Tuesday, September 24, 1974

THE MICHIGAN DAILY

Page Five

LSO initiates
concert season'
fwith a flourish

By TONY CECERE
London Symphony Orchestra, Andre
Previn, conductor. Saturday, Sep-
tember 21, 1974, 8:30 p.m. In Hill
And. Program:
Scapino Overture..........Walton
Appalachian Spring Suite Copland
Symphony no. 7.........Beethoven
. If the entire University Musi-
cal Society's Choral Union series
is as outstanding as last Satur-
day night's London Symphony
Orchestra appearance at Hill
Auditorium, Ann Arborites may,
face a series of completely sold-
out concerts this year.
Under the refined and tightly
controlled baton of Maestro
Andre Previn, the London Sym-
phony Orchestra'(LSO) gave
superb readings of William Wal-.
ton's Scapino Overture, Aaron
Copland's music for the ballet
Appalachian Spring -and the
Seventh Symphony of Ludwig
van Beethoven.
Opening with the Walton, the
orchestra did 'sound a bit tired.
This tendency, evidenced by
minor imperfections in the
string sections disappeared soon
after the piece started. Sections
of the overture featured some
unusual virtuosic playing, ind-
cluding melodic tympani parts
and brassy stopped notes in the
horns. Scapino was a good open-
er but not an outstanding piece
of music.
However, Appaachian Spring
shone with simplistic beauty.
It is doubtful that this work has
had many performances to
match tbis superb and graceful
version. Previn was always in
control, and the smallest ges-
tures on his part were responded
to immediately by different sec-
tions of the ensemble. The first
chair players really outdid them-
selves here-the solos in the
woodwind section were outstand-
ing. The trumpets executed
fiendishly high entrances with
apparent ease.
Perhaps the single most as-
tonishing feature of this per-'
formance was the clarity with
which each section played. Pre-
vin balanced the woodwind choir
against the strings with excel-
lent results. Phrases rose and
fell with perfect shape, project-
ing solos against muted accom-
paniment. This pointed out the
folksong influences inherent in

the dscore-something npt easy
to do with a hundred piece sym-
phony orchestra.
Beethoven's Seventh Sym-
phony closed the concert in a :
rousing way. Previn's tempos
were always relaxed but never
excessively slow.
The first movement featured
some interesting balances: the
horns were restrained in their
solos, while the woodwinds came
to the fore in the introduction.
All of the phrase endings were
stretched out, with one interest-
ing result-the music seemed to
flow very well, with different
musical ideas linked together in
an unbroken chain.
All through the piece Previn
brought shadings of orchestral
color to the top of the score.
He had help from the. superb
LSO violin section. Their com-
plete dynamic range, from in-
audible pianissimo to hairrais-
ing fortissimo, outlined the im-
portant contours of this sym-
phony. ..
Particular mention must be
made of the third movement-
it almost bubbled over with
rustic tranquility. This was al- . Daily Photo by KEN FINK
most a dancelike performance, Andre Previn
an ebullient reading.r
Conrass mrk grs usica

