Page Two THE MICHIGAN DAILY Tuesday, July $, 1969 Page Two THE MICHIGAN DAILY Tuesday, July 8, 1969 records art An adequate English By R. A. PERRY Contributing Editor Somehow you would not ex- pect that one of the great welders of music to words and a man whose fits of depression edged him to insanity, Hugo Wolf, would have admired the confectionary oratorios of Haydn. Yet Wolf wrote of Haydn's The Creation and The Seasons, "What a devout, child- like spirit speaks from Haydn's muse! What naturalness, sim- plicity, what perception and sensitivity! What an abundance of ingenious forms surround his graceful tone picture!" In these two works, Haydn's gift for melody and fascinating in- strumental t e x t u r e s indeed raises the music above the ran- dom idiocy of the libretto. The Seasons was written to a. poem by the English poet James Mfodern 'Jasmine' Quartet as usual' I, t By DOUGLAS GREER The present Modern Jazz Quartet has been together for 14 years. John Lewis' concept of his group as a melodic-percussion en- semble earned the MJQ a reputation as avant-garde jazz musicians in the mid-fifties, and theit latest release does not reveal any dramatic changes in style. The listener can dismiss any thoughts concerning the influence of current sounds on the MJQ for they have remained remarkable and perhaps regretfully true to Lewis' original concept of the group. However, for the MJQ devotee, there are some excellent performances by Milt Jackson, Heath, and Lewis. All four tunes on the album are original compositions by John Lewis. The title tune, "Under the Jasmin Tree", is an attractive tune composed of a limited-pitch range in the minor mode. An ostinato clapping rhythm punctuates the theme. The perform- ance is almost entirely an ensemble effort. The tune "Exposure" allows members of the group opportuni- ties for individual expression. Individual contributions are always contained within Lewis' understatement concept. The restraints create some exciting moments when Jackson streches the outer limits of the understatement concept. "Exposure" is a ballad with some atonal learning. The lyricism is punctuated by the ever-present rhythmic jabs of John Lewis. Lewis' solo again reveals his penchant for single line and repeated note ideas underscored slightly by a marvelous left hand. Dyna- mics are generally excellent with the exception of some cymbal crashes at the conclusion of the tune. "The Blue Necklace" opens with some excellent bass, piano, and drum ensemble sounds. Kay makes his greatest contribution in this tune; however, the rhythmic ostinato grows tiresome. "Three Little Feelings", is a three movement composition with the first movement in a quasi-up-tempo-blues style. The second movement is a delightful ballad, especially as it is interpreted by Jackson and Heath demonstrates his extraordinary sensitivity in accompanying ballads. Ensemble balance and precision is excellent. Movement three opens with a characteristic sliding bass treat- ment which is not helped by Kay's tom-tom contritions. John Lewis adds some interesting quasi-Monk licks. This movement is the happiest sound on the album and Heath's solo adds con- siderably to the exuberance of the sound. The MJQ enthusiast will find much of interest for him in this album. However, those looking for any influences of con- temporary sounds will be disappointed. The Michigan Daily, edited and man- aged by students of the University of Michigan. News phone: 764-0552. Secondr Class postage paid at Ann Arbor, Michi- gan,' 420 Maynard St., Ann Arbor. Michigan 48104. Published daily Tues- DIAL 5-6290 day through Sunday morning Univer- sity year. Subscription rates: $9 by carrier, $10 by mal. uOFed T eda n Summer Session published Tuesday! MO .. A UIIN F through Saturday morning. Subscrip- tion rates:, $2.50 by carrier, $3.00 by rnail. Thomson, the tone of the libret- to being mid-way between James Lowell and Edgar Guest. Three characters - farmer Lu- cas, farmer Simon, and farmer's daughter Jane (no dog Jip)- comment in recitatives, solo arias, duets, and trios on the weather, on Nature's bounty, on the Virtue of Hard Work, and, of course, on God's overseeing graciousness. This all no doubt conjures up visions of Norman Rockwell paintings, and in fact the man who foisted the libretto on Haydn, one Baron von Swieten, seems to have been an eighteenth - century E v e r e t t Dirksen. Nevertheless, Haydn's music is as Wolf describedn serenely idyllic, unceremoniously joyful, and, at times, convincingly dra- matic. Instead of Rockwell's pic- tures, we get musical Consta- ble; instead of Dirksen's hypo- critical rhetoric, we hear Words- worth. One of the marvels of Haydn's nature poetry is that it never inflates itself to the pan- theistic; rather the specific touches of "nature sounds" that Haydn focuses upon, in his Op. 33, No. 3 and Op. 50, No. 6 Quartets fill The Seasons as well. Not only the flowing lyric- ism but also the details of Haydn's instrumentation hold our attention. In addition, Haydn meets those major dramatic events- the