16 years to get
out.
“Ohhh, ’ she said. “Sixteen
years!” Amazement (or was it fear)
clouded her face. I felt like the man
who killed Santa Claus.
By that time we had arrived at the
Dairy Farm and filed off the bus.
“Find your partners, children.
Form a line.
“Watch your step, children. The
cows have been here. Cows have no
manners, you know.
“Does anyone else need their
shoestring tied?”
“Ricky, did you hit Patrick? You
know better than to hit Patrick.
The children were all hands!
When they approached the cages oV
pens it was in a mad rush forming
little mounds of human flesh.
They d reach in a grab for the chic
kens, but were afraid of the cows.
The size factor again.
While we walked,- I asked the
children around me what they
wanted to be when they grew up.
“A teacher.”
“I’m gonna be a Aggie-man and
play football.
“A Army-man, yeah, a Army-
man.”
I asked if he wouldn’t really pre
fer the Navy. He and about five or
six others replied with a loud,
“Yeah, the Navy, the Navy.’
A blow for the combat arms.
One of them volunteered that he
was going to be an “Aggie band
player. Such deviant behavior will
hopefully fade before he gets much
older.
I had to leave after the Dairy
Farm. The kids were kind of re-
freshing Lifter the disillusionments
of college life. As I drove away I kind
of regretted that I never fulfilled the
dream of my life when I was six-
years-old. I wanted to he a pirate.
AGGIE CINEMA
presents
Barbra Streisand
; I
The Owl
& the
Pussycat
Sat. 18* 8 P.M.
LpgJ Up the Sand Box
Frl. 17*10 P.M.
PG L For Pete’s Sake
Fri. 17 * 8 P.M.
Battalion Classified Call 845-2611
Funny Girl
Sat. 18
10 P.M.
Rudder Auditorium $1.00
Advance Tickets Available at Box Office
Black Awareness Committee
presents
SUDAN ARTS
“Death of O.D. Walker”
October 22, 1975, 8:00 p.m. Forum Theater
Aggie Cinema
International Series
presents
ROMAN POLANSKI’S
BRILLIANT DIRECTORIAL DEBUT
KNIFE IN THE WATER
from the director who brought you Rosemary’s Baby
Oct. 21
Rudder Theatre
Tuesday
8 p.m.
©
INTERSTATE 7^^
mam
Ti ^‘Ineanplu \
UNIVERSITY SQUARE SHOPPING CENTER. 846-6714 & 846-1151
GROOVE TUBE 7:10 & 9:55
BLOOPER 8:30
''‘Insanely funny, outrageous and Irreverent.’
-PLAYBOY MAGAZINE
* K,n CT3QQ
fmsinplra Film |§ gHg
R
5^5^ Co|or
KERMIT SCHAFER’S
pardon my blooper
.u\\
i* V* based on radio &
T.V.'s most hilarious
boners!
single “You Blew It" by Sam Coslow
and sung by Danny Street
□U Copyright by Blooper Enterprises, Inc.
ALL SEATS $1.25
SATURDAY & SUNDAY
ONLYI!
Starts TOMORROW!
UUubtaa
The Classic adventures of the most famous
horse that ever lived and the hdy
tvho loved him!
SHOWTIMES 1:30
& 3:30 ONLY! - paramouni pictures presents
MARK WALTER
LESTER ‘ SLEZAK.
ZBlaek
‘Beauty"
THE MOTION PICTURE ABOUT OP
THE MOST BELOVED STALLION OF ALL TIME!
CINEMA
7:30 & 9:35
SAT. ALSO 1:30, 3:30, 5:30
HELD
OVER!
The Wonderful Wacky World Of '62
America's Favorite Of The '70s
i4 4>
V. ^
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One Reason Is The Con Job To
Tie A Chain To A Squad Car !
Where mere you in ’62 ?
Q
A UNIVERSAL PICTURE .TECHNICOLOR*
Starring
RICHARD DREYFUSS ,
(Sensational Young Star Of “JAWS”)
RONNY HOWARD, or tv^happydays”
WOLFMAN JACK, Legendary Disc Jockey
Produced by FRANCIS FORD COPPOLA
/tep Into
the m/c circle
SAT. ALSO “BARBARELLA" W/JANE FONDA ALL SEATS $1.25
COMING SOONI "BIG MO" THE TRUE STORY OF MAURICE STOKES