Philip Glass offers a minimalist, somewhatnmechanical, but nonetheless pleasantnwaltz. This album is an engtossingnand economical means by which to acquaintnoneself with the various techniquesnof modern composers. The wildnheterogeneity of styles devoted to thensame form also tells us something aboutnour ruptured culture.nComposers Recordings has includednsome of Elliot Carter’s early works—nSuite from Pocahontas (1939), Symphonyn#1 (1939), znd Holiday Overturen(1944)—in its American Historic Seriesn(CRI SD475). Anyone familiar withnCarter’s later, complex, nearly incomprehensiblenmusic will be delighted withnthe exuberant, neoclassical folk romp innSymphony ffl. Aaron Copeland advisednCarter on its composition, and his influencenis apparent. Its “sound” is also asnunmistakably American as that of Copeland,nHarris, Porter, Schuman, Diamond,nShapiro, Kubik, Goeb, and anhost of other neglected American composers.nHoliday Overture also has exuberance,nbut it ends in a more Ivesiannway. The 1939 Suite is highly energetic, anbit harsh in its big moments, but stillnlyrical and easily accessible and communicative.nEuropean influences are morenapparent than is Copeland’s. This maynbe the best record CRI has issued in thisnseries since Harold Shapiro’s Symphonynfor Classical Orchestra (CRI 424). It alsonprovides an insight into Carter’s experimentationnas a composer; unfortunatelynhe “matured” into an extremely complex,ndissonant style.nGail Kubik also writes in the Copelandesque,nnationalist idiom, but hisnstyle is distinctive for its idiosyncraticnrhythms and delightful instrumentation.nHe made his initial reputation withnfilm music and does not apologize fornusing “short words” rather than “longnwords” to express his musical ideas. Afternall, he says, “it is the idea which is expressednthat is important, and … I secnno reason why it must be concluded thatna simplified musical speech is a priorinroutine, banal, and uncreative.” Do notnmistake simple for primitive, however,nfor Kubik’s music is highly sophisticatedn. The second movement of his SymphonynU2 in Fis a moving piece of Americannmusic (Louisville Records ^ LOUn585). Orion Recordings(ORS80372)hasnprovided a two-piano version of Kubik’snfirst Symphony (1949), which he reworkednin 1979. In fact, Kubik firstnpresented portions of this symphony in antwo-piano reduction in Rome in 1951nbut “with considerable misgivings,nknowing that none of the work’s orchestralncoloration would be evident.” Itnsounds a bit skimpy, episodic, bareboned;nthere are textural lacunae. Perhapsnsome American orchestra willnundertake a recording of this symphonynin its full dress. The other work on thisnalbum—Prayer and Toccata for organnand two pianos (1969-1979)—showsnKubik working in the same generalnidiom. Unlike Carter, he seems to havenfelt no need to change his languagenradically or to experiment with the “bignwords” of modern music.nImfienahle Logicnf..;ilif()mi;r.s fcmirii.M leader i)tihc N’atiiinulnOrganization hir X’omen -uni;nVirginia Cialluzzo, ulia.sGinny Koai—lia.snbeen indicted for murder, robbery, andnsome other exploits in her past whichnqualify more for a lurid thriller than fornthe portrait of an idealistic social activist.nBefore being cleared of all those un­nIrving Fine is another interesting example:nan American composer who,nthough touched by the experimentalncurrents of modern music, was never absorbednby them, nor did he lapse into anynprivate revolutionary language. His carefullyncrafted works provide great satisfactionnwith their lyricism and formality.nComposers Recordings has issued a recordingnof his music from the 1950’s.nThe gem of the collection is NottumofornStrings and Harp {I9′)l), alovely, ingratiatingnwork with a sense of autumn ripenessnin it. The other major piece is Fantasianfor String Trio (1957), in which Finenemployed serial technique subordinatednto tonality. The appeal is less immediatenthan in the Nottumo; it is less lyrical, butnits energy and drama do attract. Thenrecord is filled out with some pieces fromnFine’s Childhood Fables for Grownups.nIn short. The Music of Irving Fine (CRIn1460) is an excellent example of modernnmusic with both form and substancenwhich accepts the basic ground rules andnturns them to good advantage. DnLiBFRAL CULTURE]nnnprepossessing accusations, actually sins innthe perceptions of other people, Ms.nGalluzzo/Foat declared, with astonishingninnocence or incredible chutzpah,nboth of which make us wonder whethernihe body of one femiriisi hero may actuallynshelter a double personality—anniileologiial knave and a iriminal genius:nI hi’lii’M’withull njyhcMM lliui upoliiiuilnilini:rr(‘iil viiilinic iinil ik’f;r:i(l:iliiiiinIII WDiiK’n is in iirc-rsr-.im.-wiili iiiciisil’.ntiiM vli lim.nVXiial’s mo.’-t eniiglilenitig i.s ihai thenlegal action aj;aiiisi Ms. Cialiiizzfi/Foat isncotisidered “hara<:.sment” by feministsnail around the country. 1-rom a feministnpoint of view, they may he right. Afternall. allegation.’, of the slaying of two mennshould hardly qualify (or indictment andnpro.siiuiioii. Bigdeal, juM iwomalcs. Hnfi^49nAprU1983n