Guide Nero Scarlatto (Whodunnit?) (Italian Edition)

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  1. Classical Net Review - A. Scarlatti - Sinfonias & Harpsichord Concertos
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  3. The 1,000 Greatest Horror Films: #901-#1000
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Certainly a bit uneven in many ways with a little too much uneccessary comedy but is a good early showcase for the bolder visual ideas the director would go on to perfect. R 98 min Mystery, Thriller. Barbara Bouchet and Rosalba Neri melt the screen in one of the all time erotic classics of the genre. Unrated 92 min Mystery, Thriller. A woman, a survivor of a failed murder attempt by a person dubbed "The Half-Moon Killer" by the police, and her husband must find the connecting thread between herself, six other women, and This Umberto Lenzi picture is a perfect example of a textbook early 70's giallo.

It's brutal, sleazy and silly. But also nicely photographed and scored, with some effective suspense scenes to boot. Not Rated 90 min Thriller. Giorgio is a greedy adulterer who makes a deal with a serial killer to dispose of his wealthy wife, Nora. Unfortunately, a thrill-seeking young couple steal the killer's car with Nora's Unusual in that the killer's identity is known from the outset.

But oh what a creepy killer he is. A woman searches for her missing lover, a psychiatrist who has suddenly vanished for no apparent reason. She ends up at a villa populated by a group of eccentric individuals.

Classical Net Review - A. Scarlatti - Sinfonias & Harpsichord Concertos

A string of murders commence immediately. A laid-back giallo with an interesting jazz-fusion soundtrack. Plays out similar to an Agatha Christie whodunnit, with its cast of characters all under suspicion of killing the very unsympathic murder victim. Look out too for the appearance of a very young Sybil Danning. Unrated 94 min Horror, Mystery, Thriller. A former hooker runs a successful men's magazine. An obsessed admirer systematically slaughters her models occasionally increasing the magazine's output and supplies the mistress with An absurd but very fun effort, with a highly memorable appearance from the one and only Sabrina Salerno.

Daft but endearing erotic thriller. When a girl is murdered in a park, a man is tried and convicted for the crime but afterwards the killings continue. A giallo with the emphasis on the mystery, not the murders. The police procedural and the court case takes a more prominent role here, in a more sober entry in the genre.

  • #901-#1000.
  • "Nero" translation into Italian.
  • Giallo - my top 100!
  • Berylls Queste II: Der Weg fort - Zum Wurzelort des Steines (German Edition).
  • From Bondage To Freedom:Enjoy life!;

After a heist, the notorious jewel thief Rochard is murdered in a train. In Paris, his daughter Nicole Rochard, who is a stripper, is summoned by the police that wants to know the The most traditional of Luciano Ercoli's three gialli. Susan Scott is a radiant presence here, as a high class stripper girl who gets mixed up in something very bad. A man is shot in an underground car-park by a mysterious bearded man.

As he dies he recollects the events that led him to this situation, including adulterous liaisons and jealous envy. Dreamy and breezy thriller. Edited together in a non-chronological way. Benefits from the presence of the ludicrously cute Ewa Aulin. R 90 min Mystery, Thriller. A clairvoyant woman discovers a skeleton in a wall in her husband's house, and seeks to find the truth about what happened to the victim. Not Rated 98 min Mystery, Thriller. A man is strangled by a female prostitute in his home at the same time as a woman is killed by a man with a spanner on an empty bus.

In both cases the killer leaves an illustration from the Unusually, this giallo includes some paranoid Watergate inspired politics. It also has more typical elements too though - a group of unsympathetic suspects and sex-parties. Also includes an excerpt from a strange wild looking erotic cartoon, I have no idea what it was though.

GP 88 min Horror, Mystery, Thriller. A cleaver-wielding bridal designer murders various young brides-to-be in an attempt to unlock a repressed childhood trauma concerning the death of his mother. Mario Bava's stylish supernatural giallo, is naturally a must. An immoral man is haunted by a ghost and it all ends in tears. Not Rated 90 min Horror, Thriller. As a young girl Ana was a rebellious child. She was also tormented by images of death and a shadowy, ominous figure in black.

Now an adult, she is once again tormented by shadowy, other-worldly forms. Part giallo homage, part avant-garde experimental movie. This is a very artistic exercise. R 94 min Mystery, Thriller. Christian Robert Hoffman and his girlfriend are taking a walk on a deserted beach when they discover a woman's body lying. A closer look proves that she's alive. The next day Christian Not Rated 85 min Mystery, Thriller. A detective investigating the murder of a teenage girl begins to focus his suspicions on the three girlfriends of the victim, who call themselves "The Inseparables.

The third and final entry in the school-girl giallo trilogy started with Solange and continued with What Have They Done to Your Daughters. This is the least of the three but still very good. Not Rated 86 min Comedy, Mystery, Romance. A mystery novel-loving American tourist witnesses a murder in Rome, and soon finds herself and her suitor caught up in a series of killings.

The first giallo ever made. Very restrained by the genre's subsequent standards. This plays more like an Italian version of a Hitchcockian thriller. But the seeds of the genre are here for sure. Stefano, a young restorer, is commissioned to save a controversial mural located in the church of a small, isolated village.

Creepy rural giallo about a scary painting of the sacrifice of St. Sebastian and how it links to a weird house. R min Comedy, Mystery. Police commissioner Santamaria is investigating the murdering of the ambiguous architect Mr. The investigations soon drive him into the Torino's high society. A compelling mystery with some very bizarre moments. Marcello Mastroianni in a room full of giant dildos anyone? Unrated 90 min Horror, Thriller.

A group of stage actors lock themselves in the theater for a rehearsal of their upcoming musical production, unaware that an escaped psychopath has sneaked into the theater with them. Not Rated 85 min Horror, Mystery, Thriller. Copy from this list Export Report this list.

Refine See titles to watch instantly, titles you haven't rated, etc. Feature Film 98 TV Movie 2. Your investment—at any level—in the ambition and drive of our students, will help to ensure that our campus, programs, and mission, as well as the future of classical music, are secure.

Charles and Teena Ellen Weiss. Gift Mariam and Robert Hayes Trust. Martha Rivers Ingram Carlene S. Robertson Transylvania County Joe R. We all agree that an evening at Brevard Music Center is pure magic. Discover more unforgettable experiences like the one on page with our free Adventure Guide and Waterfall Map. The BMC Leonard Bernstein Festival will be one of more than 2, other events on six continents to recognize the life and work of the iconic conductor, educator, musician, cultural ambassador, and humanitarian.

I was among the last generation of conductors who could have studied with him at Tanglewood, but I chose to go to the West Coast and missed my opportunity to meet and work with him. I did see him perform once with the Israeli Philharmonic on tour in Pittsburgh in the mid 's. At that time, his legend was immense and it was incredible to actually see the person in the flesh on stage. He was a touch point of inspiration for all of us, especially aspiring young conductors. Before him no American conductor was ever really highly regarded on the world stage. He was the first American conductor to show the rest of us that American musicians had something to say.

