100%

Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue

Share

Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

January 10, 1978 - Image 7

Resource type:
Text
Publication:
Michigan Daily, 1978-01-10

Disclaimer: Computer generated plain text may have errors. Read more about this.

__ _

Grafm an
By CINDY RHODESS The evening
and DAVID VICTOR thoven's Pia
L AST SATURDAY night's per- featured Gary
formance by the Detroit Sym- most renown
pnony Orchestra marked a favorable After a fine o
beginning of the new year. The Graffman en
evening's concert featured Gary movement rat
Bertini, one of Israel's most well- customary for
known musicians, as guest conduct- and converted
or, and Gary Graffman as pianist in
Beethoven's Concerto No. 3 for Piano
and Orchestra in C minor, his eighth Detroit:
appearance with the DSO since 1953.J
The performance well matched the Partos............
reputations of both men, for although Beethoven ........
there were the inevitable flaws, the
highlights outshone them tremen- Debussy.......P
dously. Gary
Oedoen Partos' Netivim (Hebrew GaryGr
for "Paths") opens on a structure of
three notes, E G, and B-flat, which terfully delic
intentionally spell out the name of the movement.
Israeli city of Ein Geb where it was
first performed in 1970. Ranging in THERE ISa
mood from dischordal when forte to sary in eachn
eerie when piano, its late Israeli cian. The real
composer (d. 1977) said of the piece timing is perh
that "Above all, Netivim purports to minant of the
be a work of dramatic sadness, a second mov
symphonic elegy." Graffman by

th
high
g's next selection, Bee-
no Concerto No. 3,
,y Graffman, one of the
ed pianists in America.
orchestral introduction,
ntered into the first
ther more stiffly than is
r the initial piano burst
A abruptly into a mas-
Symphony Orchestra
anuary 7. 1978
Ford At udiiorjutn
................Netivim (Paths)
.... Concerto No. 3 for Piano and
Orchestra, C minorOpus 37
Prelude a L'apres-midi d'un faune
... . . . . .. . . . . .La m er
Bertini, Conductor
affman, guest pianist
ate handling of the
a certain tension neces-
note struck by a musi-
ization of this essential
haps the greatest deter-
virtuoso. In the Largo
vement, particularly,
a seemingly intuitive

The Michigan Daily-Tuesday, January 10, 1978-Page 7
lights concert
moved Mallarme to say, "This music sities. The harps at the movement's
prolongs the emotion of my poem and end once again drew attention to
fixes the scene more vividly than themselves for fine musicianship, as
color could have done." did the woodwinds throughout.
The initial bass line sets the scene
AT HOME with the impression- for the stern and somber power of the
istic tembres of Debussy, guest con- sea portrayed in the composition's
ductor Gary Bertini came to life both third and final movement. TheN >1
with the Prelude and the following trumpet line that followed was per-
piece, La Mer. Molding the sound haps somewhat weak in this respect,-,
with both hands, he led the orchestra but the high quality of the per-. "-
with brusque arm motions and formance was regained by the fright-" r
extraordinary stances on the podi- ening intensity of the full orchestral
um. Legs spread and planted firmly ragings that followed. The strings, ;
or pacing back and forth, he would shone in all of the, impressionistic, .
break into dramatic swaying. Bend- piece's varied moods, but most, ; "-
ing to the knees here or squeezing a notably in the contrasting calms and*$
cut off there, he repeatedly em- storms of the sea in this final' a
braced an almost visual sound with movement.
wide-spread, uplifted arms.
The DSO responded well to Bertini. THOUGH THE four pieces varied
The famous opening flute line of the in both style and period, they all
Prelude was slightly under expecta seemed to blend together into a har-
tions, as it seemed too forced or in- monious concord. The highlight of
hibited for the effect necessary to plu the evening was the performance by
plunge the listener into the subse- Graffman, but it was a fine piece in
quent harp and orchestral bursts. the midst of almost equally gopd per-
The orchestra itself handled the formances.
piece with verve, capturing the The DSO has begun the year on the
reality of the faun's experiences lost right foot. We hope they continue to
on awakening. provide concerts of last Saturday
The necessary dream quality of the night's quality.
faun's reverie was exquisitely cap-
tured in the outstanding harp parts, The remains of a giant Af
as it backed the flute lines while the forerunner of the pig, now extinct, rica
high strings especially were stirring that the animal had tusks more tshow
Sin the interw ovenorchestral swell- three feet long and was the sizeothane.T
ing thre interwovdens he iz of the'
ings. present-day rhinoceros.
EVEN MORE than in the Prelude a
L'apres-midi d'un faune, the DSO
captured Debussy's genius in La I
Mer. After a satisfactory opening,
the orchestra plunged into an excel-
lent second movement highlighted by
the colorful woodwind themes as it
began.
The seemingly haphazard musical
phrases each joined together to show O
the unification of the sea's vast diver-

