Edmonton Journal from Edmonton, Alberta, Canada • 60

60 EDMONTON JOURNAL. Saturdar. Apnt Costa, Hetu in sparkling Viennese evening Scholarship at Scottish Schools For Boys 10 years of age 5 C'e-ar jri aA-e scc'j-sm-s a ttz'ricn year Tv (- roe-s aei3 emze-le-t scttco-s; ELD SCrOC-L. E2 -tsi-g-. 'z tr-e ears i stAse FETTES COLLEGE.

cf l-' or r-asJ be Cjt3 con arl abc.e r-e s.efage pys.qje ari vitjrty None eff neei AppbcatiOM tor the nqumd torn should reccned bctor 1st Ma. 1975. THE SECRETARY, P. CRERAR SCHOLARSHIP FUND. co Th Royal Trust Company.

7t Vetcatte Sired, Ottawa. Ontario. KIP 5L ing music of the evening was Nicolai's Merry Wives of Windsor Overture. The woodwinds were especially clean. The shaping and dynamics were always appealing.

Hetu was somewhat mechanical with Strauss Tales from Vienna Woods. His ruati seemed somehow contrived but then there are people who can naturally keep their dancers poised on the last beat of each bar and then send them off into another passionate swirl. Tre mm rmm 9 .1 By Keith Ashwell Of The Journal Outside the Jubilee Auditorium Friday wasn't at all a nice night. Inside the warmth was gold and silver as the Edmonton Symphony Orchestra went Viennese. Auditorium Friday wasn't at all a nice night.

Inside the warmth was gold and silver as the Edmonton Symphony Orchestra went Viennese. The music from the lovely times in the history of the Austro-Hungar-ian Empire does wonders to the end of a work week. It revives one in a lazy sort of way for though it is flushed with romance the music is lulling. It dances for you. This last du Maurier-sponsored promenade concert of the season (repeated tonight) was an attractive production.

Pierre Hetu created some pretty musical interchanges and kept the playing fresh and neatly detailed with his ex pros-" sive conducting. Mary Costa lived up to her billing as a considerable singer of Strauss, endowing her performance with fine style and lots of Viennese charm. Her feeling for an environment unique in the world of music in fact compensated for a top and bottom which are now beginning to fade. Not that she was ever noticeably out but Miss Costa was usually more concerned about the effect surrounding the reaching of or making of a top note than its precise placement. This made her singing warm and lovable.

And sincere. Of her selections I liked best "Meine Lip- pen sie Kuessen so hciss" from the operetta Giuditta by Franz Le-har. Also very pleasing was her proud and exciting Entrance of the Countess Maritza, by Emerich Kalman who like Lehar had a lilting way with melody. Miss Costa began with Mozart's Exultate Jubilate (K. 164) an elaborate Allelujia which was sensibly not too showy.

She also sang Johann Strauss' song Fpharenk-lange and two other Lehar excerpts and as a deserved encore. Wien. Wien Vienna. Vienna, city of my love. The program started with von Suppe's Light Cavalry Overture.

The brass section seemed to me in good form as it answered the Wagnerian call to horse. The strings made for them a vague contribution to the intro ductory music but moments later they emerged from the fanfare with their usual confident clarity. From trot to canter (trumpets) and we were off on an enjoyable ride. Music unknown to me. the ballet suite from Andre Messager's Les Deux Pigeons, followed.

There are in it some mildly quaint but inter-etsing melodic excursions, there is also lots of pretty play between the strings and woodwinds. A poetic little second movement and a finale that went from languid to chase to brillant dance music were the best pkyed in this work. The orchestra had fun with Clear Track Polka Op. 45 by E. Strauss.

This must be Eduard cr "Edi" the ordinary brother of Johann the younger. The most command vor new auvnors in the thirteenth annual 1tmioirfcm Journal literary Award Dance theatre exudes fire, skill II I $600 Total Prize Money! $150 to be awarded and meshed their gestures to make a beautiful harmony of movement. Jaqueline Ogg. co-artistic director of the company with Ms. Tarv-er, choreographed the Circles of Silence following a careful study of ancient circle symbols contained in art, philosophy and literature.

of circles called The Circles of Silence, Ms. Geddes' talent was partnered to that of Black dancer Oscar Riley. With gracefully entwining body movements, she represented the soft gentility of womanhood, while Mr. Riley represented strong masculinity through brusque and explosive gestures. Gradually, they blended in each of the following categories (a) Short Fiction up to 3,000 words (b) Short Non-Fiction up to 2,000 words (3) Poetry Maximum of 72 lines (4) One-Act Play Playing time 20 45 minutes Why do you ask so many questions? The questions we ask help us 1 A sum of $150 will be awarded in each category, unless, in the opinion of the judges, there is no entry of sufficient merit This sum may also be divided among several entries if the judges so decide.

2. An author shall be eligible for only one prize Only one entry will be accepted from a writer in any one category, except that up to three poems may be submitted to understand your particular tax situation. We take all the time we need to prepare a complete return, then we carefully check your return for accuracy. 3. The contest ill beopen to "novice writers in the area generally referred to as the Edmonton Journal's trading zone, including northern Alberta, the Peace River Block.