In a profession not always renowned for its glamour, he was a glamorous figure. He was an attractive and compelling artist, as opposed to all the grandfatherly conductors we saw on the fronts of our album covers. His career also straddled many worlds: My career has been built around a wide range of musical expression. Bernstein showed me, at a young age, that was it was fine to be comfortable and conversant in the languages of popular music—like rock and jazz—and still be well-regarded for the interpretative insight you brought to the great artworks of our canon That is just one of the things that I still think about when I think about Bernstein: What is the most important thing you hope to convey to our Brevard audiences about Leonard Bernstein and his work?

One of the things that we are trying to show in our programming this year is the breadth and depth of his creative output—the staging of Candide, for example; our season finale performance of his Mass; the concerts featuring West Side Story, Age of Anxiety and Chichester Psalms. Candide, in particular, is near and dear to my heart. This was the very first musical that I ever music-directed at a professional level. I think it fits our Janiec Opera Company like a hand to a glove. I have never done West Side Story with the film.

I am looking forward to sitting in the audience and watching that one! And those works all deserve to be celebrated. But they must stand alongside Bernstein, Copland, and Gershwin—these masters gave American classical music its voice. At Brevard, our educational mission is at the core of all we do. So it's important to remember that we are not trying to do more Bernstein performances than anybody else, or more symposia, or anything like that.

What we are trying to do is make sure we expose our students to a great musician and provide relevant context around his body of work. Can you expand upon the connection between Mahler and Bernstein and how this has impacted or influenced you personally? The program that I am proudest of in our Bernstein celebration is the one that presents Chichester Psalms and Mahler's Adagio in the first half and Age of Anxiety in the second half.

Bernstein said himself that he had an immediate soul mate sort of connection to Mahler that I think he felt from his earliest exposure to the composer. When Mahler died in , his music had not been done on a worldwide basis. He was one of the first conductors to complete a full cycle of recorded Mahler symphonies. I think both conductors shared a lot of things: They were both known in their lifetime as being among some of the greatest conductors of their generation.

They both really, really wanted to believe, but were very much affected by the modern world around them. You have two people who were born Jewish. Mahler wrote the Resurrection Symphony and his entire Symphony No. Bernstein wrote a secular mass that is based on forms of the Catholic Mass. I think that Bernstein had a huge kinship with Mahler in terms of the kind of music Mahler wrote. It takes you out on the farthest edges. It is everything but a safety net.

And it is exactly what Bernstein excelled in as an interpreter. Bernstein's Mass is something that transcends the normal concert experience. It is an epic work—a big, noisy, very 20th century struggle. It is a theatre piece designed for the concert stage that deals with the crisis of belief that is so common in our modern world. A piece that addresses, without being specifically political, the lack of faith of any higher power steering us to a better place.

A piece that needs to be shared, needs to be talked about, and needs to be commented on. It is very timely right now…and I am delighted to be able to be in the position to share it with our audiences and our students. What would you say to Bernstein if he was still alive today and you had the opportunity to meet him? I would thank him for making it possible for a boy from Poughkeepsie, New York to think he could follow anywhere near the footsteps of a boy from Lawrence, Massachusetts. Everything I do is in one way or another teaching. Luckily for all of us, it wasn't enough for Leonard Bernstein to compose music and conduct orchestras.

He felt equally compelled to talk about music—to try and explain what made it tick, what made it good, and what made it affect us in all the ways that music does. The other piece of good luck was that Leonard Bernstein and television came along at the same time.

They were born for each other. Bernstein's first TV appearances were actually for adults, the groundbreaking "Omnibus" series in the s, but by Bernstein had convinced CBS to put his Young People's Concerts on the air. Bernstein's great gift was his ability to convey his own excitement about music. Watching him explain sonata form or the difference between a tonic and a dominant, you had the sense that he was letting you in on a wonderful secret, rather than drumming facts into you that might prove useful later.

It doesn't matter what your subject is; a teacher's own passion is going to improve the student's ability to absorb and process the information. One thing I always loved about my father was how unafraid he was to be silly. In our family, goofiness was next to godliness. I wish you could have seen him playing the Pharaoh of Egypt, in a beach towel and lampshade crown, in my parents' epic home movie, "Call Me Moses.

But the good news is, you can see him acting pretty silly on his Young People's Concerts. The very fact that he came out in his nice suit and tie made any unusual behavior that much funnier. So, we teachers have to work twice as hard to make our lessons engaging. In the process of trying too hard to seem modern and trendy, we can all wind up looking just as foolish as our own math teacher did back in the 's, when he grew his hair over his ears and wore bell-bottoms.

Come to think of it, my own father did exactly that when he turned himself back into a student. But everybody loved him anyway. He immersed himself in Chomskyan linguistics, absorbing an entire new field of knowledge, so that he could then apply the principles of linguistics to music—thereby creating a brand new field of study, and turning himself back into a teacher again in the process. Was he in over his head? He was never happier than he was in those 18 months on the Harvard campus, reveling in his dual roles as student and teacher.

People often say that Leonard Bernstein was a born teacher, but actually it's more accurate to say that he was a born student who just couldn't wait to share what he learned. In his whole life, he never stopped studying. Most importantly, however, Leonard Bernstein loved music. And he gave a clear signal to his audiences that it was OK to love all music—and not to put a value judgment on one genre over another. He was the unsnobbiest person you could ever hope to meet. He loved people and was curious about everything. Those are good traits in a teacher. BMC's Leonard Bernstein Festival officially launches with five of the composer's most vibrant, jazz-tinged and fanciful scores for Broadway, orchestra, and ballet.

Joined on the program will be works by a few of Bernstein's close friends and colleagues, all of whom who shaped American music in the second half of the 20th century. Joseph Horowitz, one of the most prominent and widely published writers on the topic of American music, curates this free lecture exploring Bernstein's triumphs and tragedies as an American icon at the Transylvania County Library. Keith Lockhart leads BMC faculty member Norman Krieger and the exquisite voices of the Greenville Chorale in a truly celebratory night of music making.

A post-concert discussion with Joseph Horowitz and special guest concludes the evening. At Roosevelt, study with accomplished faculty who include Chicago Symphony and Lyric Opera orchestra members, Metropolitan and Lyric opera sensations, renowned soloists, Grammy-winning jazz musicians, and award-winning composers. Live, learn and perform in Chicago. Music is the universal language Sometimes the most meaningful communication happens without dialogue.

Great music tells us that we are not alone with our emotions. We proudly salute the Brevard Music Center. This ensemble will present one performance each week beginning with a program featuring Keith Lockhart conducting an all-Bernstein program on Sunday, June The following artist faculty and students comprise the Brevard Music Center Orchestra. Personnel for each concert vary, depending on the requirements of the repertoire. Principal players are listed first, followed alphabetically by artist faculty, and students.

