PAGE EIGHT
Artist Will Lecture on
Kurt Seliernann, one of the tributed greatly to the scholarly ,
, , c . . , t field of arts. !
leaders m the .Surrealist move- , v graduate of the University of!
rnent, will picsent a gallery Basel, Seligmann is not interested
, , fin describing any thing nor is he
lecture at d pm. tomorrow im invu j V ed with the idealization of
the Hetzel Union Building. Ipamting His works are chiefly
° {concerned with symbols and can-!
.Sehßmann's lectuie will be acatuies of the unconscious, or
pa l l of a ten and reception which'theam, elements'. j
will mark the opening of an ex-! “During the thirties, a person j
lnbihon of his works and the! would say, ‘I am a surrealist who,
woiks of the lithograplust, Max P aints > Ba ’d Seligmann. I pre-|
Kinst The program is open to the'^ cr ,0 - sa . v > ‘ am a painter whoj
public. | uses surrealism in my painting. I
A Swiss-born ariisl, Selig- ' The subject matter of his paint
mann has been active in the i lr >8 s show a great deal of interest
field of art throughout Europe in 18th and 19th century medical
as well as in the United Stales, picture and his interpretation of
Besides participating in many Ihe dance of death. A skilled ma
major exhibitions, he has de- nipulator of the paint media, his
signed for the ballet, done illus- woiks aie done in rich color,
trative magazine work and con- j "While related to surrealism.
ok vake ojje/ied to new 'htewims oj ifa Codmbia (§) semd Cbb
boris oars
BHEMIST HITS
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M:.:
13. 12 songs - love
Me or leave Me,
It’s Mag'c, etc
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EMPEROR CONCERTO K(lsffl( [QQY - DORErr* MORROW ifW bruno vULto
CASADC&US, Puno *{»« tc»* vkhkmuoh-c
MITROPOUIOS jffßaB nisin njub choir
KCWTOHK PUIID.ISMONIC ' fB&Gd3L' I
It. The intense drama
o! this work is
here Fully realized
FRANKIE LAINE
ssaBaJEH
7. Jezebel, High Noon,
I Believe, Jealousy,
Granada, 7 more
YOU'LL i
NEVER L
WALK
ALONE
29. The "Big Voice"
sings Ebb Tide, I
Believe, 10 more
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COLUMBIA ® RECORD CLUB Terr* Haute, Indiana
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ALONG
WITH
MITCH
MITCH MILLER MO THE UNO
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15.16 favorlles-You
Are My Sunshine,
Sweet Violets, etc
12. This musical paint
ing has become ar,
American classic
of these superb |High Fide!ity|
22. Mozart’s last work
-called "an opera
for the angels”
17. Romberg's reman
to. operetta is
alwaysajoytoheai
$(64/000) JAZZ
Albert Schweitzer
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IfrUt> *Vl‘vO
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21.13 Jazz Greats per
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Rose, Laura, etc.
10. Schweitzer’s inter
pretationsof three
Bach organ works
SCHUBERT
UW'NMiIU stMPHONf
MENDELSSOHN.
MIDSUMMER NICHIS DREAM
&&
PMUDUHM CRCH, ORMANOY
18. Two sver-popular
classics—superbly
performed
33. Three great
Gershwin works
on one record
• Columbia Rnerda Salat Cw»., lest •"CulumMa." Q, "Epic,” threat Reg.
THE DAILY COLLEGIAN. STATE COLLEGE. PENNSYLVANIA
PtVno Ccncerta' -
RAWMjkHINOfF:
RljiflSodpn j J
ffiemA af Paganini ‘
PHILIPPE
EN!REMONI.»-9 v:
The Ptiflzdtlph-j ; ■'-
Orchestra. ■
EiigtntQimahiiy' ■'"■■■■X': ■
47. Piamstlc fireworks
abound In these
2 romentic scores
POELy BERGEN
#!§*!;:
i&w-Vtf
• oven •
1. Make the Man Love
Me, Smoke Gets in
Your Eyes, 10 more
RUDOLF SEHKIN
BEETHOVEN
*Moomiom w«
nrwnou wm
UnSUOHAU Swan
SO. 3 popular sonatas
—played with rare
keyboard artistry
FRONT
■Zjf' ’#*■' ’»
Ir/# :
| 12. CHEAT SHOW TUNES; |
SI. September Song, I
Love Pans, House
of Flowers, etc.
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★ Mail coupon today to receive your six records
Surrealism ,
Seligmann's works exist more ;
as paintings than as products !
of surrealism," said Stuart Frost, j
an art instructor at the Uni
versity.
In addition to about 18 paint-'
nigs by Seligmann, there will bej
a show of 27 lithographs from Max!
Ernst’s series called “History!
Naturelle of 1926” (The exhibit 1
will remain in the HUB gallery!
until March 2). ,
Sigma Delta Chi to Meet
I Sigma Delta Chi, men’s profes
jsional journalistic fraternity, will
imeet at 6:30‘ p.m. tomorrow at
Delta Sigma Phi fraternity.
| Final plans for the publication
)of "Who’s In the News at Penn
.State” and groundwork for the!
| Gridiron Banquet will be dis-j
1 cussed. j
Frank Stnarra j
’<• yffEL THAT- |
vfi. FEEUHG;
V I
62. Slue Skies, Mean
to Me, Nearness
ot You, 9 more
REX HARRISON KOSTELANETZ R °, S .V,l l' « I I ,' im, T 0 V r‘. I Sits THE GREAT
JvLY L f A | N ?ADY S r o ?m“o f “"i'"'*' BENNY GOODMAN
0 ,
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URSKBi iaiMW
[f T H. VAN irIMMM t i V« W t*fS*f
48. R am In Spam, I 28. Hauniingly lovely
Could Have Danced music—beautifully
All Night, etc played
EDDY DUCHIN
*' STORY '
Glf/OWM CUCHiX KCWPjJKS.
19. Ouchin plays The
Man I Love, April
Showers, 13 more
<: % \’ s
,STRAVINSKY, '"t
- FIREBIRD SUITE ‘ ; 1 ,
. TCHAIKOVSKY V 4-.
I ROMEO AKO TUDEI
LEGNAKO BERNSTEIN
NEWTURK PHILHARMONIC-
39. Exciting perform
ances of two
colorful scores
COLUMBIA © RECORD CLUB, Dept. 287-1
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Dw'ir 1 * Addmi JO9-
• j before regrasping. Jay Werner
1 will probably use three different
y 1118 lU3I Iw , cut-catches m his routine. Cun*
imneham relies more on form and
(Continued from page one) y ega compromises between the
as the toughest piece of appaia- £ of most difficulty
tus, mainly because the athlete and formM cont i nuit y.
has only one arm in control of „„„„ , , ,
the horse at any one time. Con-, The ROPE CLIMB depends ul
tinuity of routine plays an im- timately on speed, but also count
portant factor in the scoring on the number of strokes a perfonn
the horse. er takes and watch the difference
A “'scissors” is a move when the m leg kicking. Good time: 4.0.
performer kicks one foot into the Championship: 3.5.
air while balanced in a pendulum The PARALLEL BARS and
swing. It’s Lee Cunningham s FLYING RINGS require the most
trademark Good score: 220. strength and balance. They are
Championship: 260. -mainly for the muscleman.
THE HORIZONTAL BAR de- ! A cut-catch on the collegiate
mands complete confidence of , trapeze requires quite simply,
the performer and sufficient ' guts. Again the dismount or
difficulty. Form is most impor- flyaway is very important,
ianl, and so is a good dismount. , There are many more things
A “giant” is a free swinging that can be said of the routines,
circular move. The "cut-catches" but this is as close as a wnter
require a performer to release all can instruct. The rest is up to the
control of the bar and either vault spectator and has to be seen to
over it or do a complete twist be understood.
TCHAIKOVSKY:
SWAN LAKE
The.Ptii!adetpHi*.Orchestrj. •.
ERROLL GARNER!
PARIS IMPRESSIONS
. VOl 1
4s. Bnumbers-Louise, 30. "...superb...most
Moulin Rouge, I sensuousofensenv
Love Paris, etc. bles,” N.Y. Times
1/ri.rV
VICTOR I -' I
HERBERm^F
PERCY FAITH |
mi,/ hit Cltht llin I
MARY EZIO
MARTIN • PINZA
ohlginhbrmw^.
14. This great show
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60. Dream Girl, A Kiss
In the Dark,
Toyland, 9 more
61. A hi-fi thriller.
Six stirring over
tures and marches
Oklahoma!
Nelson Eddy
Complete Score
V s >
BEETHOVEN:
SYMPHONY No. 9 ("Choral")
BRUNO WAITER
NEW YORK PHIUURMONIC
Soloists, Westminster Choir
S 3. A truly inspired
performance of
this majestic work
t. Complete score of SB. Istomin captures 49. "
Rodgers&Hammer- all the poetry and
stein's great hit passion of Chopin
KEN GRIFFIN
OISTRAKH
MENDELSSOHN Mi MOZART
VIOLIN CONCERTOS
Tbt frcltitu, SnuNr
iVW3MBeTnie.Deai >
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, 1
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23. You Belong to Me,
Far Away Places,
10 more numbers
84. Bright concertos 25. Come to Me, That’* 2. The most popular
that gleam with My Desire, Some- of Tchaikovsky’s
sprightly melodies onelikeYou,9more lovely symphonies
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SATURDAY. FEBRUARY 7. 1959
3 0P HIT PARTY
MY- DUMONT■ MATHIS -
t.UDSn»I«, <«-«r ■«
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NO! fCft Mf 10 W • WKt> IS IN! WpM?
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PLUS 6 OTHERS
11. No Love, I Look
at You, Warm and
Tender, 12 in all
14. A dozen hit tunes
performed by
12 pop artists
Pipy
SUITE
•■i PEER GTNT
, BOLERO
CLAIR OE LUNE
26. 4 brilliant works
played by "World’s
Greatest Orcli."
34. Newport Up, Jeep's
Blues, Festival
Junction-2 more
r NEW WORLD I
SYMPHONY
* *
mmrPmvuMktotH
RAY mm and orchestra
’S MARVELOUS
20. "Ravlshingly per
formed,” High
Fidelity Magazine
5. The Way You Look
Tonight. Where or
When, 10 more
THE HYMNAL.
NORMAN LUBOFF CHOIR
27. Orig. performances 38.12 beloved hymns
t of 11 Goodman -Let Him In, Sweet
Classics in Swing Hour of Prayer, etc.
WALTZES •
TCHAIKOVSKY AND ST«AOSS
WMimm
THi. pillion FrlA SRChfSFt*
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Tchaikovsky
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THE FOURLADS^
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34 ez i
18 38 83 *
lustrous
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