Andre Pre
A con versa
By TONY CECERE take seven complete programs
After this weekend's London on tour, including a violin con-I
Symphony .Orchestra concert. certo, a Prokofiev Fifth (sym-
Maestro Previn attended a re- phony) and a Vaughan - Wil-
ception at the home of Sara iams Second and some Walton.
Power. Between the deviled egg That's an awful lot of music.
and meatball hor d'oeuvres, Daily: Do you feel that work-
Previn answered some reveal- ing in London is more condu-
ing questions about himself and cive to making music than
his work with the London Sym- working in New York or Los
phony (LSO). Angeles?
Daily: It has been speculated Previn: Well I never worked
that your orchestra records in New York so I can't com-d
more than any other symphony p e Los AnelsAs com-
in the world. Is this true? pare. But Las Angeles? As cam-
Previn: Well, we put out, on pared to London? There is no
the average, one disc per month comparison between London and
for EMI (Angel Records in the L.A. London is, right now, the
U.S.), which it an awful lot most musically alive city in the
U..) whclasicaimaniawfuloworld. What can I say - L.A.
for a clasicatr music group. does have a fine climate! The
Itprobby tre difference between London and
Daily: What recordings do L.Afisrlike thewdifferencebe-
you L.A. is like the difference be..
the set e wears, anhomontween Tiffany's and what you
th nex :fTw years, and yhow do an oon Chitmsee! r
you decide what music to re- 'hn nyu hita re
cord? Daily: How do you resolve
Previn: The symphony has a artistic. questions between your-
Board of Directors made up of self and the players if there is
seven of the players, and we a disagreement over a certain
sit down and discuss what we, passage in the music?
are going to program and re- I¢revin: I let my players have!
cord. free reign.. You see I learned
Right now we are planning re- one thing from my teacher Pi-
cordings and concerts for the erre Monteux many years ago
1977 season. In a way it's fun-- never conduct a soloist. For
ny-people ask me 'What over- example, all the solo passages
ture do you want to play on in Rimsky-Korsakoff's Sche-
October 13, 1977? Really, how herezade. Nine times out of 10
the hell should I know?
Then I go to EMI and say 'I my first chair players are right.
want to record all the Proko- And if they have a bad idea


'tin
ition

they realize it very quickly-
usually after the first time."
After all, they are so good!
Daily: Are you composing
these days? Rumors among
horn players in the U. S. re-
portedhthat you were at work
on a horn concerto for Barry
Tuckwell . .
Previn: That became a
woodwind quintet, written for
Barry Tuckwell. Also I have
finished a brass quintet for
Philip Jones and his ensemble.
Daily: In looking at the or-
chestra on stage, I noticed that
there are no women in the
group. Why is that?
Previn: Oh my. I knew some-
one was going to ask about
that! Well, you see, we have
a manager, Mrs. June Hall, who
is obviously a woman, and she
could tell you more about it!
Hall: Since the LSO travels
so much most women' musicians
prefer to play with; other groups
in London, groups like the B.
B. C. orchestra. With the tours
and therrecordings the orches-
tra does have a very, very de-
manding schedule. Usually wo-
men prefer not to travel. If,
however, a woman auditions for
the symphony she is, of course,
given equal consideration. Also
you must remember that be-
hind every great man there is
a great woman!

i

By ROY CHERNUS
Ars Musica, Lyndon Lawless, direc-
tor. Sunday, September 22, 1974, 8
p.m. in East Quad Aud. Program:
Divertimento....... .....F. J. Haydn
Flute Quartet... ....... M. Haydn
Sonata no. 1 for viola da gamba
Abel
String Quartet K. 157 W. A. Mozart
Toy Symphony .......... L. Mozart
Concerto for piano and harpsichord
C.P.E. Bach
Traditionally, the musical
world was basically divided into
two camps: performers and
musicologists. Each was a bone
of contention in the other's
throat.
But advances in scholarship
and performance within the last
three decades have changed the
situation radically and have pro-
duced a hybrid of the two: the
performer-musicologist or musi-
cologist-performer. Thus we see

the rise of figures such as Ralph
Kirkpatrick, Denis Stevens, and
the late Noah Greenberg who
span both worlds.
Early music groups in this
double viewpoint vein are now
numerous. Ars Musica is one
such group, formed in Ann Ar-
bor for Baroque music per-
formance, and now sports a
collection of authentic early in-
struments in concert.
The ensemble stepped for the
first time into the 18th century
classical era Sunday night at
the Residential College. Ars
Musica has always made a spe-
cialty of reviving little-known
early music, and their program
of Joseph and Michael Haydn,
Wolfgang and Leopold Mozart,
Karl Abel, and C.P.E. Bach
made evident the coming to-
gether of styles and influences

ments were often exploited. employ to a greater exte
C.P.E. Bach's Concerto for concert, violinists Nelva
Piano and Harpsichord (per- Brake and Robin Wic
formed at Ars Musica by solo- enunciated the two the
ists Charles Fisher and Penny lines with an intimacy bo
Crawford) and Leopold Mozart's tween themselves and th
Toy Symphony were exQellent struments.
examples of this device. Both Karl Abel's Sonata No.
celebrate tonal contrasts-the Viola da Gamba and H
Bach rebounding surges of notes chord and Michael Haydn'
and aggr'essive motifs between Gallant Flute Quartet con
the brilliant, mordant has two solo tours de force
chord sound and the shaded Eunid Sutherland and
clarity of the 18th century piano Ellison respectively.
copy.