Ramones gosurfing

By MIKE TAYLOR
THE FIRST PUNK bank to release
an album, the Ramones quickly
gained a reputation for short songs with
simple lyrics, frantic vocals, and a
blasting wall-of-guitar sound. The
band's first two records were distin-
guished by their penetrating lyrics, but

Rocket to Russia
Ramones
Sire SR 6042

marred by the harsh sameness of the
music, which made the albums hard to
listen to all the way through.
Now, with Rocket to Russia, all that
has changed. A mixture of lovely vocal
harmonies, light, floating guitar chor-
ds, and charming melodies, the record
is pop with a hard rock edge. The lyrics
have been toned down somewhat also;
instead of going over the same old
themes of sex, violence, and drugs, the
songs are mostly about having fun.
Even songs like "Cretin Hop," "Teen-
age . Lobotomy," and "I Wanna Be
Well," are far more tongue-in-cheek
than their predecessors on previous
LP's.
"Cretin Hop" sets the tone of this
joyful, imminently danceable album.
According to the Ramones, "cretins"
can enjoy dancing better than most
because they have nothing else to worry
about, a view similar to one Ray Davies
took in the Kinks' "Jack, the Idiot Dun-
ce." "Teenage Lobotomy" takes the
same crazy view of life. The poor lad
has lost his mind, but he doesn't seem to
care.
Guess I'll have to break the news
That I got no mind to lose
All the girls are in love with me
Im a teenage lobotomy.
THE BAND'S TREATMENT of "Do
You Wanna Dance" is much more
likely to get you moving than Bette Mid-
ler's version. "Locket Love" and
"Ramona," two tunes in the same cat-
chy tradition, have rather negative
lyrics. Love has apparentlynotgone too
well for our boys from New York..
Though the Ramones' sound like a
punk version of the Beach Boys
throughout, the strongest tributes to the
beach come with a delightful re-make
of the 60's "Surf in' Bird" and the band's
own "Sheena is a Punk Rocker" and
"Rockaway Beach."
"Surfin Bird" has nonsense lyrics,
but a bouncy beat. A short "Papa-Oom-
Mow-Mow," an old Beach Boys
favorite, is thrown in to add to the fun.
"Sheena is a Punk Rocker" and "Rock-
away Beach," two of the band's strong
est numbers, show that New York City
is a much nicer place to live in than
Southern California. The Rockaway
Beach life sure ain't bad:

Chewing out a rhythm on my bubble gum/
The sun is out and I want some
It's not hard, not far to reach/
We can hitch a ride/
To Rockaway Beach
Up on the roof, out on the street/
Down in the playground the hot concrete
Bus ride is too slow/
They blast out the disco on the radio
Rock Rock Rockaway Beach/
Rock Rock Rockaway Beach.
"I CAN'T GIVE You Anything"
sounds like a vintage mid-6's hit. "I
Don't Care" covers the same ground as
Talking Heads' "No Compassion" and
the Sex Pistols' "No Feelings," but
much more simply. Featuring surpris-
ingly heavy guitar riffs, it's an album
highlight.
"We're a Happy Family" deals with
another now common punk theme -
the banality of middle class life. As the
old saying goes, "still waters run
deep; " as the Ramones say:
We're a happy family/
We're a happy family
We're a happy family/
Me mom and daddy
Sitting here in Queens/
Eating refried beans
We're in all the magazines/
Gulpin' down thorazines
We ain't got no friends/
Our troubles never end
No Christmas cards to send/
Daddy likes men.
My favorite cut, however, is "Here
Today, Gone Tomorrow." This is a
beautiful ballad tunes like "I Wanna Be
Your Boyfriend" and "I Remember
You" promised on earlier albums. As
gorgeous instrumental break com-
pletes the' serene, 'melodic mood this
song puts one in.
A few special words must be said
about John Holstrom's bizarre and of-
ten hilarious illustrations. In Holstrom,
the Ramones have found the perfect
visual counterpart to their very funny
tales about America.'

