Page 6-Tuesday, April 4, 1978-The Michigan Daiily Technical 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 Hi//A 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 ...... Ravel. 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 Entremont uditorium ril, 1978 ijor .,.........Bach ) ................Beethoven major, ... . . .. . . . . .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 DR. STRANGELOVE 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" STERLING HAYDEN. "We'll meet again. Wed: SCARFACE Cinema Guild TONIGHT AT 7:00 & 9:05 OLD ARCH. AUD. $1.50 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 By KAREN BORNSTEIN 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 contemplation. 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- pretation. 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 toccata. 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 a CINEMA I TUESDAY, APRIL 4 0 LUCKY MAN! 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 man... 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 FRIDAY: Hitchcock's REBECCA I 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 level." 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 daughter. 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 IHIS WEEK Union Programming Committee presents: MINI-COURSE IN PLANTS Learn Plant Nurturing Kuenzel Room, Michigan Union, Wednesday, April 5, 8 pm-FREE Viewpoint Lectures presents JUDGE JUSTIN RAVITZ 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: WIM WENDERS FILM FESTIVAL- "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 TH E SEAGULL by ANTON CHEKHOV PRESENTED BY THE RESIDENTIAL COLLEGE PLAYERS APRIL 6, 78 8 PM EAST QUAD AUDITORIUM ADMISSION $2.50 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 sea. ANOTHER PERENNIAL favor- 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 ANN ARBOR JAZZ WORKSNOP A weekly workshop in jazz improvisation Room 24 /26 East Quad Every Sunday 2-4 pm Admission-Donation only MEDIATRICS presents: SILVER STREAK 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 VEGETARIANS UNITE! I ~~ ~ 'J . .OIN TLESTER H-OUSE- a UAC Special Events in Conjunction With The Newman Students present: