y, October 11, 14977-The Michigan Daily pppp-- acal outdoes pianist at DSO By CINDY RHODES and DAVID VICTOR Last Saturday night's performance the Detroit Symphony Orchestra as both a pleasing fulfillment of an :pectation, and a ; total disappoint- sent. Maestro Zdenek Macal, conduct- his' third and last concert with the. was in perfect form; surpassing excellent performance of two weeks . The orchestra was also as expec- d - they had their ups and downs, th generally fine playing overall. But e awaited appearance of Horacio uiteirrez in the Schumann Piano Con- rto in A min: proved to be disappoint- g, as the pianist failed to live up to his me. The opening piece of the concert was rare selection. Little performed out- de of Russia, Ruslan and Ludmilla is i opera based on the poetry of a num- r of Russian authors, including Push- n and Glinka himself. The overture to is opera is a conglomeration of Slavic k melodies with many strains that iticipate the music of Moussorsky and msky-Korsakov. Written in sonato- legro form, the overture is very short, sting only five minutes. In that brief time, however, Maestro Macal was able to prove his mastery once again. Swaying his torso, rocking his head, hushing the violins and then pulling for each note with his hands, he molded the orchestra into a single entity. Momen- tarily resuming his characteristic stiff posture, he quickly instituted grand sweeping movements that could only be followed by a liquid climax of the strings and full orchestra, bringing the piece to its conclusion. The next selection, the Schumann Concerto, was intended as a showcase for the guest pianist Gutierrez. Schumann wrote in 1839, six years before he composed this concerto; "we must await the genius who will show us in a newer and more brilliant way how orchestra and piano may be combined, how the solist, dominant at the key- board, may unfold the wealth of his in- strument and his are while the orches- tra, no longer a mere spectator, may in- terweave its manifold facets into the scene." Unfortunately, this vision of Schumann was not achieved Saturday evening. The award-winning virtuosity of the Cuban-born pianist was not evi- dent in thisI his third appearance with the DSO (having performed with. them in 1973 and 1976). He opened the fan- tasy-piece in a clipped, almost rushed, style, recovering only after the initial clarinet statement, perhaps in response to the secure grace Macal drew from this part. Gutierrez exhibited a higher degree of delicacy towards the middle of the first movement. His hands and arms floating with the dreamier pass- ages, and he at last achieved the sort of tension in the keyboard runs that should be expected of one with so high a reputation. Gutierrez seemed at his best in the nearly march-like statemen- ts towards the middle of the second movement, demonstrating a technique that was stately but mechanical. The orchestra as a whole performed its supporting swells with a smoothness in the rises and falls of the DSO's ex- cellent string section that stood in marked contrast to the soloist's per- formance. Undoubtedly due to the sen- sitivity Macal held over the orchestra, the musicality of the supporting parts Detroit Symphony Orchestra Ford Auditorium Detroit, Michigan October 8,1977 Glinka Overture to Ruslan and Ludmilla Schumann Concerto for Piano and Orchestra, A minor, Opus 54 Franck Symphony in D minor Horacio Gutierrez, pianist Zdenek Macal, conductor outshone the main performance of the soloist. This reveals a striking differen- ce between the two visiting virtuosos. While both are world acclaimed, young, and rising, Gutierrez fails where Macal succeeds. While the former performs with unquestioned accuracy, he has not discovered, or fails to demonstrate, that it is the tension that each note deserves, the individual interpretation of each passage, that makes it music. Gutierrez plays notes, where Macal renders music. Gutierrez reads where Macal interprets and gives the music meaning. The evening finished with Cesar Franck's Symphony in D minor. The opening "question" of a half step descent followed by the rise of a diminished fourth was performed well. The last subject of the three ideas em- ployed in the first movement was dynamically handled. Macal exploding with the musicians following him. First reeling, then stretching and pulling out the strings, and finally using his arms in a sort of gathering motion to employ the full orchestra, he finishes the stirring final passages with exuberant sweeps and swagger, reveling in its power. Throughout the movement, par- ticular sensitivity was shown in the French horfn and woodwind statement. The second movement proved, as Franck intended, peaceful after the strong vibrancy of the first. The famous English horn line rising over the harp and strings was well played with a plaintive tone by Treva Womble. The movement concluded with the maestro calling for a particularly strong em- phasis on the harp ending. The exciting unifying concept of the Finale followed as a powerful growth of the original theme. The brass song rising over the streacy crescendo of strings and alternately quieting down into a soft series of theme recapitulations produced a weaving of the brass statement with the strings. Rising in steady strength and volume, the piece reached its conclusion with an especially good handling of the brass parts. The concert ended in five standing ovations for Macal, who thanked the orchestra on stage. In speaking with the maestro after the performance, he remarked many times on how much he enjoyed working with the members of the DSO. Having finished his guest- conducting in Detroit, Macal said that he now will make a tour of Europe with various orchestras, which will not end until the 24th of December. Detroit was very fortunate to have the opportunity, to see the superb performances of Maestro Macal, and we only hope that the rest of the series of guest conduc- tors (for Dorati will not make his first appearance with the DSO until Novem- ber 2nd) will match Macal's ability.