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April 04, 1978 - Image 6

Resource type:
Michigan Daily, 1978-04-04

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Page 6-Tuesday, April 4, 1978-The Michigan Daiily
By MARK JOHANSSON Bach, Beethoven,
displaying a rang
fURING PHILIPPE Entremont's emotions which c
jfourth visit to Ann Arbor, he once capacity crowd. O
again proved his ability as a polished was pleasing and
concert artist. With a Grammy
nomination, the Netherland's Edison
Award, and four French Grand Prix du Philippe
Disque honors to his credit, Entremont Apr
has earned a reputation for definitive Partita No. 1 in B-flat ma
recordings. Over the years he has also Sonata No. 15 in D major
impressed audiences around the world Op.28 ("Pastorale"
Nocturne No. 8 in D-Plat n
both in recital and with famous or- Op. 27, No.2. -
chestras. In March 1975, he gave Lin- Scherzo No.2 in B-flat m
coln Center's "Great Performers" Sonatine ...............
100th Birthday Salute to Maurice Gaspard de la Nuit ......
For last Saturday's University stage, Entremont
Musical Society concert, Entremont aura of confidenc
chose a program of masterworks by At times his perfor

gaffs mar

Entremont 'sfervor

Chopin, and Ravel,
;e of techniques and
captivated the near-
Overall, the program
flowed smoothly. On
ril, 1978
ijor .,.........Bach
) ................Beethoven
... . . .. . . . . .Chopin
inor, Op. 31........Chopin
............... R avel
............. ....Ravel
gave off a dramatic
e anj showmanship.
rmance, espy.: pvyat
- p-'--U y a--

Stanley Kubrick's 194
Kubrick's tragic-comic ode to the era
of the bomb. An improbable night-
more comes alive with the Presi-
dent and the Premier of the USSR
cooperating in a bizarre effort to
save the world from a doomsday
machine. Outstanding performances
by PETER SELLERS playing three char-
acters, GEORGE C. SCOTT, and"
Cinema Guild
7:00 & 9:05

the beginning, was not quite up to par
with his stage presence, but during the
most important moments, Entremont
managed to convince many skeptics.
The first piece on the program was
Partita No. 1 in B-flat major by Johann
Sebastian Bach. This baroque suite of
seven dances, originally written for
clavichord or harpsichord, was played
fairly strictly, yet the execution was by
no means mechanical. His tempo was
sure and steady, but with careful use of
dynamics, he gave the dances quite a
bit of expression. His tone was even, but
the sound was rather strange as the
piano was tuned for the benefit of En-
tremont's next numbers.
IN THE PRELUDE, Entremont was
evidently warming up, dropping and
playing wrong notes in some of the or-
namentation. This continued during the

Allemande and Courante, because in
the first, although the balance was
good, his hands were not together. In
the Courante the two note figures in the
left hand were obscured and indistinct.
After a ponderous, measured Saraban-
de, Entremont seemed to find his
groove in the two Minuets. These were
played very precisely with a clear tex-
ture and distinct voices.
Sonata in D major, Op. 28
("Pastorale") by Ludwig von
Beethoven,asrwell as the next four
pieces, gave reasons for tuning his
piano with such brilliant upper octaves
and so much resonance in the bass.
Using these characteristics to his ad-
vantage, Entremont played the Sonata
in a convincing romantic style with only
a few problems.
The Allegro was played aggressively,
yet with feeling. The melodies were
clear and beautiful, although a few
more mistakes were made in the or-
namentation. Entremont had more
trouble with his left hand, which, at
times, was slightly behind the right
hand. He appeared to sense his trouble,
but further sinned by using too much
pedal. In Entremont's unique treat-
ment of the Andante, he used a strong
but thin tone and all right hand notes
were light and precise. In the middle
section, the chords were attacked
correctly while throughout the dynamic
contrasts were used effectively.
DURING THE Scherzo, charac-
terized by big dynamic contrasts, En-
tremont's wonderfully smooth legato
made up for what was lacking in his
The uniquc
A UNIFORM SEA of artists crash
methodically on the shores of
society. With each wave they gently
draw any free-floating creator into
their growing whirlpool of momentum.
Occasionally, an artist will resist being
washed-up, and cling to one artistic
focal point with tremendous integrity.
Will Barnet is such an artist. His
recent prints, currently on exhibit at
the Alice Simsar Gallery, 301 N. Main
Street, reveal the human form in a
unique, "clear-edge" style. But the
element shining through this special
style is the way each work overflows
with personal warmth, serenity and
Barnet, who is well known as a pain-
ter, printmaker and teacher, was born
in 1911 in Beverly, Massachusetts. Art
is nothing new for him. At the age of
eight he decided he would be an artist,
and has been creating works ever since.
HE STUDIED with Philip Hale at the
Boston Museum of Fine Arts School,
and at the Art Students League in New

