The gamecock. (Columbia, S.C.) 1908-2006, February 05, 1973, Page Page 6, Image 6
LE
TO THE EDITOR:
In response to Mr. Fred Mer
ritt's venemous assault on my
editorial advocating a return to
the ACC, let me begin by saying
that I was totally unprepared
for his display of immaturity
and shallowness. Merritt's
arguments are flimsy at best
and his ad Hominem tactics are
uncalled for.
Mr. Merritt, assuming that
his future plans include know
ing everything, should first
learn to avoid self-imposed con
tradictions. "Not only do we
have a nationally powerful bas
ketball team..." is preceeded by
his attribution to empty
Coliseum seats as "...an off year
for Carolina basketball com
pared to previous seasons." In
defense of my original stan
dpoint, how can this squad pos
sibly match the Roche-Owens
team?
If one were to completely
ignore the basketball and foot
ball titles that USC captured
during its last five conference
membership years, Mr. Mer
ritt's whining that"...the ACC
always was, has been, and will
be a jinx to Carolina athletics,"
would still be amusingly
absurd. Perhaps we should can
cel all games scheduled for the
13th of each month, also. I can
understand his desire to re
schedule more local teams and
I only wish we could revitalize
national border rivalries. But
then, we must allow for the also
rans on our powerful schedule.
When I referred to the athle
tic program as a whole, one
should remember that success
is also based upon student
attendance, and box office
receipts. Being realistic, foot
ball and basketball are the
athletic department's main
sources of revenue, and success
is measured on the progress of
these sports. Regardless of
record, student apathy can dim
the luster of intercollegiate
achievement, especially in
minor sports. Incidently, bow
ling, wrestling, rugby, sailing,
and soccer are interest clubs,
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rather than A. D. controlled.
How much pride can one take
in these sports if he never
bothers to attend the events?
Mr. Merritt has also taken the
liberty of quoting me out of con
text to stress his final point. No
matter. But when one blindly
and viciously flails away at con
structive criticism to exhibit
his machismo for the Univer
sity, he is of little use to anyone.
Nevertheless, since Mr. Mer
ritt is "not in the habit of taking
Gamecock editorials seri
ously," perhaps we can be
excused from taking him seri
ously.
BILLY COX
TO THE EDITOR:
I'm afraid that the latest
gathering of culture vultures
who perched with guano glee to
hear Klaus Hellwig and Masumi
Arai at the piano(s) in Fraser
Hall must have detected a leath
ery pterdactyl amongst
'em-the critic. Well, let me tell
you, we pterdactyls have clever
ears of the sort that spend most
of their time slowly engulfing
stereo headphones and so it was
no wonder that I kept ruffling
my wings and wincing through
out the Hellwig-Arai concert.
For Columbia-that rancid
tuna sandwich with the wrapper
loose-it was a good concert and
everyone should have been
there. For Hellwig-Arai, espe
cially Arai, it was not really
there night. I will say the bad
first, as is my custom.
One thing not going for the
couple was that the pianos were
not matched-one concert
grand and the other just grand.
That's more than just gauche
as anyone with ears can tell you.
I think two matched grands
would have been far better for
the Hellwigs and a hall that size
rather than to use such a mons
ter with Hellwig the pounder
that he is. I know that after
Schubert's 'Fantasy in f minor,
Op. 103' my ears were bleeding.
It was most passionately and
compellingly done-for one
piano, four hands you can't help
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but be together.
Mozart's 'Adagio in b minor'
suffered a little more, however,
as Hellwig used more of a
Bavarian touch rather than a
Viennese one or even Austrian.
As passionately as Hellwig
plays, he has a tendency to fall
a little too sharply on the ear
to be comfortable or moved.
As far as Brahm's 'Variations
on a theme of Haydn' is con
cerned one can only remark, as
Johnson did of 'Paradise Los
t'-none wished it longer. It is
the great, white elephant of
pieces for two
pianos-Brahams goes to great
lengths to trample Haydn into
sticky crepe suzettes. The
Hellwig-Arai rendition was fine
but Robert Phillips and Franco
Renzulli did a much better job
when they were here with less
pause, awkwardness, and a lot
more grandeur.
'Ma Mere l'Oye' by Ravel was
dreamy and good and properly
impressionistic but...ahl lacked
a certain feeling. Certainly our
own John Kenneth Adams-en
fant terrible of Debussy-could
have given the Hellwigs a les
son in control and depth.
I think only in 'Scaramouche'
by Darius Milhaud did the Hel
lwigs strike fire again and end
on a pyrotechnical display of
what they are really capable of.
Klaus Hellwig and Masumi
Arai are a young, pretty duo
with a great deal going for
them-=obvious enough or they
wouldn't be on tour-but-I think
they still have a long way to go
to forge themselves into a
paramount concert experience.
It's good to see Columbians
come out of their adolescence.
Now, if they will only loosen
up a little with the money and
support their own deserving
artists...the able but gaunt
Columbia - Philharmonic
Orchestra...the very superb but
starving Columbia String Quar
tet...etc. etc..
WAGNER HALSELLE
ROBERTS
St
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