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Show We garde music 'New Sound' entices group testing and numerous themes can m no way be reconciled, the stage lights go out and a melange of sounds resounds from a tape system. On this cue, the now frenzied maestro slams his music stand to the ground and bedlam ensues. Instruments, music stands, chairs and drum sticks are hurled through the air-the audience taking hold of the tumultuous fervor, sees several members run to the stage joining in throbbing holocaust of chairs incessantly slammed against the floor, cymbals pummeled and voices screaming. Then all sound ends, save for a dying tape-deathly tape-deathly still ensues leaving a battle-scarred stage and an unsung, un-sung, victorious hero. paper, blocks, whistles, claves) in addition to their normal instrument. in-strument. The result is a foreign experience contrasting silence against extreme tonal qualities not previously associated with the instruments which produce them. The next work abandons the framework of the epic. The piece, "Anaktoria" by Xenakis, rather created a vivid story all its own. When Xenakis' quagmire faded from view, an overhead projector cast a rectilinear drawing upon the stage. Rather than being by Paul Klee or Juan Miro, the drawing was the graphic score of the following piece, "Odyssee" by Anestis Logothetis. The final work, "Protest II" by Maestro Antoniou, recalls the epic progression of the earlier selections. "Protest II," the text of which is based on the artistic censorship code which was used to suppress the maestro's music in his home of Greece, returns to the musical voyagers experimenting ex-perimenting with their newly found freedom. An experimental schertzic arpegio on the xylophone starts the work. Before the arpegio develops, an overpowering over-powering horn from the back of the hall suppresses its free expressions. expres-sions. From this point on, instruments instru-ments stealthily start joining the suppressing horns and tapes or the experimenting xylophone. As the powers of these two instrumental instru-mental groups grow richer, a placating pla-cating voice can be heard crying into the box of a piano, where it takes on an omnipresent echo. Just when it becomes clear that the disunion between the con- By DAN WATKISS Chronicle Staff ca missionary, Maestro Zdore Antoniou, offered lie enticement to convert a capacity audience to the te garde ranks of the "new siat Thursday night when he SMS musicians, the New Sound Spectra, propagated their creed. Ihe musical epic started to move L the orchestra invoked their 1U with an offering of Arnold finberg's "Serenade. The otfenngtook on the a, r of prayer eeking direction by a chaste, arching violin. A hostile god ewers the plea by adding to the iolin's troubled soul. This mocking reply comes via clarinet, I ing a haunting and directionless direc-tionless melody. Realizing that here's no way to rediscover its th the violin employs a boorish iocai part, repeating a mundane ieme 13 times, illustrating its lack of direction. In view of the foreboding god, the musical voyagers seek a new course, "Klavierstuck IX" by Karlheinz Stockhausen, for piano only. The new course is reviewed from three sides. First a dogmatic pounding on a series of repetitious repeti-tious notes insists that the old course was right. Thrust into action after being so delayed, the travelers investigate r heir possibilities in "Askesis" by loseph Castaldo. They quickly discover that their possibilities ire limitless. Infatuated with this discovery, ?ach member of the orchestra ikes on a sound maker (sand- |