staccato technique. However, he still
had problems with his left hand (it
seemingly could not keep up with the
right), and encountered further trouble
by repeatedly letting the depressed
pedal fly up with a thud. The melody of
the Rondo was lost at times (too much
pedal again), as were a few notes, but
the exciting, charging octaves were
great, and the broken chords were
flowing and grand. At the end, En-
tremont finally gave his first good
pedal release.
Next on the program was the roman-
tic Nocturne No. 8 in D-flat major, Op.
27, No. 2 by Frederic Chopin, to which
Entremont gave a deeply emotional in-
terpretation. The melody was moving,
strong, and at times bright, with nearly
perfect ornamentation, with a steady

and sure accompaniment. All notes
were played and heard clearly as ap-
propriate dynamics secured the inter-
The final piece before intermission
was Chopin's Scherzo No. 2 in B-flat
minor, Op. 31. Entremont's right hand
was rippling and fluid, while the rugged
left hand chords crashed thunderously,
despite some dropped notes. The
melody was tense and expressive, and
even when it changed to right hand oc-
taves, the difficult embellishments
were played smoothly. The Scherzo
gave the first half an arrestihg con-
clusion and left Entremont in command
of his audience.
FOR THE second half of his
program, Entremont chose two works
by Maurice Ravel. The first, Sonatine,
is regarded as a major contribution to
20th century music for its fusion of Im-
pressionistic style and Classical form,
precise writing, and graceful structure.
Here Entremont used techniques
similar to those he used for the Bach,
but with much more success.
In the first movement, a simple
melancholy melody is repeated in
various keys against both solid and
broken chords. Entremont's style was
straightforward with a firm, steady
tone. He played the second movement
with a wide range of dynamics and ef-
fective rolled chords, attacking the
ringing final chords with precision and

solidity. The simple three note-melody
of the last movement was repeated over
and over - beginning on different scale
tones and augmented by quickly
repeated broken chords, sounding like a
The final piece was Ravel's Gaspard
de la Nuit suite. In the first movement,
Ondine (water), broken chords ripple,
suggesting flowing water. At times the
dynamics were lacking and the chords
sounded somewhat uneven, but En-
tremont's expression was beautiful,
especially where the broken chords met
against powerful left hand blocked
chords, suggesting a waterfall, and
glissandos and scales rose upwards like
a fountain.
In Le Gibet (the gallows), constantly
shifting chords and melodies are played
over a repeated two-note phrase and a
one-note pedal point. Thechords were
full, even, and resonant. The tone was
almost perfect - bell-like and very
eerie, seeming to hang in the air. The
final movement, Scarbo, a scherzo
describing the grotesque elfin creature,
is a series of various repeated figures,
and has a driving and energetic sound.
Despite the fast pace and difficult
rhythms, Entremont played assuredly
and all notes seemed in place. The per-
formance was extremely smooth
throughout its demanding chord
progressions and intervals. /

, tranquil artistry of Will Barnet


Director-LINDSAY ANDERSON (1973)
Malcolm MacDowell stars in this picturesque tale of an ambitious young
coffee salesman whose life turns into a movie before your very eyes.
Reminiscent in many ways of Kubrick's A CLOCKWORK ORANGE, but lots
more irreverant and fun. Excellent music by Alan Price and his band who
manage to become active characters in the story. An outrageous film and
a cult classic. "If you've got a reason to live and not die you are a lucky
7 & 945 PM MLB 3 $1.50

York. In 1936 he became the youngest
graphics instructor at the Art Students
League, where he is still a faculty
member. He had taught at various
universities throughout the East and
Midwest, and his work is represented in
the permanent collections of many
museums, including the Guggenheim
Museum, Metropolitan Museum of Art,
and Whitney Museum of Fine Art.
Barnet always draws upon the life
around him for subjects. The human
figure in particular has been a primary
source of image content. These figures
are depicted in a casual manner, im-
mersed in an aura of timeless
tranquility. His family serves as an in-
spiration for his works, especially his
wife and 23-year-old daughter. Barnet
explained that he prefers using women
as subjects because of their clothes
which are "loose, blousy and lend
themselves to different shapes."
Frequently he places his female
figures against the beautiful northern
light of the New England seashore
where he grew up, and for which he still



