THE MICHIGAN DAILY Friday, February 14, 1969 THE MICHIGAN DAILY Friday, February 14, 1969 records 6Lum 0% so 00% / Bach's well-tempered outlet By JOE PEHRSON [f Bach were living to exper- ice his new vestments, I arantee he would be donsider- ly more surprised and delight- than the cover of Switched- iBach would suggest. Tran- iptions. are nothing new.. is, -however, is the first at-' npt- to apply all the resources- contemporary electronic mu- to works of the past. By this fact alone, Walter rlgs' album is revolutionary. hile many electronic com- hers are content to let the pes of sound direct the form their music, Carlos has, both his former compositions and this new release, recognized e full potential and resources modern sounds. Before, he4 tempted -to combine. tradi- )al musical instruments and ntemporary sound-producing vices in his own serial-type rks. Now, he has taken music the past and has illuminated' d clarified: the music as an ea. Puie Bach is clear Bach. Each ice of an elaborate contra- nta style must be not only ard, but clearly distinguished Dm the others. The difficul- s encountered here are a!- Dst insurmountable, particul- ly- when a work is performed one instrument. Works which were the con- ual frustration of performer d listener !alike are now heard. nean really heard. The types of sounds available rough the use of electronic uipment are pratically un- sited in number. Each sound s its own distinctive quality. id the range of sounds is so eat it is possible to use sounds .ich are different enoughi to separate and similar enough be used in works intended for e instrument: This album didn't appear now .nere chance. Until the in- ntion-of the Moog synthesizer ss than two years ago, such project would be impossible. )bert Moog- has designed an ectronic device with a key- ard and simplified controls r volume changes. This makes it possible to tually play traditionally no- ted music on a new instru- ent. The selections in Switch- kon-$ach are a result of both is new instrument and Carlos' iginalildea: They reflect a year of careful experimentation by Carlos and musicologist Benjamin Folkman with new sounds and appro- priate transcription of the orig- inal manuscripts to the new sound medium. Although the al- bum cover tends to suggest a popularization of Bach, the ac- tual enterprise has a much more serious purpose. Here is music of the future, and methods of performance of the future. Getting down to particulars, there are important innova- tions with sound techniques in practically e'v e r y cut. The baroque style is unusually com- patible with electronic realiza- tion due to the crisp and metri- cally well-defined nature of the music. This is best seen in "Sinfonia to Cantata No. 29" (Bach's own transcription of the "Phorion" prelude) which in my opinion is the brightest and most exciting of all the works on the album. A series of repeated notes in the theme are so. precisely timed they produce the feeling; of exact rhythm and perfection in Bach. This theme is elaborated with shimmering punctuation' by the electronic chorus (which, I might add, replaces an organ, three trumpets, tympani, strings and oboes). This ascends in parts to the upper limits of the audible range - an appropriate+ first selection. The second selection "Air on a G String" originally for strings and continuo has been transformed to a reed quality. Watch for the subtle rubato and swells; the beautiful oboe-like sounds in this cut show the range of the synthesizer. Carlos pays particular attention to some of the lower voices which were never before emphasized. The two-part inventions are not the most memorable. The contrast however, between the soft xylophone-like voices of the B-flat major and the reedy sund of the D minor is really striking. The sound of the B- flat major is really hard to ex- plain. I get the feeling the synthesizer is sticking its tongue out at us. Here's real musical buffoonery. \ "Jesu, Joy of Man's Desiring," that proverbial Bachism, is gracefully performed. The mu- sical phrasing is of note here along with a background chorus which, in having both a bell- like and a sustained quality, is indescribable. Of the "Prelude and Fugue in E-flat Major" the fugue is par- ticularly noteworthy. This' is the most important illustration of the clarity of voices possible in the, electronic idiom. Three voices of the fugue are distinct in quality while all sounding a bell-like similarity. One has overtones similar to the reed instruments," one combines a clarinet and bell, and the last combines bell and flute. The prelude of "The Prelude and Fugue in C Minor" is remi- niscent of a Bach sawmill. This thing really moves, and is per- fectly suited to the picture of the prelude. The bottom voi'ce breaks away from the pattern in an indignant manner and. changes tone color depending on its expression. Perhaps this is a bit heavy on'the rubato, but the app gaturas near the end more than make up for this., The theme from the chorale prelude "Wachet Auf" is natural fun. Carlos' main contribution to this work is the 'lear tenor chorus which maintains a sepa- rate type of cantus firmus. Now to the finest and most