Calendar
Continued from preceding page
Featuring innovative
artists in the field
of glass design
Don Doak
Stephan Cox
David Goldhagen
and gallery
LOEHMANN'S OF HUNTERS SQUARE MALL
14 MILE & ORCHARD LIS. RD. • FARMINGTON HILLS
855-4-488
Mon., Tues., Sat. 10-5:30;
Wed., Thurs., Fri. 10-9; Sun. 12-5
A
CELEBRATION
OF
CONTEMPORARY AMERICAN GLASS
Open form bowl by Thomas Buechner III., Corning, New York
•
FINE AMERICAN CRAFTS & IMPORTED FOLK ART
329 S Main, Ann Arbor, 313/761-6263 • Mon. through Thurs & Sat. 10-6.
Fri 10-10, beginning APO 13. open Thurs. till 9 p.m
FINE ISRAELI ART • CONTEMPORARY JUDAICA
Etching by Avrohom Yokin. 20x15" — Edition of 180.
gallery yakir
352-4290
29080 Inkster
SPECIAL EXHIBIT,
(2nd House N. of 12 Mile) 21550 W. 12 Mile Rd.
Southfield, MI
(United Hebrew Schools Bldg.)
352-4290
By Appointment
CALL
473-0001
68
FRIDAY, APRIL 21, 1989
352-1050
Su-Th 9-4, F 9-12
33930 W. 8 Mile Rd., Ste. 4B
Farmington Hills
(Just W. of Farmington Rd)
1200 N. Iblegraph, Pontiac,
"Galleria Glass '89,"
through April 28. 858-0415.
CANTOR/LEMBERG
GALLERY
538 N. Woodward,
Birmingham, James Brown,
etchings; Sam Francis,
lithographs and
etching/aquatints; Robert
Mangold, aquatints,
through April 30. 642-6623.
ART KALEIDOSCOPE
512 N. Lincoln, Academy
Center, Bay City, "Glass
Transparencies-Sculptures
in Glass," featuring Mark
Bleshenski, now through
April 29. 517-892-8552.
SYBARIS GROUP
Glass works by Paul
Marioni, Richard Marquis,
Elizabeth Pannell and
Etsuko Sakimura, by
appointment, through April
30. 542-8902 or 544-9552.
TOUCH OF LIGHT
STUDIO
23426 Woodward, Ferndale,
Spring Lighting Show
features John Fitzpatrick,
through April 30. 543-1868.
HOMESTEAD GALLERY
136 S. Pontiac Trail, Walled
Lake, "Pastel Verses,"
paintings by Timothy
Yanke now thiough April
30. 669-8980.
RUBINER GALLERY
7001 Orchard Lake Rd.,
West Bloomfield,
Mignonette Yin Cheng,
"Paintings," now through
May 3. 626-3111.
JANIS WETSMAN
COLLECTION
31505 Grand River,
Farmington, "The Art of
Turning" works from
woodturners around the
country, April 28 through
May 20; reception 5 p.m.
April 28; Lathe
demonstrations- April 28-29;
lecture May 4. 645-6212.
Print Gallery
Has Cook Art
The Print Gallery will ex-
hibit the folk art work of
English artist Beryl Cook
now through May 12.
The exhibit will feature
original lithographs and
serigraphs.
Gallery hours are 10 a.m.-
6 p.m. Monday through
Saturday and Thursdays un-
til 9 p.m.
S
ince. composer and per-
former Steve Reich
discovered his Jewish
roots in the mid-'70s, Jewish
themes have entered into
several of his major works.
While working on a piece
for the Kronos Quartet late in
1987, Reich, 52, recalled the
train trips he took as a child,
shuttling between his divorc-
ed parents in New York and
Los Angeles from 1939 to
1942. He realized that had he
lived in Europe at that time,
he would have taken a dif-
ferent kind of train trip, one
from which "I wouldn't have
been coming back."
The result of his
reminiscences, and his desire
to use sampling technology,
was "Different Trains," which
forms half of Reich's latest
-recording. The other half is a
guitar piece played by Pat
Metheny called "Electric
Counterpoint."
Sampling involves loading
a keyboard with sounds
which can then be played. For
"Trains," Reich loaded his
sampling keyboard with
recorded voices of his
governess who had accom-
panied him on his train rides,
a Pullman porter, train
sounds, air raid sirens and
the voices of three Holocaust
survivors, culled from the
Yale University archives. The
voices became the basis for
the music the quartet plays,
but they are also part of the
music. Reich uses brief
phrases from his subjects,
repeated over and over, to tell
a three-part story: The
Reich incorporates voices as part of his musical compositions.
growth of American strength
after the Depression, the
Holocaust and the aftermath
of World War II.
Reich selected the voices
"because of what they said, of
course, but also how they said
it. Because ultimately I was
writing a piece of music and
I wanted to have voices that
were in themselves melodic
... What I was doing was
editing those tapes after they
were recorded into . . . about
40, 45 sentences, phrases,
single words, place names,
dates, chosen for what they
said and the melodic content
of the speech.
"And the rule was they will
be the melodic content of the
piece. Every time a woman
speaks on the tape she will be
doubled by the viola. Every
time a man speaks he will be
doubled by the cello."
Reich says the survivors,
who gave him their permis-
sion to use their tapes, were
"delighted" with the work.
"The reason they made the
tapes in the first place is, they
wanted to go on record as say-
ing it. And this piece serves
as a kind of memorial or
homage to them and to my
governess and to the porter
and to a bygone era."
Reich was raised a Reform
Jew with little Jewish culture
in his life. "I might as well