The Jerry Loyd Ensemble originated 10 years ago and Was based in Pittsburgh with members commuting from Gospel music shares a message “We have a message to share,” says Gary Abdullah, soundman for the Jerry, Loyd Ensemble. The Ensemble, formed and directed by Pastor Jerry Loyd of the Unity Christian Ministries, gave ' an enlightening performance Saturday night at Eisenhower Chapel. The group is composed of four singers: Margie Loyd, Miki Walker, Sondra Lumpkin, and Sharon MacKensie, and three instrumentalists: Melvin Jenkins, guitar; John Loyd, bass; and Calvin Notes should be heard, not seen By REGINA McGEE Daily Collegian Staff Writer Some 75 musicians dressed in black sat before me on the stage, tuning their instruments for the fifth annual Young Artist Concert, Saturday night in the Eisenhower Auditorium. The concert featured the Penn State Symphony with five soloists and two conductors chosen by the music faculty for their excellence. Conductor: Nicholas . Coumos ( graduate-music) walked on stage, gave a nod to the audience, and commenced with Mussorgsky’s “Night on Bald Mountain.” Thirty seconds into the performance, I began to scribble notes: “Mussorgsky, best of the Russian Five . /. Coumos, energetic control of orchestral color, programatic impetus sustained...” I continued jotting’ down notes, making judicious observations, until I "got Caught up in the Witches Sabbath. You see, “Night on Bald Mountain” is a symphonic tone poem about a young Thomas, drums. Loyd also sings and accompanies on the keyboards. The Unity Christian Ministries was formed when the Black Christian Fellowship and the Ministries of Life merged 10 years ago. The Ensemble plays and sings gospel music, blit according to Abdullah, they are greatly influenced by other types of music as well. Several of the members have played with other groups. People enjoy the group’s music but apparently are turned off by its gospel peasant who falls asleep on the Eve of St. There was no time to map out a new John and dreams about the orgiastic strategy. Tenor David Hudson celebration of witches and demons. , (graduate-music) was singing a lively Well, Coumos had whipped the or- “De’miei bollenti spiriti.” Baritone John chestra through a frenzied performance Hylton (graduate-music) followed with a and was taking his bows to an en- robust rendering of Mozart’s “Aprite un thusiastic applause before I realized that po’queql’occhi.” I had hardly collected any critical data.. Well, it was while cellist Brent Wissick Attributing it to nervous oversight I (graduate-music) was setting up on settled into a determined pose, pen stage that I decided there was only one gripped and attention keenly focused on thing to do: I’ll think about it tomorrow, the next performer, flautist Rhea I thought, and closed my notebook. Jacobus (12th-music). A gratifying performance She was playing Jacques Ibert’s Flute Concerto. Ah Ha! I began scribbling again, “Ibert, French Modernist ... witty flute opus...” That was it this time. Jacobus was blowing half-notes and quarter-notes faster than I could hear them first on the upper register then on the lower, then bouncing back forth, visibly gasping for breath between each set of notes. Applause rang, and I looked down at a blank page. as far away as Connecticut and Tennessee. All the mem bers now reside in State College. Tschaikowsky’s “Romeo and Juliet" conducted by Donald Schade (graduate music) followed. Schade drove the or chestra to its peak performance Emotionally drained and completely indifferent to my notebook, I was jolted back to intensity with the kinetic per formance of pianist Karen Keating (graduate-music). Aram Kaat chaturian’s Piano Concerto demands a very sophisticated technique which Keating obviously has mastered. •••#•f• • • « • • , » Melt her heart • • with an • • ice cream dessert. A delicious way to give a special message to that |j| ** special someone is a custom-made ice cream des- w • sert in any of our 31 flavors. Just order in advance A so we’ll be ready when you are. ™ a Baskin-Robbins ice cream cakes and desserts. For ggi ” your Valentine! w ! USEIB-fiOBBIHS ~ ! t ICE CBEAM STORE 'ZZZZ l • • label, Abdullah said. When asked what he thought about people’s reactions to their music, Abdullah said, “We have something to offer. If people want to accept it—fine. ’ ’ Loyd said their singing was not just for entertainment. He said their music was a ministry and they were as serious about their ministry, as any preacher would be about his. He said their mission was to tell people about the “good news.” —by Hope Diefenderfer ®Baskin-Robbins 1975 •©•••#® © © • © • It's science fiction drama By ANNE CLIFFORD Daily Collegian Staff Writer Strange, fantastic and bewitching events blend with ordinary human ex perience when the University Readers present four stories by a University professor and science fiction writer Tuesday and Thursday in the HUB Assembly Room at 7:30 p.m. “Four from Tenn,” is a readers’ theater