The roster of students is accurate as of May 15, The following student ensemble list is alphabetical and accurate as of May 15, The personnel for each concert vary depending on the requirements of the repertoire. Friday, June 8 at 7: Thursday, June 14 at 7: Esther Atkinson Don Alfonso: Samuel Rachmuth "Sola, sola in buio loco Christine Boddicker Donna Elvira: Myah Paden Don Ottavio: David Gindra 36 Overture. Jeremy Ayres Fisher Raimondo: Allegro vivace Giuoco delle coppie: Andante non troppo Intermezzo interrotto: Kern, piano BMC Alumnus.

Sadly, he soon developed leukemia and died just as World War II was ending. His last major work is more than just a summation of his compositional journey, it is his crowning achievement. More importantly, it is a highly personal work that reveals an unbending spirit in the face of great adversity. All we can say is that the interruption is not a good thing, as it seems to derail an otherwise happy gathering. The last movement is massive and takes up about half the score. And that is surely the main reason for its immediate and lasting success. The young composer was so devastated that he destroyed any materials associated with this piece a piano version turned up later, which showed that Rachmaninoff redeemed himself with his last composition, the Symphonic Dances.

He was unable to compose anything for the next three years. Only with the help of music-loving physician and hypnotist Dr. Nikolai Dahl was he able to work through his deep depression. You will work with great facility. It will be excellent. Although it may sound incredible, this cure really helped me. By the autumn I had finished two movements of the Concerto. While he might have composed a conventional, Romantic piano concerto, there are nevertheless several imaginative elements. Most surprising is the role of the piano. Opening the piece with rolled chords, the pianist is actually the accompanist embellishing the memorable first theme introduced by the strings.

For the rest of the movement, the piano continues its ensemble role while, at the same time, dazzling with brilliant bravura passages. The second movement almost becomes chamber music, as the pianist switches roles frequently between accompanist and soloist. But the most memorable tune of the whole work is the second theme of the last movement. The work was dedicated to Dr. Trist Curless has now officially become a member of the group, joining Janis Siegel. Alan Paul, Cheryl Bentyne, all of whom are conscious of maintaining the integrity and artistry left by founding member Tim Hauser who passed away in The Manhattan Transfer was born when Tim Hauser was paying his bills by driving a New York City cab while aspiring to form a harmony vocal quartet that could authentically embrace varied musical styles, and still create something wholly unique in the field of American popular song.

By the end of the year they were the number one live attraction in New York City. They were signed to Atlantic Records and released their self-titled debut in The band was soon tapped to helm a weekly hourlong summer replacement comedy-variety show, which premiered on CBS on August 10, They are responsible for 19 singles and 29 albums over their stellar career and their music has been featured in major feature films and television shows.

With sold-out world tours and worldwide record sales in the millions, The Manhattan Transfer celebrates its 45th Anniversary to bring unique and extraordinary infused vocal magic to their generations of fans! Allegro pesante Lonely Town: Pas de deux Times Square — Sennets and Tuckets 2. Alla breve Andante largamente.

Andante come prima Allegro non troppo, molto marcato. Only Bernstein would be able to write a comic operetta based on a Voltaire novel produced on Broadway. Despite or maybe because of its initial lack of success, Bernstein would continually revise the work for the rest of his career. Candide was clearly important to him. Conceived as a rather conventional overture, it showcases the wit, cleverness, and refinement of a work that can be thoroughly enjoyed by the casual listener and withstand rigorous analysis by the serious scholar—an achievement only the best opera composers can claim.

Its clarity of expression is so vivid that absolutely no introduction or musical explanation are needed. Sunday, November 14, The virtually unknown yearold new assistant conductor of the New York Philharmonic is asked to fill in at the last minute for the great maestro Bruno Walter. The Carnegie Hall concert is broadcast live to millions of listeners all across the US.

The first American born and trained great conductor! While sitting in the Russian Tea Room, Bernstein composed a little tune which he wrote down on a napkin. Later that day, dancer and choreographer Jerome Robbins introduced himself to Bernstein in order to propose a collaboration on something jazzy.

Bernstein played the tune on his napkin for Robbins, and the idea for Fancy Free was born—along with one of the most important collaborations of the twentieth century. Bernstein offered the following synopsis: From the moment the action begins, with the sound of a juke box wailing behind the curtain, the ballet is strictly wartime America, The curtain rises on a street corner with a lamp post, a side-street bar, and New York skyscrapers pricked out with a crazy pattern of lights, making a dizzying backdrop.

Three sailors explode onto the stage. They are on twenty-four-hour shore leave in the city and on the prowl for girls. The tale of how they meet first one, then a second girl, and how they fight over them, lose them, and dash off after still a third, is the story of the ballet.

Encouraged by the success of Fancy Free, Bernstein composed a sequel of sorts. This time three sailors explore the great city of New York on their hour leave. The show On the Town opened on Broadway in December and was an instant hit. Again, Bernstein gives us the story line: In the Dance of the Great Lover, Gaby, the romantic sailor in search of the glamorous Miss Turnstiles, falls asleep in the subway and dreams of his prowess in sweeping Miss Turnstiles off her feet.

In the Pas de Deux, Gaby watches a scene, both tender and sinister, in which a sensitive highschool girl in Central Park is lured and then cast off by a worldly sailor. The Times Square Ballet is a more panoramic sequence in which all the sailors in New York congregate in Times Square for their night of fun.

There is communal dancing, a scene in a souvenir arcade, and a scene in the Roseland Dance Palace. He etched the pitches B Boston and C Centennial into the score in celebration of this great institution that had meant so much for his career as assistant conductor under the legendary Serge Koussevitzky. Symphonic Suite from On the Waterfront Premiered on August 11, , at Tanglewood under the direction of the composer. If you are looking for a good classic movie to watch, On the Waterfront is a must-see. This movie starring Marlon Brando is No. It is an iconic depiction of corruption in a New Jersey dockworkers union.

Throughout the composition the theme is constantly transformed, as Terry struggles to find his place and identity in the gritty urban mob environment. At the heart of the suite is the fourth movement, which uses the music from the rooftop scene about the young lovers, Terry and Edie. Allegro vivace Poco andante Finale: Initially somewhat marginalized for writing in a style that privileges tonality, melody, and regular pulsation at a time when modernism held sway, his approachable musical language has won over audiences around the world.

His Trombone Sonatine exemplifies his refined compositional style. Composed in Rome in , the work explores the technical and expressive possibilities of the trombone to its limits. The term sonatine little sonata , however, is misleading, as this piece is is a work full of rich content and a worthy addition to the canon of brass chamber music. Step Inside is a fantasia on the work of French street artist Julien Malland, a. The sprawling murals can take up a city block or the face of a building. We unlock new worlds by revealing our true selves to friends or strangers; we perceive the chimerical nature of the unknown in experiencing anything for the first time.