- ii (1in 4 V .._ USO performs wel A ;1 in an all-Germr an sho i _-l. r NEWS FROM THE MAJOR EVENTS OFFICE Fresh from a recording session in Son Francisco, the Steve Miller Band will fly into Ann Arbor for their only Michigan appearance this Friday, October 14, at 8:00 p.m. Since performing with Frampton ast June at Pontiac, the "Gangster of Love" has been writing-hopefully, we'll get a preview of a few, new tasty tunes along with his million-sellers. ' Tickets for Waylon Jenning's October 29th appearance, with Hank Williams, Jr. and Jessi Colter, went on sole last Friday at the Michigan Union. The excitement -caused by this country superstar's appear- ance has convinced us that country-rock is . going to be around a long time. Eclipse Jazz, the student-run part of Major Events, is doing an outstanding job. in bringing major jazz artists to Ann Arbor. -Their next concert with Dexter Gordon in th$e'ower Center is already completely sol but. Their impressive series includes stops by the Art En~pmbe of Chicago and an evening with the brilliant Oscar Peterson. We've received many calls about our upcoming concert schedule. Unfortunately, since the contracts aren't complete, we can't yet give details. However, we are planning five more concerts before Thanks- giving. Keep an eye on FLASH and the Michigan Daily for announcements soon. Corky Siegel will appear, tonight, at the Black Sheep Repertory Theatre in Man- chester. There are two shows ast 8:00 and 10:00 p.m. y Snapshots: The long-awaited "Rolling Stone 10th Anniversary TV Special" will air on CBS on November 25... Joni Mitchell and jazz group Weather Report will collaborate on a double LP . . . Rita! Coolidge has been banned in Singapore. It seems the local auflhorities think her song, "Higher and Higher" is about drugs ... :4 Work in Washington, D.C. This summer sponsored by Washington Sunimer Intern Program POSITIONS' IN Congressional Offices, Executive Agencies, Lobbying Organizations, News Media, Research Organizations, and Museums. (UNDERGRADUATES ONLY) MASS MEETING WEDNESDAY-7:30-OCT. 12 MLB Auditorium 3 By OWEN GLEIBERMAN Last Friday night, the University Symphony gave their first concert of the season in front of a crowded, en- thusiastic audience at Hill. If there is any doubt as to the caliber of this or- chestra, Friday's performance should set straight the record. The group, play- ing under the baton of Gustav Meier, played with as much spirit, precision, and maturity as they've had in years. The four works heard were all by German composers, covering a variety of individual styles and historical eras. The challenge of covering a range of composers like Beethoven, Strauss, Weber and Wagner is not easy, but the orchestra lived up to it capably, ren- dering each note with assurance and ease. Weber's Overture to Die Freischutz opened the program. Although an insip- id work, it provided an excellent show- case of the orchestra's ensemble play- ing. The long runs in the strings were remarkably precise, and the slow, melodic wind passages allowed the winds to flow and blend together with smoothness and grace. Meier is a wonderfully consistent conductor, and under his direction, the orchestra surged and built to a final climax that satisfied completely. But the highlight of the evening had to Order Your. Subscription Today 764-0558 be the Beethoven Symphony no. 7. Otte of the composer's greatest master- pieces, the seventh demands the utmost precision and musicality. From the opening chord, Meier led the orchestra with firm assurance and conviction. He. has a tendency to rush tempos, but dis- University Symphony Orchestra Hill Auditorium October 7, 1977 Weber Overture to Die Freischutz Beethoven symphony no.7 Wagner overture to Tannhauser Strauss "Salome's Tanz" from Salome Gustav Meier, conductor plays a deep sensitivity that can bring out the most subtle nuances of a piece like the Beethoven. During the intro- duction, the strings play a series of scales which build from the extremely soft to loud, and the effect was breath- taking. Throughout, the strings per- formed with great uniformity, and the sound rang clear. The repeated rythmic motive in the first movement waS driving, and yet the solo winds sang in perfect contrast to the stormy passages, eventually bringing the movement to a triumphant finish. The strings began the gorgeous second movement perfectly, starting quietly; and then slowly building with the flow of the theme. The orchestra maintained the good balance that is so essential to the movement, the violins soaring in perfect counterpoint with the second ary melody in the violas. The last move- ment of the Beethoven was finishedl with a rush of excitement that brought the piece to a decisive and satisfying' close. The second half of the program opened with Wagner's Overture to Tannhauser, one of his most popular and stirring works. The middle sectiol was taken at an oddly slow tempo (possibly because that was as quick as the orchestra could handle it) that detracted markedly from the ex- citement the piece can generate) however the performance was relative- ly unsloppy, and the slower passages bore the same controlled, lyrical quality present in the Beethoven. The concert ended with Richard Strauss' Salome's Dance from Salome, a first-class showpiece, in which an or- chestra can really let loose. It proved tb be a fitting conclusion, as the orchestra played the dance rhythms with an ex- citement that left the audience fully satisfied. If this concert is indicative of what the University Music School has to offer, then their future concerts shoull be regarded with eager anticipation. the 0a0' arbor Rm cooperative TONIGHT! Tuesday, October 11 THE LONG GOODBYE (Robert Altman, 1973) 7 &9-AUD. A ALTMAN and LEIGH BRACKETT (one of the screenwriters on Hawks' THE BIGj SLEEP) beautifully play with the myth of Raymond Chandler's classic loner detective, Phillip Marlowe. Elliot Gould as Marlowe is adrift in the chaos and corruption of modern Los Angeles as he attempts to clear a dead friend's memory from the charge of murder. Brilliant characterizations, disturbing off-the-wall humor, a world made of snatches of conversations, strange encounters, and powerful images, this is one of Altman's best, a sure master- work. It gets deeper and wider every time you see it. JIM BOUTON, STERLING HAYDEN, NINA VAN PALLANDT, MARK RYDELL. Cinemascope. ADMISSION $1.50 The AAFC is accepting nevr members. Stop by one of our showings for an application. :... THURSDAY ~~' at NOON OCTOBER 13 A - SANDY GROSS .? oft Polk Audio will hold an open house seminar and discussion on loudspeakers; their de- sign, philosophy and application.