has a great, deep-rooted affection.
"When I was growing up my home was
full of tension. The New England sea
became an escape for me. I love it.
That's why my sea prints have a subtle
gray quality. In the north, even on the
brightest day there's a light grayish
hue. I consider myself a northern pain-
ter rather than a Mediterranean pain-
ter, said Barnet.
HIS "WAITING," a large print.
commissioned for the Bicentennial,
conveys the power and anxiety of
women waiting on the shore for their
husbands to return from the sea. Their
bodily and facial expressions are ren-
dered so subtly, and with such
precision, they seem to reflect single
moments frozen perfectly in time. The
women are reduced to simple shapes of
such crisp, deep colors that they seem
to jump out from the muted gray sky
and sea.
Barnet says that planning a work like
this is similar to planning a city. "It
takes several months to develop the at-
titudes of the women. I'm not only in-
terested in their initial appearance, but
the anguish they're feeling on a deeper
Many of the bright, sharp prints on
exhibit have a pretty oriental-looking
woman with flowing black hair as a
subject. She is depicted with sensitivity
reading, relaxing and communicating
with animals. This is Barnet's
AN INCREDIBLY beautiful depic-
tion of her, both physically and
spiritually, is seen in the print
"Aurora." She is positioned on a crisp
wood floor, immersed in a book, with a
fluffy cat at her feet. Her elbow sinks
into a rounded cushion,,and a full robe

of strong, vivid colors and patterns
hangs loosely, concealing what appears
to be a slim body. Her limbs and all
other objects are broken into a
conglomeration of simple angular and
lyrical forms, rich in color, and
unrelieved by shading of any kind.
To Barnet, this print represents
"the beautiful timeless days," a golden
day that takes place when one is along
in the house for hours. A wonderful
stream of mellowed light gleams
through, and all objects, both animate
and inanimate seem to spell the word
"meditation." Barnet says, "My
daughter has these kinds of days. She's
a great reader, and gets lost in books by
great English women authors. I tran-
sport the world she creates into

Will Barnet


Union Programming Committee presents:
Learn Plant Nurturing
Kuenzel Room, Michigan Union, Wednesday, April 5, 8 pm-FREE
Viewpoint Lectures presents
Detroit Recorder's Court Judge will lecture on "The Criminal
Injustice System: America's Only Working Railroad"
MLB Auditorium 3, Wednesday, April 5, 8 pm-FREE
Cinema Lecture Series presents:
"Kings of the Road"
The King and Robert travel the back roads of Germany
Aud. A. Angell Hall, Thursday, April 6, 7:30 p.m. $2.50

APRIL 6, 78 8 PM
Tickets Available
Michigan Union Box Office 763-2071

something magical."
Barnet's studio is in his home, so per-
sonal life and professional life are
always closely intertwined. A woman
sinking languidly on an outdoor harm-
mock is his wife. She is also the model
for a rustic New England woman of the
ite subject for Barnet is cats, which
appear with most of the women in
"his recent prints, An owner of a cat
for 16 years, Barnet says he loves them
for their grace, mystery and intelligen-
ce. He views them as one complete unit,
and depicts them as a lyrical form that
often echoes a nearby curve. Because
of their sensual wholeness, Barnet finds
cats easy to reproduce, unlike dogs
which are, "too nervous and all over the
place." .
In all of his prints Barnet chooses ob-
jects and embellishments which are not
faddish and will never be dated. For
example, furniture is never
reminiscent of a specific period.
Clothes are long and flowing and could
be worn in any century.
As a result, Barnet's major theme,
"the universal poetry of life," that runs
throughout all of his work is conveyed
with dignity and integrity. It is a theme
that many attempt, but only a few
produce it so beautifully.

Eclipse Jazz presents:
ELLA FITZGERALD with the Tommy Flanagan
Trio and Special Guest Roy Eldridge
Hill Auditorium, Thursday, April 6, 8 pm $3.50, $4.50, $5.50
Any remaining seats go on sale the night of the show
Hill box office opens at 6:30 pm
A weekly workshop in jazz improvisation
Room 24 /26 East Quad Every Sunday 2-4 pm
Admission-Donation only
MEDIATRICS presents:
Gene Wilder's restful trip to Chicago is interrupted by murder, romance,
and Richard Pryor.
Nat. Sci. Aud. Friday, April 7, 7:30 & 9:30 pm $1.50




I ~~ ~ 'J . .OIN TLESTER H-OUSE- a

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