The very act of composing is an act of stepping inside. The music could be said to reflect the realm of the imagination, so beautifully represented in these paintings. It could also be said to portray the realm of reality: Or it could just be a musical journey through the real and imagined experience of the new: Not surprisingly, his Opus 1 was a string quintet with two violas—a youthful work that betrayed his training as violist.

Fast forward fourteen years to For whatever reason, he decided not to publish it and set it aside—only to return to it thirteen years later. Each expertly written movement explores different aspects of the Czech-infused melodies and rhythms. He later attended Mike Guggino mandolin, harmony vocals Berklee College of Music in Boston, studying classical and jazz violin performance, as well as Nicky Sanders fiddle, vocals 20th Century classical music composition.

The GRAMMY Award-winning sextet has spent nearly two decades bending and shaping the bluegrass aesthetic, wedding it to elements of pop, country, and folk rock to create something original. Since Steep Canyon Rangers came together in , they have developed a remarkable catalogue of original music that links them to the past while also demonstrating their ambitious intent to bring string-based music into contemporary relevance. In July , Steep Canyon Rangers arrived at Fidelitorium Recordings, an intimate studio facility built, owned, and operated by legendary producer Mitch Easter.

The organic process allowed SCR to work fast, tracking a dozen songs in just three-and-a-half days. Steep Canyon Rangers are easily among the hardest working bands in any genre, pulling double duty on their own and as collaborators with Steve Martin. As they approach their second decade, Steep Canyon Rangers are still moving forward, searching for new horizons and musical vistas.

Allegro moderato Larghetto Allegretto. Not the group, Mannheim Steamroller, but the 18th-century compositional technique from which the group took its name. The Mannheim orchestra under the direction of Johann Stamitz was considered the greatest orchestra of its time. So when Mozart composed this Violin Sonata while in Mannheim in , surely the Mannheim steamroller extended crescendo and the Mannheim rocket swiftly ascending passage were on his mind.

This fashionable, tune-oriented genre was the perfect entry in the Parisian market. Yet it took him another two years to finish his First Piano Quartet. During that time bliss had turned to bitter disappointment, as Marianne ended their engagement after four months. His musical friends felt that it failed to provide the sort of summation where all the loose ends are tied up. Everybody agrees that it indeed offers a satisfying ending to this exciting work. What made the difference between the two movements?

There was no real sense of conclusion. In question is the ending of the piece, which was a forgery. The forgery was good enough to trick the folks of the Neue Mozart Ausgabe, which offered up both endings as having been composed by Mozart. There is no mystery about the stunning beauty of the work! I myself consider it to be the best work I have ever composed. It is written for one oboe, one clarinet, one horn, one bassoon and the pianoforte. How I wish you could have heard it!

And how beautifully it was performed! He composed it at the same time as two concertos, and, in fact, in many ways the quintet is a concerto—but on a higher intellectual plane. The unusual nature of this work becomes even more apparent by the fact that Mozart has to spell out the instruments. It seems as if Mozart purposely chose this unusual ensemble in order to write exceptional music— both in scoring and meaning. Hicks, In memory of Jackson E.

Liz Culpepper Kate Pinkerton: Jeremy Ayres Fisher Sharpless: Kyle Bejnerowicz Imperial Commissioner: The Zimmerli Family Opera Endowment was established in through a generous donation by Kurt and Nelly Zimmerli of Spartanburg, SC, to provide educational opportunities and resources for exceptional young musicians for many years to come. The composer applied for the rights and sent the original short story by John Luther Long to the librettist Luigi Illica. As it turns out, Long was an American writer, and his Madame Butterfly, published in Century Magazine in , was based partly on a true incident as told by his sister, who had been a missionary in Nagasaki.

So how does a true-to-the-core Italian opera composer write a work about two cultures he has never experienced? As one might guess, the answer is rather complicated! Nagasaki, Japan, early 20th century. Lieutenant Pinkerton is shown a house for lease by Goro, a marriage broker.

After American consul Sharpless arrives, Pinkerton shares his Yankee philosophy of exploring the world and its pleasures. Butterfly is formally introduced. During their conversation Pinkerton learns that the only year-old Butterfly came from a prominent family, but after their fortunes declined she was forced to live as a geisha. Butterfly assures Pinkerton of her intentions to accept his Christian faith. At the end of the wedding ceremony, Bonze the priest curses his niece Butterfly for rejecting her own religion.

Once the new couple are alone, they meet in the garden. For the American Pinkerton. Before that time, it had been recognized as the official song of the US Navy—the perfect choice for Lieutenant Pinkerton. Of course the story itself is universal, with the frail suffering heroine at the center, allowing Puccini to do what he does best—express the human experience through beautiful music. Butterfly politely declines, reiterating her faith in Pinkerton.

Sharpless is in no state to finish reading the letter. Instead he promises to tell Pinkerton about the child. They have come to take the child to America for a good upbringing. Pinkerton is overcome with guilt and leaves the room, unable to face Butterfly. Butterfly enters to meet Pinkerton but sees Kate instead. After some discussion, she agrees to give up the child but wants Pinkerton himself to pick up the child a little later. Allegretto Scherzo Allegro Cadenza. Adagio Chorale Variations Mr.

What do you do if you are worried that the audience might leave during intermission because your opera is six hours long? Stop the clock, so nobody realizes how late it is. Legend has it that is exactly what Wagner did at the premiere of his third opera, Rienzi, the Last of the Tribunes. Regardless of its length, the work was his first great success as an opera composer, putting him on the map as an important new voice. As is common practice, the overture was the last piece written. Composers would choose important musical material from the opera and weave it into a sonata form movement that functioned as a preview.

In the case of Rienzi, that meant military action,. Military action can be heard in the call to arms at the beginning of the overture and the military march that ends this exciting piece. Central to the overture are splendid melodies and orchestral brilliance—the heart and soul of grand opera. The attacking criticism of twelve-tone music everywhere is that this music is only cerebral and without feeling or emotion. Berg had not even considered writing a concerto until Krasner approached him in January As Berg began contemplating the work, tragedy struck.

In April , the teenage daughter of a dear friend, Alma Mahler, died of polio. It is enough, Lord, when it is pleasing to you, then grant me release. May my Jesus come! Now good night, o world. Berg never heard his masterwork performed, and it would become a memorial not only for Manon but for the composer himself. For whatever reason, Beethoven decided to introduce Vienna to as much new music as possible.

This four-and-a-half-hour-long concert included not only the premiere of his Sixth Symphony, but also his monumental Fifth! The other pieces on this all-Beethoven program were his Fourth Piano Concerto, the Choral Fantasy, miscellaneous hymns and arias, and a movement from his Mass in C. Every movement of this work has different innovative features. From the minimalist structures of the first movement and the harmonic stasis of the second, through the descriptive nature of the storm movement, to the idyllic setting of the last, Beethoven expanded the genre into the realm of program symphony.

