PAGE TWO THE MICHIGAN DAILY WEDNESDAY, -MARCII 1, 1997 PAGE TWO TUE MICHIGAN DAILY WEDNESDAY, MARCH 1, 1967 Segovia: Unique Chordal, Melodic Blend I ~J!7T~T~~ DIAL 5-6290 I By L. A. HIRSCHFELD Slowly and almost regrettfully,E Segovia crossed the stage at Rack- ham last night to begin his con- cert. As he attempted to seat£ himself he discovered that the con- tour seat on which he was to sit did not match his own contour. After several minutes of comic intercourserwith a stagehandand some adjustment to the stool, the concert began. As expected, hisstechnique and tone were flawless. He seldom changed sharply the dynamic lev- el, which, when combined with an almost perfect balance between chordal and melodic passages, seemed to leave the audience sus- pended and subdued while ex- pressing himself quietly and with impeccable taste in his interpre- tation. Unfortunately he needed all his talents to make his rather poor- ly chosen program passable. He began with a "Fantasia and Pa- vana" by Don Louis Milan which was originally written for the flute. The chordal fantasia seemed emp- ty and detached without the 13 double courses of the lute; while the pavana seemed directionless and lacked the suspended har- monies which the lute provides. The Sor "Suite" appeared more cohesive but still seemed as if he was reading the music rather than thinking about it. The Paganini work which followed presented a technically impressive but musical- ly empty first section. As if to apologize for his be- ginning, Segovia presented three Baroque pieces which were as beautifully played as could be de- sired. The suite by Alessandro Scarlatti, through which Segovia moved freely, continued enough to supply meaning and seemed to fulfill, rather than to tax, his talent.. He completed his father and son pr mentation with a sonata by Domenico Scarlatti which can only be described as excellent. Finish- ing the. first half, he played a Bach bouree. Again, in this work, he kept a still and trance-like calm over the music and audi- ence by, unlike Julian Bream, not changing his attack constantly. Unfortunately, after intermis- sion he continued alongthe same lines as the beginning of the con- cert. The second half consisted of three pieces of Spanish composers of the late nineteenth and early twentieth centuries who displayed that singular knack of writing which distinguished some of the worst neo-Romantic works that suit a Jose Greco more aptly than Andres Segovia. [ -iP The first consisted of two pieces fully played example of how not by Mario Castelnuovo-Tedesco, to compose. and was a unique cross between With this beginning Segovia had Spanish folk-rock and early Stra- little choice but to end with an vinsky. Again it required the full Albeniz work of similar merit. extent of Segovia's ability to pro- Complete with folksy type Spanish duce a palatable work. melodies swimming blindly in the Following this, Segovia played middle voice over dissonant pedal another work which must be a point in bass and soprano. first in music. Cassodo's prelude Segovia added insult to injury and sardana was a hybrid made by adding some rather strong and up of a Spanish neo-Romantic } tear-inducing vibrato which would melody and harmonic progression have fit well in an ultra Romantic superimposed over a French im- violin concerto. Almost as if plan- pressionistic structure a la De- ned. Segovia said during his en- bussy. The result was a beauti- core that he had mistakenly play- ed the wrong Albeniz indicating that even he could not distinguish between them. It is very sad that the world's greatest guitarist nearly spoiled aI concert by playing the program which he did; either his popular demand or his Spanish heritage must compel this. Order Your Subscription Today 76 4-0558 I DIAL 5-6290 Ending Thursday NOMINATED FOR 4 ACADEMY AWARDS INCLUDING BESTLD PICTURE Sunday Matinee Added! "AN EVENING TO' CHERISH! Mounting joy beyond anything you might expect. Radiant!" W. TELEGRAM "THE TOUCH O REATNESS A warm portrayal of Robert Frost,an evening when the poet spins out his own story,the sweet and the following bitter,the tragedy and triumph, in words creating laughter, but even more often tears." N. Y. TIMES "MAGNIFICENT! MEMORABLE MAGIC." CUE "FROST'S TRUE VOICE SPEAKS IN ALL ITS LYRIC CLARITY." HERALD TRIBUNE 4 41 I I A PARAMOUNT PICTURE-TECHNICOLOR -FRIDAY- "MONKEYS GO HOME" ANDRES SEGOVIA, 74-year-old Spanish guitarist, demonstrat- ed youthful ease before a spell-bound audience at Rackham Au- ditorium last night. Segovia's program mixed classical guitar and folk music to display his technical sensitivity. Monkey Business on Wheels? WALT DISNEY TECHNICOLOR* ' The University of Michigan PROFESSIONAL THEATRE PROGRAM Production of An-j Ev nings FrOst By DONALD HALL Directed by MARCELLA CISNEY Starring WILL GEER featuring Anne Gee Byrd - Thomas Coley - Jack Davidson / t .. 1 lp \ LAST 3 DAYS! ENDS FRIDAY Danger fits him like a tight black glove! 1:00-3:00-5:00 7:05-9:10 101 TWO PERFORMANCES ONLY! Sunday, MARCH 12th 2:30 & 8:30 P.M.-Mendelssohn Theatre Reeaed yBUENA VISTA Oislibuto Co .. Coming Friday C Tickets at PTP Office or By Mail efl~erta nmufa IiGLNI UEA O R Coming Next: "FUNERAL IN BERLIN" DIAL 8-6416 Today at 7 and 9 p.m. r OF 1966!" Notional Society of Film Critics A CarluoPorNt oducton Ainonioni's SVanessa Redgrave COLOR ec-Mmended for matre audiences A Premier Productions Co., Inc. Release Uit was going to be a lovely funeral. Hary" "s Palmer just hoped it wouldn't he his... 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