IN THEIR FIRST performance of
the composition, the DSO attained
this goal admirably. A violin solo
following the initial three-note intro-
duction produced a chilling mood,
leading to a percussive interlude and
a series of woodwind statements
marked by crystalline clarity. One of
the most moving sections centered on
a bassoon solo backed by bass and
tuba, and accented by tympani and
temple blocks rendering a deep--
toned somberness.
The highlight of the performance,
however, came toward the composi-
tion's end with two intricate solos
that lent further evidence to the
consistent high quality in every
section of the DSO strings. The first
of these was an impassioned bass
solo played by Robert Gladstone, the
other an outstanding harp solo that
surpassed all others in an evening
featuring many significant harp
lines. Following this, 'a flute solo
spiced by the, celeste .brought Neti-
vim to a satisfying end, over a
disturbing murmur of the low
strings.
- - PROFESSIONAL THEATRE PROGRAM
WJACK
-ARANSON
IN AN INCREDIBLE PERFORMANCE OF
HERMAN ME LVILLE'S
MOBY0DICK
Aedelsswhn Theatre
J.;111,1 Sun.:2pm&8 pm
Ticketsavalabe atnUP Tickt Oic
Michigan League. Mon.-F-ri. 10-1, 2-
For Information Call: 764-0450)

understanding of this tension proved
himself worthy'of his national ac-
claim as a performer.
Concluding the Allegro in rondo
form with all the power inherent in
this concerto's last movement, Graff-
man received three encores and
standing recognition from the mem-
bers of the orchestra, for a perform-
ance that paled any recorded version
of the concerto by comparison.
The next selection of the evening
was Debussy's impressionistic mas-
terpiece, Prelude l'apres-midi d'un
faune, based on Stephane Mallar-
me's symboliste poem. The apex of
an age, the poem was also the subject
of artist Edouard Manet and chore-
ographer/dancer Vaslav Nijinsky,
but it was Debussy's Prelude that

the snn arbor film co-operative
TONIGHT! Tuesday, Jan. 10
NIGHT OF THE LIVING DEAD
(George Romero, 1968) 7 only-AUD. A
A group of people trapped in a farm house are surrounded by
radioactive ghouls who have come out of their graves, mur-
dering, mutilating, and eating human flesh raw. More fright-
ening then THE BIRDS, more shocking than HOUSE OF PSY-
CHOTIC WOMEN, more grotesque than FREAKS, more menac-
ing than INVASION OF THE BODY SNATCHERS, this movie is
as horrifying a nightmare vision as one could hope to see on
film. "Kill the brain and you kill the ghoul."
THE GREEN MAN
(Robert Day, 1957) 8:40 only-AUD. A
In this classic Britsh macabre farce, ALASTAIRE SIM plays an
-aesthetic assassin, dispatching an assortment of expendable
types-headmasters, corporate heads, dictators, etc. 'but
getting snarled up over an extremely distasteful, seemingly
indestructable cabinest minister. "THE GREEN MAN isn't
genteel; it has the virtues of English comedy combined with
the more energetic style of satirical American comedy of the
thirties. This move makes you laugh out loud."-Pauline Kael.
REEFER MADNESS
(Leo Gasnier, 1936) 10 only-AUD. A
Originally titled "Tell Your Children," this anti-marijuana
propoganda film seen today is a hilarious camp comedy.
The weed is described as "the new drug menace which is
destroying the Youth of America." With THE MYSTERY OF
THE LEAPING FISH (John Emerson, 1916), the classic "Cocaine
Comedy" with a parody of Sherlock Holmes. Scenario by Tod
Browning, supervised by D.W. Griffith.
Single admission $1.50 Double feature $2.50 Triple feature $3.00

If ff f,

All Ladies Admitted FREE
TONIGHT at
SECOND CHANCE
Appearing Thru Sunday:

IV

: "MUSIC AND MEAL DEAL"
* Dine at the restaurant after 4:00 P.M. and
j receive FREE admission to Nightclub that eve-
ning. SUN.-THURS.
1 516 E. Liberty 994-5350

'V
i
1
I

J
4\
S

n't -_ - - - - - ma
COMING JAN. 22-
Les McCann
Tickets on Sale

V

JillFi 7

Wednesday: STUDENT NIGHT

76-GUIDE is a number to remember
-When you need to know where to go.
-When University red tape trips you'up.
-When classes get you down.
-When you're lonely or confused.
-When your relationships aren't working out.
-When you just want someone to talk to.
-When you need a referral to campus or
community resources.
We're student counselors and students

Our elaborate new salad bar now includes nine ingredients
not found in most restaurant salads. Beets, for instance. And green
onions. Carrot sticks. Garbanzo beans. Cucumbers. Coleslaw. Mixed
green salad. And four savory dressings. It's all part of our exciting
new menu.
There are a lot of ordinary dinner salads out there. And then
there's ours. Since we didn't join 'em. We beat 'em.
CHOICE I m

4"
, r
a;
I I
It
"w
#.
+a

Back to Top

© 2022 Regents of the University of Michigan