He was well aware of the audacity of his approach, which caused him to make a rare but necessary programmatic statement about the piece to prepare the listener for this new experience: Pastoral Symphony, more an expression of feeling than painting. And with one extraordinar il y long concert, music history was changed forever. Leopold Stokowski used an abbreviated version of the Pastoral Symphony for the film Fantasia. In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no sensible man can understand it.

By December of , Mozart had been in Vienna for over four years, his operas were successful, so Mozart was ready to shed his role as performer in order to focus exclusively on his career as composer. The choice of C major and his use of trumpets hint at the grandeur of this almost symphonic work. Symphony was on his mind. No other concerto by Mozart is more focused on the overall artistic experience, creating the perfect model for Beethoven Piano Concerto No.

As the title suggests, the piece contains a riddle, which is yet to be solved. While there is not enough space here to describe all fourteen variations, a few words about the theme shall suffice please follow the descriptive titles printed in the program order. Like a proud music that draws men to die Madly upon the spears in martial ecstasy, A measure that sets heaven in all their veins And iron in their hands.

Based on these verses, this march seems more appropriate for the movie screen than a university auditorium. So how did we turn this patriotic war march into a graduation tune? Trio Andante cantabile con variazioni Allegro. Allegro Adagio ma non troppo Presto. Si tratta questo pezzo con molto di sentiment Allgretto. String Quartet in E minor, Op. This string quartet is one of the reasons for so many superlatives. Starting the work with two pounding chords reminiscent of his Third Symphony, Beethoven sets out to move far beyond his classical heritage, creating a first movement with an intensity not seen before in a string quartet.

The ensuing second movement is one of the most hauntingly beautiful movements Beethoven ever composed. Since the work was dedicated to Russian Count Andrey Rasumovsky, Beethoven decided to honor him with the inclusion of a Russian tune, which appears somewhat oddly in the middle of the third movement—a seeming afterthought.

As it turns out, this tune would become the pivotal moment of the work, providing the motivic impetus for the exciting finale. This is just one of the many integrative elements that tie together all four movements. Just like his symphonies, his string quartets must be viewed as continuous four-movement narratives.

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String Quartet in E flat major, Op. For the first time in a long time he had no financial worries thanks to three benefactors—including Prince Lobkowitz, the dedicatee of Opus Beethoven was also madly in love with Therese Malfatti and was considering a marriage proposal which presumably inspired the harp sounds of plucked strings in the first movement. Adagio molto espressivo Finale: His main aim is direct, unfiltered communication - his music had moved from the beautiful to the sublime.

He tests the limits of musical language by reaching far outside the conventions of the string quartet. Rather, coherence is achieved through more complex overarching strategies supplanting traditional rules. At times, Beethoven draws on compositional models beyond the string quartet, employing a German rustic dance movement four and an operatic cavatina movement five. At the premiere Beethoven ended the work with a grand fugue, which blew up all chamber convention, as players at some point play as loud as they can for five minutes straight.

So Beethoven accepted the challenge and went in the opposite direction with a light-hearted dance. By Beethoven was completely deaf, living in his own world. The string quartet would become more than his artistic outlet for his remaining three years, it was his means of creating a world he could inhabit happily.

In , while struggling with oncoming deafness, he penned his now famous Heiligenstadt Testament. String Quartet in F major, Op. By far his longest and most ambitious quartet up to that point in his career, Beethoven opens up new modes of communication by expanding dynamic contrasts and tonal strategies—which are fancy musical terms for creating music that is more intense and highly expressive.

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The third, slow movement, for example, cries out for an evocative title a task Beethoven leaves for the audience. This music is not just listened to, it is experienced. As is the case with the second Op. He had acquired a catalog of Russian tunes for this task. It seems that a slow tune in minor mode caught his attention. But in order to make it work for the finale, he transformed the tune into a rollicking, joyful one. Exploring all of its possibilities, Beethoven develops a movement full of exuberance and joy.

This quartet encapsulates Romantic music more than any other, and it would become the model for almost every 19th-century composer, most notably Mendelssohn, Schumann, and Brahms. William Pendergrast and his late wife Martha. Over the decades, the Pendergrast children and grandchildren have been students at Brevard, and the Pendergrast family continues to generously support BMC.

How to Write an Overture in Three Easy Steps might seem to be the appropriate subtitle for this masterwork. I was alone — I had no friends — and I hesitated to return to Switzerland, be- cause I was afraid of it. Where I live, between Lausanne and Geneva, it's a bit superficial — like L. So I tell my- self it's L. Brecht said, 'No- body wins unless he returns home.

I think that three fourths of all filmmakers don't need to communicate anything, though. They want to live the life of the film- maker, but they don't need to express themselves the way a sick man needs an X-ray or a passenger a train. With- out that need, I don't see how you can make contact. There's love, and this is part of love, too. You put it into your work. Every time there's been a change in painting — Picasso used to talk with Braque — it's because a few people used to discuss what they were doing. Otherwise, it's just too lonely. I don't like to admit it, but I do realize that I don't want to make films alone.

With the exception of Breathless, none of Godard's films has been com- mercially successful. Surprisingly, Go- dard considers this lucky. Otherwise, you get robbed of your personality. But I don't know how I succeeded making more and more films. Well, maybe not in the way Sam Goldwyn might have admired. Indeed, when Godard's wealthy parents stopped supporting him in reaction to his "bohemian dallying," he proved to be a survivor. As a penniless journalist who shamelessly invented interviews and anecdotes , he used to sleep on a bench in his newspaper office and even resorted to stealing.

Later on, he spent money as quickly as he made it. On another occasion, he aban- doned a project entitled Pour Lucrece because he wanted to join Karina in Spain, where she was making a film. He had to pay off the crew and was forced to sell the rights to his Vivre sa vie back to his producer for a frac- tion of their value. Impulse, not calcu- lation, has been Godard's way.

Not at I all anguished. What isn't so good is the usage they make of this. They exploit the desires of millions the way the Mafia controls the drug traffic. Kramer is a nice little com- edy, but I think it should've been a father caring for a little girl. Then he couldn't have done three quarters of what he did with the boy; he would be forced to deal with the problems.

He showed his own films — he both acted and directed — and he gave the first prize to himself. What do you usually drink at cocktail time — white wine, a mar- tini, scotch on the rocks, an aperitif? We'd like to suggest something differ- ent: If you're a martini fancier, our crisp, dry Fino Sherry is a martini of moderation. Yet just as satisfying. If you're a whiskey drinker, how about Oloroso Sherry on the rocks instead? Full-bodied, easy to sip it's a pleasant change from hard liquor. If you're one of the vast army raw oer A of white wine fans, we have a spirited alternative: A glass of our Amontil- lado Sherry — with its intriguing nut-like taste.

And if you enjoy cor- dials, sip some Cream Sherry from Spain instead. It's luxuriously rich, sweet and full. But whatever your choice, remem- ber — it's not true Sherry unless it comes from Spain. The Sherry Institute of Spain Anytime is the time for Sherry from Spain Vietnam, he used just one image — her cheerful expression in a newspaper photo. I don't like her movies, but when she smiles she looks good. It's a pity though that there isn't another image before and after her smile. The project, entitled Bugsy Siegel, after the mafioso founder of Las Vegas, "is the story of a Holly- wood producer who asks himself why he can't make a film about Siegel's life even though he has the money.