dramatization of four short stories by science fiction writer William Tenn, the pseudonym of professor of English Philip Klass. Directed by advisor Joseph Wigley, professor of speech communication, the readers will present adapted stories that reflect Klass’ background in the siums of Brooklyn and in Greenwich Village. . “The Discovery of Morniel Mathaway” relates how an art historian of the 25th century travels to the present to praise the greatest creative genius of all time. Instead,' he finds an un talented, egotistical Greenwich Village hippie type. The solution to the mystery comes with a peculiar twist at the end of the story. Klass says his life in Greenwich Village, before he came to teach at the University in 1966, inspired the “Morniel Mathaway” story. “One artist I knew was the original of Morniel Mathaway,” he says, “he was a dreadful painter who gave himself a tremendous number of airs.” “Morniel Mathaway” is, according to Klass, “a necessary monument to those people who will never make it and who have to convince themselves they will.” Another story of success-failure is “Bernie the Faust,’’.which tells how a cheap wheeler-dealer is duped, into selling Earth to an alien visitor. In writing the story, Klass says all he had was a character and a gimmick. While growing up in New York, he says he encountered people who would sell anything to anybody for a profit. Klass had also heard that during the Depression a newspaper had sent someone around to offer to buy a one dollar bill for a five; no one fell for the offer, for they all suspected it was a trick. Out of these two elements, Klass says, he built “Bernie the Faust.” “The Tenants” are unwordly businessmen who insist on renting the thirteenth floor in a building that has no thirteenth floor. Mrs. Bailey, the realty agent, is forced to rent the floor in dis gust and disbelief. Her doubts catch up with her by the end of the story. Klass said that he wrote the humorous story when he was on the rebound from an unhappy romance. “When things got very, very bad in my life, the only thing I could write was something funny,” Klass says. A storv of Yiddish cursing and “witch Philip Kiass... William Tenn arts craft” in the slums of Brooklyn is “My Mother was a Witch.” The story is not science fiction, but instead, a humorous bit of nostalgia about mothers and magic in a Jewish slum. . Klass says that after 12 years of trying to write a serious version of the “Witch” story, he tried a humorous attempt. It worked, he says, and he educated himself in the process. “What I remember as a terrifying childhood was actually a happy one,” Klass says. “I learned I had not had an unhappy, frightened childhood. ’ ’ The four stories to be dramatized all deal with success of the individual, Klass says. Morniel Mathaway as an artist, Bernie as a sharp dealer, Mrs. Bailey as a realtor, and Klass’ mother as a “witch” are all striving for success. “We all have to believe really that we’re good, that a definition of ourselves is valid and involves something meaningful,” Klass says. Klass says he is particularly flattered that his work was chosen because this will be one of Wigley’s last productions as advisor to the Readers. Wigley is retiring at the end of Spring Term. Wigley, who has advised the Readers |OII J l> |> M »ll »II» U » H»II»II»M»n#»l>n«> II » l> » II » II » M M M *" n '*"» DELTA DELTA DELTA j SCHOLARSHIP COMPETITION i 5 Open to any full-time undergraduate woman. S Details and applications available in 408 j | Cross Hall. $ 1 s sliding scale starting Jan. 31 st One Book Receive a 10% Price Reduction Two 800k5.... ....20% Three Books .30% technical reference books. _ _ . * 'jAa/ or dictionaries. Four Books 40% Five or m0re...... .50% PENN STATE BOOKSTORE on campus - McAllister Bldg. Owned and operated by the Pennsylvania State University The Daily Collegian . Monday, January 30,1978 for the past 10 years, says he has known Kiass personally for quite a while. He says that he chose these particular stories because they could be best developed for the readers’ theater form. “Most of them (Kiass’ stories) really aren’t adaptable to readers’ theater at all because readers’ theater is only well suited to situations in which the dialogue is the most important thing," Wigley says. , ( ' Many of the stories have long narrative, passages that don’t provide the dialogue that readers’ theater requires, Wigley says. Wigley says he chose stories that could be developed for the dialogue and that did not depend too much on special ef fects. Readers’ theater, he says, relies more on the richness of the human voice, facial expression and gestures than on complex action and stage business. Dramatizing the four stories are Sandra. Centorcelli, Pamela Pinto, Lester Olson, Lance Fingles, Carl Izzo, Lisa Dines, Anna Zornosa, Ena Kurlancheek, Matt Kizina, Marie Cini, Roy Bent, Robin Schmidt, Owen Morris and Betta Vice. Deadline: January 30,1978
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