nt. In
a Te-
deman
ematic
th be-
eir in-
1 for
[arpsi-
s very
tained
from
Greer

fiev symphonies' and they say,
j Fine. For which you will please
give us a Swan Lake.' It's very
fair. In the future we are plan-
ning to record all the Prokofiev
symphonies as well as all the
Shostakovich symphonies. Also
some Haydn.
Daily: Does the LSO do many
children's concerts?
Previn: No. We do perform a
lot of concerts on television,
however, which partially makes
up for a lack of children's pro-
grams., Also, we play a lot of
concerts in the provinces (U.
K.). Please remember that we
do tour a lot and, usually, we

Tehic kel Beer.
with lunch at
Monday-Friday
11:00 a.m.-3:00 p.m.

. i

An extra fillip in the Bach is
the bracing, rustic sound of:
valveless horns and one-keyed
wooden flutes. One could easily
believe P.D.Q. Bach to be the
composer of the Toy Symphony,
with its droll collection of toy
instruments, rather than Leo-
pold Mozart.

The Abel sonata was a curi-
ously two-faced work looking
backward to the heyday of the
viola da gamba and continuo
accompaniment techniques as
well as forward in its duo sonata
format, rhythmic interplay, and
expressive contrasts.
The program will be repeated
on Sunday, September 29, in St.
Clare's Episcopal Church.

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Cliff A68
0dies of heart attack

i
,
I

i
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I

that nurtured those most well-: . Mozart mastered the di-
known classical standard-bear- verse 18th century styles very
ers, Haydn and Mozart. early in life, as his String
Early in the century the lead- Quartet in C. K. 157 (written
ing styles were French and when he was 17), already shows.
Italian. French was poised, Although the writing is general-
witty, and urbane while Italian ly Italianate with the lion's
was more robust and passionate. share of the vocalistic melodies
By 1750, these united into the in the violins, the other instru-
very smart and elegant 'galant'
style, whose authorities included ments occasionally e m e r g e
C.P.E. Bach and L e o p o I d from their animated counter-
Mozart. points, making for varied tex-
Odd combinations of instru- tures that Mozart would later
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Cliff
LOS ANGELES (P) - Come-
dian Cliff Arquette, 68, the
"Charlie Weaver" character on
television, died yesterday of a
heart attack.
Arquette died at 12:25 p.m. at
St. Joseph's Medical Center,
where he had been admitted
late Saturday night, complain-
ing of heart trouble an NBC
spokesman said. He had suffer-
ed an apparent heart attack in
his car two years ago.
Arquette lived in' the shadow
of the television character he
created - "Charlie Weaver,"
whom he called a "rube" and a
"dirty old man."
He introduced the rural char-
acter while on the Dennis Day
show in 1953 and later took it
onto the Jack Parr and "Holly-
wood Squares television shows.
"Charlie Weaver," telling
highly exaggerated homespun
yarns and reading "letters from
Mama," became better known
than Arquette.
Born Dec. 28, 1905, in Toledo,
Ohio, Arquette quit school at
14 to get; into show business.
For the next three years he
played in a band at Cleveland's
Euclic Beach, then went into
vaudeville.

Charlie

Arquette did his first radio
network ,show with Fred As-
taire and Charlie Butterworth
and later worked with Burns
and Allen and Rudy Vallee.
His first television appear-
ance was on NBC's Dave and
Charlie show an ad lib comedy
show.
He was on the Monday-
through-Friday daytime game'
show Hollywood Squares from
its inception in 1966.
Aside from the entertainment
field, Arquette's main interest
was military history.
In 1959, he opened a museum
in a 125-year-old house on the
Civil War battlefield at Gettys-
burg, Pa. It featured 12-inch
models of soldiers depicting the
history of military uniforms.
Arquette, who had spent 26
years researching the subject
carved each of the models and
made the uniforms.
A son, Lewis, survives.

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