elaborate production on the en- tire album: The "Brandenburg Concerto Number 3." Here is ai full-scale baroque orchestra comprised of different electron- ic sounds. This more than any other selection, shows the fu- ture of electronic transcription. Some of ithe sounds in she first movement are quite tympanic in character-particularly on re- petitive figures. This is the "Brandenburg Three" as it should be heard, but' there's no mistaking this version from traditional orches- trations. I still refuse to believe the Second Movement: Bach on- ly has provided a "Phrygian" Cadence which leaves almost total freedom for improvisation. And Carlos improvises, using exotic effects common to the contemporary works and for- merly strangers to Bach. Still, the effects are in keeping with Bach's style at its most ostenta- tious. The modern listener will freak on this. I get the impres- sion it won't be as easily ac- cepted by traditionalists as the rest of the album. Perhaps albums like Switched- on-Bach will show the truly spectacular nature of both art and invention in the twentieth century. The possibilities ure practically unlimited as great technological advances .ire ar- tistically applied. "B'ach Turn- ed-On" certainly shows the re- sult of this application. r i I i "THE SWEET BEAST" Stratford companthe sacred name of ssr pie VALENTINE sets --presented by The Stratford National Theatre Hirsch who staged Shakespeare's of Canada will return to Ann Ar- Midsummer Night's Dream in Ann bor March 25 for a second season Arbor last Aril. remnA following its exclusive U.S. engage- "Hamlet will be presented in a, ment here last spring. style differing from Ellis Rabb's The Stratford Festival which is version presented here in Octo-zof Sul sponsored by the University Pro- ber." says Robert Schnitzer, exe-; fessional Theatre Program will cutive director of the PTP. He ^F y-y perform two new productions, Ben says the Stratford production will riday, ruary 14 Jonson's The Alchemist and give theatre goers "a unique op- r 9'. Shakespeare's Hamlet. The Jonson portunity to contrast the artistic from 9 P.M. tilllate comedy will open the two week approach to a great dramatic clas- at the engagement on March 25 and sic by two major directors."EH "Hamet"wil prmiee Mrch28- Tickets for the March produc- Jean Gascon, the executive ar- tions are on sale at the PTP ticket tistic director of the Stratford (corner Jefferson Festival, will stage The Alchemist offic in Lydia Mendelssohn150 F F d Fesivl, il stgeTheAlhemstTheatre weekdays from 10 a~m. to- $1 .50 Free Food in settings designed by James Hart T Stearns, principal designer for the 1 p.m. and from 2-5 p.m. Seats - o -o<--<--<->c Lincoln Center Repertory Theatre are also available through the in New York. Hudson and Grinnell ticket serv- DAILY CLASSIFIEDS: 11ETITIONING for CIA EMIA GUILT) IOAK1 Sign Up 2538 SAB Program Information 8-6416 TODAY: 2 features 2 Shows at 6:45 & 8:00 P.M. Sat. & Sun. at 1:00-4:00-6:45-8:00 '1 WOULD LIKE VEft MUCH TO RECOMMEND IT" "A VERY APPEALING MOVIE... AMAZINGLY WELL EXECUTED!" ...Veflcq4 v, . ay uVrTom "EXTREMELY FINE! A FLM Of SUBTLE ACTING QUALITY!" Arch~eWf n. " r a e,,R W M "EXQUISITE! DELIGNTFULI A VERY SPECIAL FILM!" ..woium, Mus Ct.wqeA~V~ +! CARLO pONTI PRESENTATKON. [DISTRBUTF By=U SIGMA Ui-A PiL~WAY COMpANY (R) RESTRICTED @ " PLUS0* Roman Poloanski's "REPULSION" Next: "A Mon In All Seasons" & "Taming of the Shrew" Rent your Roommate with a Classified Ad. * Hamlet will be directed by John ices, in metropolitan Detroit. BRING QUICK RESULTS TONIGH AND- A TON1GHT AND SATU .IRDAY - ' g t itg AN EVOLUTION IN.FILM! AD T NSTUDENT FILM FESTIVAL Place: Michigan League Ballroom Date & Times: Feb. 19 & 20 at C"LC " F7:00 & 9:30 P.M. Price: $1.50 students, $2.00 general SAWYSponsored by: Symposium '69 Advance tickets at the Michigan League Office, University Activities Center 1421 Hill St. 8:30 P.M. 11 of Sat.-1 P.M. WORKSHOP with Michael Cooney --25c-- Sat. Nite-Late "After Hours" MICHAEL COONEY "HE PROCEEDED TO DAZZLE THE AUDIENCE 'WITH AN ASTOUNDING PERFORMANCE." -Abany Times Union "HE IS A SINGING ENCYCLOPEDIA OF EVERYTHING THAT HAS TO DO WITH A SOLID, RESPECTFULKNOWL- EDGE OF THE PAST AND A CONCERN FOR THE PRESENT." --Sing Out! i. - 'f i tLI it TONIGHT MORNING GLORY Directed by LOWELL SHERMAN, 1936 KATHERINE ADOLPHE HEPBURN '?MENJOU The cindefella story of a young actress who becomes a Broadway star. Hepburn won her first Oscar for this role. Short: LAUREL AND HARDY Tomorrow: NINOTCHIKA (Greta Garbo) 662-8871 ARCHITECTURE 7:00 & 9:05 75c AUDITORIU it p MARK'S COFFEE HOUSE 605 E. WILLIAM 769-1593 JWILLARD, Classical guitarist Feb. 14, 15, Fri., Sat. 9:301 10:30, 11:15 p.m. $1.5 "DISHONORED" JOSEF VON STEINBERG, dir. s 0 9 Ii _ Subscribe To MARLENE DEITRI 'Feb. 13, 8 & 10 p.m. Feb.1-4,15,1a.m. with CH, VICTOR McLAGLEN 75c downstairs a [HE MICHIGAN DAILY Professional Theatre Program -'a "-I 11 NATIONAl. OBMERAL CORPORATI I FOX EASTERN Tt1ATRES FOX OVILLAGE 375 No.MAPLE RD. .769-1300 HELD OVER 2nd WEEK "DAZZLING! Once you see it, you'll never again picture 'Romeo & Juliet' quite the way you did before!" - LIFE t D4 49 in PETER SAFER,'S1 ERA 9! I 'I d