It will include documentary and fic- tional sequences, thereby combining the two dominant elements in Godard's work. Zoetrope is Francis Coppola's company, and the two filmmakers will collaborate on Coppola's next picture, One From the Heart, to be shot in Las Vegas in January, when the filming of The Story will also begin. They get along fine," says Luddy. Godard adds that he likes the fact that Coppola left Hol- lywood. As these two directors join forces — maybe even collide — Godard will aim his camera at his surroundings and "try to make a different film.

When I feel I can't, I'll stop. After all, he has al- ready dropped everything twice — only to start afresh. I must be the only audience who needs to make movies in order to watch them. And I'd like to make many, many more. I wonder if they'll let me. I'm not saying I already do, but the possi- bility exists.

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  4. I'm far more optimistic today, and maybe I could even find some pleasure. It's something I had forgotten about. But now I think I can regain it. Nowadays, you're almost better off hitting your parents' attic for the clutter cast off when they were moving up to modernism. Lampshades with fringe, claw-footed sideboards, and old hunting prints are okay again, especially if they are all thrown together with a touch of neon and a dash of brass. Call it "post-modern," call it "radically eclectic," the message is that there is no more "right way.

    But as economic hard times cut back on commissions and "adaptive use" became respectable, more and more architects began turning inward — and enjoying it. Now they are discovering that interiors are more interesting — and more profitable — than they had thought. After decades of austere right angles and cold, white planes — not to mention the recent fling with high tech — there are great curves and exotic colors, sensuous fabrics and trompe l'oeil murals.

    The history books have been ransacked ror inspiration: Classical columns and archetypal archways cohabit with vintage chandeliers and Oriental carpets; Baroque moldings, neo-Deco mirrors, and Grecian urns all have a place in the new indoor architecture. Much of what's happening is just plain fun. But the new interiors are by no means all frivolity. As architect and industrial designer Emilio Ambasz puts it, "Architects have been H O M spending too much time worrying about the long voyage to Utopia.

    In the process, the hour day has been forgotten. The challenge now is to design the kinds of spaces that accommodate the rituals and ceremonies of our lives, to give new forms to the terrain of daily existence. In theory, our homes — room mansions or 1-room efficiencies — were always supposed to be our castles. Making the theory a reality has never been easy.

    But now it's at least all right if the place looks that way. References are knowing ones — to Victorian balustrades and Greek orders and Federal moldings — but there is a humor, a sense of play, in recalling these elements of the past to solve modern problems. The grandeur of the historical — the soaring columns, the sweep of Palladian arches — elevates what would otherwise be pedestrian public spaces.

    The daring use of color — on walls and in voluminous sweeps of fabric — adds to the feeling that these are all stage settings. But the allusions are obvious: Egyptian pyramids support tables. Classical columns are turned into New Wave chiffoniers. Modern paints simulate marble, granite, and leather.


    Even architecture in the aggregate — the New York skyline — is making its presence felt. Here is the lat- ter; the sense of humor is up to you. The Moultrie Manufacturing Company Moultrie, Georgia , serves up its columns in extruded alumi- num, meaning that a col- umn eight inches in diam- eter and eight feet tall weighs only fifteen pounds. Columns come in a num- ber of diameters, from five inches to eighteen inches, and various heights from 8 feet to 30 feet.

    Equally lightweight, and infinitely more whimsical, are the chip- board columns that come from the Hudson Paper Tube Company 80 Furler Street, Toto- wa, New Jersey , or These brown-paper-finished, non-structural columns are available in diame- ters of from one inch to sixteen inches, and each tube is twelve feet long. ORNAMENTS the firm of Saldarini and Pucci Crosby Street, near Houston, New York, New York , has been working day and night for months executing plaster pieces for the Pal- ace Hotel, but stock items cast from "compo," the company's special super- hard composition, are read- ily available in a week cus- tom orders take at least three weeks.

    Saldarini and Pucci's retail show- room is called Architectural Sculpture Lafayette Street, two blocks below Houston, New York, New York , , and there you can see some of the pieces available. Post-modern can also mean bringing outside architectural elements inside. But the descriptive materials available from Supro Building Products Corporation 70th Street, Woodside, New York , will certainly whet your appetite for this kind of architec- tural treatment.

    And the folks at Supro can supply the names of contractors. Trompe l'oeil paintings can do the trick. One architect specializing in the technique is Jean-Pierre Heim , who painted the eye- fooling mural at Raoul's, in SoHo. Set designer Christian Thee spends his off-Broadway time putting architectural elements where they "belong" in people's apartments. So a dead-end hallway may get a half-open door at the back wall.

    Everything Thee does has "something to give it away. You can bring this once tawdry ele- ment inside as an accent or as part of your room's de- sign. Pages 38 and Pages 40 and WOR-TV rejects five evangelistic programs for each one it accepts The announc- er bangs in with: And now, he-e-ere's Jim Bakker! The crowd gets even cra- zier. The baby-faced , year-old Bakker waits for the hoopla to sub- side, then launches into his opening mon- ologue.

    He trades in- sults with his portly sidekick, Henry Har- rison; casts a couple of barbs at Thurlow Spurr, the hip band- leader; and engages in light banter with the audience. It's vintage Johnny-Mike- Merv, right down to the fake ferns that festoon the desk- and-couch set where Bakker will in- terview his guests — a parade of ce- lebrities and book pushers who make the rounds of shows like The PTL Club. Nothing much distinguishes this as the planet's most unusual chitchat show — except that Jim Bakker is an ordained Pentecostal preacher, most of the star-studded cast claim to be born-again Christians, and the Mc- Video vicarage: Robert Schuller at the new Crystal Mahon-clone sidekick isn't punctuating Bakker's opening routine with "hey- yo"s but with "hallelujah"s.

    Bakker is out in the audience now, not to play Stump the Band but to swap miracles with the crowd. A gaunt, middle-aged woman named Mary leans into his mike. It turns out that Joyce and her husband were selling pornography in their deli back home. Then, a miracle came to pass.

    Available in a wide selection of fabrics at slightly added cost. From Mai robe to Paris People who appreciate authentic designer fur- nishings and the lowest prices the world-over know that nobody beats D. Whatever and wherever you're decorating your first and last stop should be D. But he's only one in a new firma- ment of prime-time preachers who do stand-up material, sing, boogie, and serve as the heavenly hosts of variety spe- cials, talk shows, and video magazines.

    This fall, there are even more: Christian soaps, quiz shows, and even sitcoms. In fact, televangel- ism may be the fastest-growing pro- gram category on radio and television. More than 1, religious shows now ply the nation's airwaves, and each month one new Christian channel goes on-line. The Electric Church is riding the crest of the charismatic born-again revival in America and is said to attract million viewers and listeners a week. According to the Gallup Poll, Heavenly hosts: Jim and Tammy Bakker that's more people than go to church.

