oncert goers Fill Auditoriumon cert W ithanCliburnBn gloria denko\musemeats EditorIt has hern asked again and again Where does an artist go, once he's reached the pinnacle — especially when he attainedthat pinnacle in a seeming overnight summit dash*’Amarillo concert goers had opAMA*!LLO SYMPHONY pr»m,tf*$5tn nr, Dr ThornsC©.-Njuctlt;jr P yC-»guts? C v»c Ctf'tt*AueJfprtvrnrwg progbamC-Ahl Ouelt;3i*fc*f Cfi Arn^fsc a* » ry*eA oncj coin Dc'xes ^BANCK, Sympfiofty ** 0 w n«r R ACh M AN iNOhF Conctrto n0 2 m C_ m.-Nf for Ptortp Orlt;*#sfr«, Osportumtv Monda? to view afirsthand erne such performer Van Clibum, 23 at time of Kbvictory in 1958 at theTcha i kenv^ k % In te mat ion a i mMosciw , was guest for openingf the Amarillo Symphony's 45thsea *onConditions were auspictou1 An SRO audience crammed th C;v w Center Auditorium Truer ’mamaHIVf' * * #w, •ipport of theATf *r“* **raK..* iv:hadpremium prtee« to hear'he artist urnA *ears ago cap”ired *he musical world whilein * alien” territoryHe was the American dreamp — the Sankv bo% from Texas, suddenlv thrown into the reveal notekth im.beam of the world’s f4‘ -;!»• v-The Ruians loved him, Americans lauded him ToInrowft* *d cep! Mayor Yorty qumped thestar He handled *he mohwith a loose!;,* con Z structed storyline about a come* y dians 'trike against network e censorshipa ticker-tape parade and White House welcome, he returned — the hero triumphant It has been about three yearssince Chbum last performed inXmanilo The people wanted toxnou ft a he different? Hadhe grown artistically?• • •As may be anticipated, nbum's playing has chan ed Some will wonder, however, whether tt is for the better He still brings cheers and raves and a crammed bouse toits feet in repeated ovations Hisplaying is sharp/, immaculately articulated, as of old No matter the rapid passage work, eachts a jewel, whether shimmering in brilliant fortissimo orglowing gently in aharmonic undergirdmgBut the tone i differentPerhaps this could partially be aid to the instrument, brought in especially for the concert inpiunee with CU burn's con-The piano lacked body Ilia neeBey«lt;nd this, it was Chburn.percussive where once he *ured the romantic, thetone that movedquietc*mrtra«% fari KvHit IK I imi*Ptl!’tj JIT ;Xs IP'Flip Wilson's soeeial that fAAiOwrl1 con tamed ** Mil#iMit*mmmmedian's long and amusing sto♦ 9A %happened* Who can the whir! of 11 icert stage time for personal• ff.e concert stage ha*• mrrvj» Pfet s:% i iII U 4 Ul Cl * IQf Qitf* fl -4 ^if* a i cii HlQP1 vP U\Andx WiFTdlyf ii i*QJ m a than Wir/.e red■ m ;f a : #nr pt-npler and be responded m■sort of communication.Conductor Thomas Hohstadtand the Amarillo Symphony, working under handicaps, produced an overall w ell-executed program,I could dwell on weak en trances and faulty mtonation that muddied the output, butthat wtnild be unfair,• • •The 82 member grmip—onethird new players, ^nd those largely high school and college student' — had only five rehearsals in which to preparea difficult program, as well as attempt a semblance o f ensemble. Problems were com pounded by them having onlya 30 minute read-through of theRachmaninoff with Clibum Yes. the faults were therebut so were many musically fine moments, when glints of what we may expect later m theseason ca.xf brilliance on the evening—Such brilliances as thesuperbly executed solo passagesby flute, clarinet and oboe, as performed by principals Gary Gamer, Charles Timberlake and! Robert O'Bo vieThe Franck, which mu't berecognized as among the most;difficult received a competent;reading — again, a remarkable*feat The work's deceptivesimplicity u* brutally revealing.j Perhaps more o than .n some more flamboman! works en trances must bp totally secure the legato flawless, aitematelysoaring and pensive, alwayssensuous Intervals are oftentreacherousIn the reading, Hoh'fad? gave sign of an emerging freedomtn approach — a seeming fluency that one has hoped *o *ee Programm:ng Monday was indicative of things to come The entire 'eason is planned witha view to popular tastes not