Yukon and the Northwest Territories. The southern boundary will be an east-west line through and including Red Deer. The boundary on the west will be the Rocky Mountains and on the east the Saskatchewan border. By Heather Menzies Someone like Martha Graham, who helped spark the development of modern ballet, should go up to the Alberta Contemporary Dancers and say, "hey, you're good." Then perhaps the company of 19 bright, talented and dedicated young dancers could relax a bit more on stage, making their performance even more enjoyable than it certainly was to the near-capacity audience that filled the University of Alberta Students' Union theatre Friday evening. In its fourth annual Spring performance, the Alberta Contemporary Dance Theatre maintained the flame of vibrant innovation that hallmarks the rebel dancers such as Martha Graham, who dared to break free of the tight vocabulary that characterises classical ballet.

The performance, to be repeated tonight and Sunday at 8:30, combined some exquisite mood studies, light flirtatious pieces and starkly dramatic interpretive ballet. Over-all, it was an enthralling and imaginative symphony of visual delight. There was a fine balance of humor and thoughtfulness, as well as a consistently high calibre of fine professional dancing. Most of the flaws were technical, which fortunately cannot be blamed on the dancers, but unfortunately tended to detract from the performance. For instance, there was too much bland light on stage for many pieces, which slurred the impact of the dancers' movements.

A scratch on the record jarred the audience's absorption in an otherwise exquisite interpretive piece on Spring's seduction of the earth. And the use of back ground slides and montages, while interesting in intent, lent a tone of amateurism because of the jerky manner in which they were moved on the projector. Charlene Tarver's choreography shone best in a sensitive narrative about a mentally deficient youth whose return to normality only gains him rejection by a community too prejudiced against mental illness to trust his recovery. Through carefully phrased body movements, the youth played superbly by Robert Fleming, who was a joy to watch throughout the entire evening for his masterful projection of character and feeling movingly conveyed the sense of being out of step with others. The sweet compassion of the social worker who helps him to a cure fairly dripped off the stage as tiny Cathy Geddes made yet another coup as a prima danseuse of contemporary ballet.

In a duet that spoke more eloquently than words, Roberta Fleming and Cathy Geddes danced out a sequence of yearning to trust, and to be trusted, but ultimately failing. Ravi Shan-kar's slightly discordant melodies provided an excellent backdrop to their intensely human struggle. Ms. Geddes performed with equal sylphlike grace in depicting the frolicking flirtations 'of Spring. However, I feel that if some of the movements were slowed down a notch, especially those in her duets with Robert Fleming, the audience could more fully appreciate the subtleties of her mood changes.

In a refined study on "the Union of Oppo-sites" contained in a study on the symbolism I Each entrant must obtain, from the Edmonton Journal, an application form to be signed and returned with EACH St'BMIS-SION. A stamped, self-addressed envelope should be enclosed if return of the manuscript is desired. The author's name must NOT appear on the manuscript, but only on the accompanying entry form. 8. The entry form will serve as an affidavit, certifying that the submii-sion is original, unpublished and ritten during the term of the current contest.

A violation of this rule will be considered automatic disqualification from current and future competitions 9. Manuscripts will be returned if a return addressed envelope with sufficient postage is enclosed. However, writers are advised to retain a duplicate copy of their manuscript, as The Journal Will not be responsible tor loss of. or damage to any manuscript 10. The Journal shall havethe right, if desired, to publish prize-winning works in one of its regular editions, but all other rights are retained by the author.

11. No correspondence can be entered into regarding entries. 12. Judges will be John Patrick Gillese, Director of Literary Arts. Government of the Province of Alberta; Professor Ben Tarver.

Department of Drama. University of Alberta; Dr. i. W. Chalmers.

Faculty of Education, University of Alberta; Keith Ashwell. Journal columnist and Music Critic; and James Roebuck. Manager, Promotion and Public Relations, the Edmonton Journal. 4. A resident of the defined area whose cumulative earnings (rom writing do not exceed $1,500 will be eligible.

D. The contest is closed to employees of the Edmonton Journal and their immediate families. It is also closed to students in elementary, junior and senior high schools, except here a student is a member of a creative writing workshop under the Alberta Division of the Canadian Authors' Association. 6. Only unpublished current works will be acceptable contest entries.

Closing postmark date for entries is April 30, 1975. EDMONTON 10116 124 488 9246 107b4 82 Ave 432-769 9656 107 A Ave 8927J 82 Ave 14834 Stony PI Rd 6b 13 118 Ave Open 9am -9pm Weekdays. 9 5 Sal NO APPOINTMENT NECESSARY Also tn Downtown Londonderry Park Pla Meadow'ark Bonnie Doon Southgate Request entry forms from and mail SubmiSSionS tO: Journal Literary Awards Promotion Department Edmonton Journal Edmonton, Alberta Closing date for entries: April 30, 1975 During regular store hours OTHER AREA OFFICES Olds Swan Hills Lacombe Kiham Red Deer Ponoka Whitecourt Uoydminster Camrose Inmsfaii Wetaskiwin Rocky Mm Hse ENJOY A MOVIE AT A FAMOUS PLAYERS DRIVE-IN If this movie doesn't make your skin crawl IT'S ON TOO TIGHT! CTEIIC WWW flllSTin '7 i at UlhWb WWW I III mcQUEEn HOFFmnn 1411, lI 2nd Feature: James Coburn THE INTERNECINE PROJECT Adult, not suitable for children Warning: Contains violent sequencesi "Papillon" at 8:07 i JP "Internecine Project" at 10:56 rl. II iA ft) fll fc! 1 1 170 SIRttI IIB AVtNUf 4t)Vi6bO HUSSLY JOHN SAXON i Ap I i1lt. WALT DISNEY PRODUCTIONS' lira.

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