    And contributions to teleministries may be measured in the billions. Ben Armstrong, head of the National Religious Broad- casters, an organization that represents the evangelical programmers. Station managers aren't embar- rassed to put them on the air.

    In fact," he adds, "one of the largest concentrations of our members is right here in the New York area. As if by miracle, the station's books moved from the red into the black, a salvation that inspired other broadcasters to undergo a similar conversion. That will only add to the approxi- center and members of the PTL choir. Armstrong, and Jimmy Swaggart.

    But growing hasn't swelled our heads. In fact, we're still offering all our fine products at prices designed to save you money. Add to that the expert services of our professional staff who keep up to the min- ute on what our products can do for you, and you'll see why many of the best chefs shop at the Broadway Panhandler. Glues down over concrete and most other sub- floors. See the complete Bruce line at either of our convenient showrooms, where you can choose from the largest wood floor collection in America. Most floors in stock for imme- diate delivery or installation.

    Hoboken Wbod Floors Third Ave. Most televangel- ists — who pay for their air time — must resort to off-hours, UHF, and cable, but it's not because they can't afford more expensive time. Rather, it's because New York stations severely limit avail- able air space. The commercial- and public-network affiliates Channels 2, 4, 7, and 13 ac- cept no paid religious shows at all. The independent stations 5, 9, and 11 are chary of selling anything but fringe time and "give- up" slots for fear of losing their mass audiences.

    At other times we feel we can serve the public better by putting in our own program- ming. You have to be diversified. King of religious ratings. Well, aside from FCC commitments to show public-service and news programs, at 8: That's right, Bugs Bunny outdraws Jim Bakker. For all their eagerness to buy time, televangelists rarely crack the Nielsens.

    His main assignment is to find air time for The Club — the flagship show of CBN and the original Chris- tian talk-variety show. On Wyant's desk is a Bible. And an Arbitron rating book. Don't you knowLUchow's 99 th annual Oktoberfest is on? From Friday September 26th to the last day of October, joy and revelry will once again hold center stage at Luchow's, America's most beautiful landmark restaurant.

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    Wyant allows only that it is "well over half a million in air time alone. Although Wyant 's ledger sheet shows a "plus" for New York, meaning area contributions outstrip that hefty out- lay, CBN president Pat Robertson feels that the city may be suffering a spiri- tual "minus. At this stage of things, television and radio are the best means of uniting the Christian popu- lation in New York.

    Fore of the National Council of Churches, "is not the big-business aspects of this evangel- ism, but whether this electronic church is in fact pulling people away from the local church. Lodgings at the Rantasipi Hyvinkaa include three lunches or dinners and complete cross- country equipment skis, poles and boots for three days.

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    Major credit cards accepted. By going on the air, itinerant evangelists soon dis- covered they no longer had to split their contributions with local churches, which had been the accepted practice along the old "sawdust circuit. He suggests that each viewer enjoys "papal authority" over the operations of the church. Operating out of a new Smillion broadcast complex laid out in the shape of a cross , the Christian Broadcasting Network owns a string of ten radio and TV stations, produces a variety of evangelical enter- tainment and news shows, and syndi- cates them to a loose network of nearly 2, stations.

    It also runs more than 70 telephone-counseling centers which received over a million calls last year , has recently opened a Graduate School of Communication to train born- again broadcasters, and manages its own advertising,?. Reconstruction, and film companies. Here in her Sweet Nothings Demi-bra of satin tricot and scalloped lace. The decollete front-close bra gives a voluptuous, round look. Pure elegance in softcup. In lots of vintage colors.

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    He'll also show you how to arrange tax de- ductions by contributing to his pro- grams. The Club Channel 11, week- days at 1: Born-again guests from Jimmy Carter to Ben Vereen exchange miracles with Pat while telephone numbers and addresses are superim- posed across the bottom of the screen and phones jangle in the background.

    Fans of gabfests and telethons won't want to miss it. A prime-time hour of song and prayer with the Humbard family, thirteen of them at last count. It's done at a mid- dle distance between Lawrence Welk and the King Family — with terrific demographics. Rex lays claim to be- ing king of the religious ratings, play- ing to an audience of million worldwide.

    Disdaining typical evangelistic theatrics, the Reverend Robert H. Schuller formats his show around the Dutch Reformed services at his Gar- den Grove, California, church. Oral Roberts and You Channel 9, Sundays at 9 a. Remember his wild-eyed Pentecostal "Heal! Well, you should see ol' Oral now. He's Methodist now, the smooth impresario of prime-time prayer ex- travaganzas. Roberts asks for donations to his new medi- cal center. But his eyes, unguarded, still betray the brimstone. Rob- ison, who has built a career on con- troversy, leads the new, politically ac- tive evangelical right.

    Anti-gay, anti- Darwin, and antediluvian, Robison rants, whines, and mesmerizes with soap-opera histrionics. Ernest Angley Channel 68, Sun- days at 8: He currently wears Oral's erstwhile mantle as TV's top faith healer — along with ruffled shirts and Crayola-hued suits. At times, he comes off like a carnival barker, but when you touch the screen for a dose of his divine zapping, the effect can be electrifying. And do send for our Kahl ua recipe book.

    Because you deserve something nice: Televangelistic marketing has reached the point where salvation can be dialed toll-free and redemption charged on a Visa card. Preachers promise the viewer free literature, Bibles, crosses, or trinkets. Just call or write. When the present arrives, a questionnaire is usu- ally enclosed, which conveniently folds into a stamped contribution envelope. If that is returned, and even if it isn't, further appeals are made. Eventually, an invitation is extended to join the ministry, which entails regular contri- butions and even tithing of up to 10 percent of one's in- come.

    Although such techniques might appear somewhat misleading, broad- cast religion is a sanctuary where Washington has feared to tread. And with good reason. Congress and the Federal Communica- tions Commission continue to be inun- dated with millions of letters, telegrams, and calls of protest. New York's attor- ney general's office indicates that it has never received any complaints, and it has no investigation pending.

    Moreover, most teleministers are sen- sitive to charges of profiteering and take pains to avoid appearances of Gantry-ism. But if a TV viewer sends a contribution to a place like Minneapolis or Virginia Beach, that becomes manipulation, and the secular press wants to satirize it as a joke! The last shot finds the woman alone at a bedroom vanity, tracing the lines that have begun to etch her face.

    The woman will doubtless sing the praises of some mi- raculous soap or cold cream. Like on their first date. As the music swells, the announcer promises that you too can share in this experience by "joining the Club. A new venereal disease is creating a big problem for middle- class New York. Its incidence has quadrupled in the last decade. Your doctor may not have heard of it either, but it's causing plenty of problems. In women, it may produce only vague "female complaints," or it may cause bladder infections, ectopic preg- nancies, stillbirths, pelvic inflammatory disease, and permanent sterility.