passage of winter into spring or the rage of summer storms-with' a full-bodied Ro- manticism that not only antici- pates but equals Beethoven's Pastorale Symphony. There have previously been decent recorded performances of The Seasons but Philips has recently released the only Eng- lish version now available (PHS 3-911). Maestro Colin Davis brings his admirabletpenchant for textural clarity to a scdre that warrants it, and Heather Harper, Ryland +Davies, and leasons' John Shirly-Quirk all sing mel- lifluously and with conviction. At times, Davis is a bit too busi- ness-like and one wants some of the warmth (though it too often smothered details) of the long deleted Beecham set. The re- corded sound is good, but hardly exceptional. The singers diction is fine enough that the full li- bretto boxed in the set becomes only occasionally needed for the choral passages. Speaking of Haydn, a few local record stores are selling- out the old Schneider Quartet recordings on the now defunct, but then esteemed, Haydn So- ciety label. Although all the re- cordings are in mono, you will not find better performances. The Schneider Quartet was comprised of Alexander Sch- neider from the Budapest, Isi- dore Cohen of the Juilliard, Karen Tuttle of the Galimir, and Herman Busch of the Busch --in other words, members of the great quartets of our time. They play with incredible preci- sion, blended tonality, and musi- cal sensibility. If you are a fan of George Szell and the Cleveland Orches- tra's way with Mozart, then you will be pleased to know that Columbia has just released a spendid "Posthorn" ' Serenade with these forces (MS 7273). Eine Kleine Nachtmusik serves as a lengthy filler. Often I have felt that Szell's complete con- trol and demand for cleanliness yielded more antiseptic perform- ances than music which breath- ed. Yet these present perform- ances not only reveal every grass note clearly but also are invigorating and alive. I'll wager you never heard the Romance of K. 525 revealed in such a way, o Rackliam to offer all-state exhibitioni "All the things You could be by now if Sigmund Freud's wife were your mother." REYNOLD, LOWE Painting and Sculpture JULY 7-26 '! More than 40 Michigan cities and towns will be represented in the 17th annual Michigan Re-. gional Art Exhibition, which will go on display July 17 at the University. The invitational exhibition in Rackham Galleries will include more than 60 works by out- standing state painters, many of them award winners in local and regional shows. The artists and communities represented are: Allen Park: Karl Staber; Ann Arbor: Wil- liam L. Brudon, Karin B o d y- combe, Peter Dreyfuss, Elain Kolasa; Bay City: Rita Greve Donald Laser; Battle Creek: Craig Bishop; Beulah: Thomas Kneff; Bloomfield Hills: Eloise Greene, Marilyn Spencer, Fern Teit: Detroit: Marian Aston, Frank Howell, Richard Kubin- ski, Charles W. McGee, Harold Neal, James Strickland, Walter Dabrowski, Pat Kilbourn, Sid Seeley; East Lansing: Margot- Evans; Farmington: Gail Shu- dark, Jean Burger; Grand Rap- ids: Edgar Boeve; Grand Hav- en: Robert Michmerhuizen; Grosse Ile: Jean Teague Has- call; Grosse Pointe Farms: Charlotte Evans; GrossePointe Shores: Lee McKinley; I d a Jean Wetzler; Kalamazoo: Allen Lant; Lansing: Carl Matsuda, Marilyn Raymond; Linden: Frederic Myers; Metamora: Daniel Cote; Mt. Clemens: Gloria Goeddeke, Ron Faher: Mt.' Pleasant: L. D. Butcher; Niles: June Cary; North Muske- gon: Ginger Rude; Okemos: Angelo Ippolito; Onstead: Tom Thiery; Orchard Lake: Irene Foukes; Pontiac: Mary Fink, Vista Scott, Marion MacKay; Port Huron: Evelyn Sullivan; Richmond: August Gloss; Romeo: Velma Sadja; Roseville: Dolores Wise:; Royal Oeak : Lor- raine McCarty; Saginaw: Kathy Mitchel ; St. Clair Shores: Helen Cartmell, Joseph Maniscalco; Southfield: Alexandra Beaure- gard-Bezou; South Haven: John. Keary, Fran Laresen; Trenton: Yoko Moro Keneko; T r o y: Richard Royal; Union Lake: Leon Haskin; Warren: Lewis King; Wayne: Jane Dart; Wyandotte: Eileen Anderson. GALLERY HOURS: Tues-Thurs. 10-6 Fri. 10-9 Closed.Sun. and Mon. A' Sat. 10-4 i editions gallery editions inc. 213-215 E. WASHINGTON 761 -6245 'K- r- ,. m... __ ____ a _ _ . . I " ~ Ask -AT i t i { M j E ANN ARBOR ,COLLEGE OF JEWISH STUDIES (Bet Midrash) Sponsored by The Detroit College of Jewish Studies (midrasha) SUMMER COURSES - HEBREW-Beginning, Intermediate, and Conversational Mr. Shmuel Raz, Tuesday and Thursday 7 p.m. (tentative) -For further information call 971-1865- YIDDISH--Intermediate. Dr. Charles Krahmalkov Tuesday Evening - For further information call 665-4844 CONTEMPORARY JEWISH LIFE-Prospects and Problems Mr. Robert Rockaway (761-7768 Tuesday, 8:30-10 p.m. REGISTRATION-Tuesday and Wednesday, July 1 and 2 and 8 and 9 8 -9p.m. at Hillel - 1429 Hill Street FIRST CLASSES- Hebrew, 'Thursday, July 3. Others Tuesday, July 8 'V !r ATTENTIOII i -I "A New York version of The Graduate'! Irre- sistable!" Judith Crist, New York Magazine "'GOODBYEO C LUMBUS' S SUCCESS!" 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