    It can cause sterility in men too, although more often there's only an annoying in- flammation of the urethra. And in ba- bies under six months old, it's a leading cause of pneumonia and eye infection — because chlamydia is the same bug that causes trachoma in developing countries. You haven't heard much about chla- mydia pronounced kluh-MID-ia until now because it's only in the last two years that researchers have gotten an idea of the size of the problem.

    Also, the chlamydia bacteria are difficult to culture, which means there's no quick, cheap test for the infection. But New York definitely has a prob- lem, with an estimated , to ,- cases last year — four times the number seen ten years ago. Yehudi Felman, di- rector of the city's Bureau of Venereal Disease Control, who is trying to keep tabs on the situation. Chlamydial infection causes more se- rious problems in women than in men. But because their symptoms are often milder, women are less likely to be diag- nosed and treated than men are. Women who get PID due to chla- mydia may have no symptoms at all, or only mild, non-specific ones — a slight discharge, some aches in the lower ab- dominal area, perhaps some discomfort when urinating, and spotting between periods.

    Meanwhile, what's going on is an inflammation of the Fallopian tubes, which carry eggs from the ovaries to the uterus. PID, which can be caused by other bugs too, is the leading cause of infer- tility in the United States today, accord- ing to Dr. Today, he says, about 8 per- cent of couples are involuntarily in- fertile, but in ten years the number will rise to 14 percent, and the main reason will be PID.

    Multiplying in human cells. In that case, an egg may become fertilized, but it may get stuck in the tube instead of moving on to the uterus as it should. It grows bigger, and after a while the tube breaks, causing pain and bleeding. This is called an ectopic pregnancy, and it's serious. And, like PID, increasing. Chlamydia causes other problems for women, including some cases of the common bladder infection called cysti- tis. A number of women have the symp- tom — frequent, burning urination — but their doctors don't find an infection on the standard tests.

    In many of these women, chlamydia is the culprit, ac- cording to a new study by researchers in Seattle. And there have been several reports that chlamydia is associated with pre- cancerous changes in the cervix. In men, the most common sign of infection with chlamydia is urethritis: The symptoms are similar to gonorrhea's , but usually milder, and the infection is usu- ally called nongonococcal urethritis it's not gonorrhea, so it must be some- thing else; a fine piece of medical no- menclature or nonspecific urethritis.

    If it's not treated, the symptoms usu- ally subside, although the bacteria still remain in the body and can cause prob- lems again. But chlamydia can also cause more serious problems in men, such as a painful inflammation and swelling of the testicles called epididymitis. Doc- tors used to say "strain" was the usual cause and rest was the treatment in men under 40, until Drs. Berger and King K. Holmes at the University of Washington found that chlamyd- ia was the most common cause, and treatment with tetracycline was the way to go.

    Not only is epididymitis painful, says Dr. Holmes, who is pro- fessor of medicine at the University of Washington Medical School, but it can also scar the tubes that carry sperm, leading to a low sperm count and even permanent sterility — a situation similar to PID in women. Babies can get infected with chla- mydia too, usually during birth, if the mother has the bug. In New York, chlamydia is the leading cause of eye infections in babies under six months old. It also causes one third to one half of all pneumonia in babies in this age group, according to Dr.

    Holmes in Seattle believes chlamydia may also cause premature births, still- births, and sudden infant deaths. The infection is common in middle- class groups, according to Dr. McCormack, associate professor of medicine at Harvard and director of diagnostic laboratories at the Massachu- setts State Laboratory Institute. McCor- mack did a landmark study a few years back that showed that perhaps 5 per- cent of healthy young women have chlamydia without symptoms and still have it a year or more later.

    It doesn't go away by itself. What does make it go away is tetra- cycline or its relatives minocycline and doxycycline, but not penicillin. So, as usual, a little consumerism on the part of the individual seems a good idea. For women with some discomfort and a discharge, the key question to ask the doctor is where the discharge is coming from, says Dr.

    If it's a question of possible PID, Dr. Ledger says he would do a needle culdocentesis to find out what's wrong. In this office procedure, a fine needle is inserted through the wall of the vagina into the abdomen, and a sample of fluid is removed and examined. Ledger admits, "I've never known a woman who wanted a second one," but, on the other hand, it can lead to accurate diagnosis and effective treat- ment — which can mean the difference between being able to have kids later and not. For men, too, the important thing to realize is that the physician — in this town, at least — is most often going to have to make a diagnosis by excluding other likely causes of the problem.

    With urethritis, that usually means excluding gonorrhea, the test for which is not difficult. If the problem is acute pain in one or both testicles, the doctor will have to decide whether it's an infection or torsion or tumor, according to Dr. If there's no discharge, the doctor should test for torsion — twisting of the testicle within the scrotum — by measuring blood flow to the testicle with a radioactive tracer or a Doppler probe," Dr.

    The other problem is tumor, which often gets misdiagnosed as infection. Sizes vary and frames are adaptable. For more information, come in, call or write: Send for our free 72 page colorful holiday catalog. America's foremost boating store has thousands of shipshape gifts for old salts and landlubbers — at great discount prices. Shop at our store or through the mall. Zip Goldbergs 9 Marine 4 The ship to shore store. We'll be waiting, to welcome you. W Call your travel agent or in N.

    Y State balance Continental U. Another problem in the diagnosis of chlamydia is that there are very few places in New York that are equipped to run the necessary tests. It's no good doing a blood test for chlamydia, ex- cept in babies. All it tells is whether the person had an infection in the past, and about half of us have.

    However, lots of us have been cured, by accident, by tetracycline we got for something else — but the blood test stays positive. For diagnosis, you need to do a tissue culture, because chlamydia is a unique bacteria that, like viruses, will grow only in living mammalian cells. The only places that can handle this test are virology labs, and in New York there certainly aren't enough of them to handle the tests on a mass basis.

    A few private labs do them: Roche Clinical Labs started a couple of months back, and Metpath, one of the biggest, hopes to offer them by the end of the year. Downstate Medical Center is do- ing some, mostly for pediatric patients, and Cornell has a small research proj- ect. Because they're hard to do, they're costly: So physicians are forced to make a diagnosis by ex- cluding other causes. But prevention beats cure, so New York asked the experts what could be done to avoid infection. Choose your contraceptive with care, they said.

    The IUD could increase the risk of in- fection, Dr. Ledger says, perhaps be- cause the string helps the bacteria climb up into the uterus and tubes, perhaps because the IUD sets up a mild in- flammation, which makes it easier for an infection to get started. For both men and women, the con- dom reduces the risk of infection con- siderably, and Dr.

    Feldman, our mu- nicipal V. Use of the pill or the diaphragm and jelly seems to decrease the risk of PID a little. As everybody knows by now, in adults, infection with chlamydia is acquired through sexual contact, shows up most often after a change of part- ners, and means that both must be treated.