A be's marimba art
By DAVID LEWIS members on
be a hostess
" W HEN I BEGIN to play this music I feel as Thosed
though I am walking alone across an azure radiant mu
blue sky..There is no compromise in my heart against recordings
moving ojward into the depth of time." especiallyc
There was no compromise among the audience leading mo
either Thursday night after Keiko Abe, Japan's songs. Her
foremost marimba player, began her concert of solo numerous,a
pieces by Japanese composers. Only after five en- tour, her fir
cores and a standing ovation would they finally let ing.
her go. "Aftert
Until Abe's appearance, the marimba was an in- Owen, heac
strument without a home in Japan. Imported for the partment,,
first time after World War II, it was not taken saying 'Tha
seriously. as a performance instrument, and its That's some
unique musical capabilities were ignored. It took Abe is e
almost 15 years of hard work and perseverance, Abe can student
related in an interview Friday morning, to develop an music schoo
audience for her unique performances. the "corre
IN THE BEGINNING, no more than one in ten restraints.
people would know what she was talking about when After Ke
she said she played the marimba. She vividly re- Arbor, we ca
ne taxi-cab driver who decided she must
at the "Marine Bar."
days, however, are over for the small,
sician. She has made more solo marimba
than any -other artist, ranging from
commissioned compositions by Japan's
odern composers to popular children's
radio and television appearances are
and her reception during this American
st outside of Japan, has been overwhelm-
her master class" related Dr. Charles
d of the music school's percussion de-
"students came up to shake my hand,
ank you for bringing Keiko Abe here.'
ething that has never happened before."
specially impressed by how much Ameri-
ts enjoy their music. In the Japanese
ols, she says, too much stress is placed on
ct learning" of classical music. The
late arrival in Japan freed it from such
eiko Abe's brief but inspiring visit to Ann
an only be glad that was so.
The Michigan Daily-Sunday, November 6, 1977-Page 5'
Russian poet powerful
Folk singer Mary MeCaslin
1brig pare tat t r
By CONSTANCE ENNIS
RUSSIAN WRITERS are visiting the
United States more frequently
than ever, and it is most encouraging
that we are now being given more op-
portunities to hear them speak.
In an emotional and inventive hour of
poetry Friday evening in Rackham
Amphitheatre, internationally known
Russian poet Adrei Voznesensky pre-
sented his work to an enthusiastic,
standing-room only audience. Follow-
ing English translations read by Vera
Dunham, Voznesensky recited his
poems from memory with a voice that
was powerful, commanding, and, in
most cases, almost overwhelming. Few
other poets possess a voice and a poetic
language which is so full of strength
and passion. Voznesensky has been
praised by such poets as W. H. Auden,
Robert Lowell, Stanley Kunitz, and
many others. Over a career spanning
twenty years, he has become one of the
most popular Russian poets today.
Voznesensky's poetry ranges in sub-
ject matter from eulogies of Tolstoy to
poen on ghettos, strip-tease girls,
music, and New York airports. His
moods, themes, and technical devices
cover a wide spectrum, but all of it is
clearly the work of a first-rate crafts-
BEGINNING with a poem inspired
by the recollection of his father going
off to war carrying a collection of Goya
paintings, Voznesensky said, "I want to
give you the sounds of war and voices":°
A am grief.
Iam the tongue of war.
Iam the embers of cities .. .
All of his poetry is extremely rhyth-
mic, and, when combined with Voz-
nesensky's ingenious images, surpris-
ing literary devices, and expressive
vocal inflections, one can hear the truly
musical strength and quality of the
In Table Manners, a poem which is a
plea for the preservation of music, Voz-
Eat pie with yourfingers,
Eat chicken with salt.
But Iask one thing of you,
Keep your hands off music.,.
AN EXTREMELY sad and emotion-
al moment came when Voznesensky
spoke about Family Graveyard, a poem
about the late Robert Lowell. Ap-
parently a very close friend of Lowell's,
Voznesensky said, "It was written near
,his graveyard. Those that did not meet
Robert Lowell should know that before
his death, he was carrying his head on
the side, like this." In the poem Voz-
Here, on the stone,
the name you once had rests,
like discarded stones.
Voznesensky is not only deeply com-
passionate, sensitive, and sympathetic,
but is also very humorous. Voznesensky
describes a man who cannot live
without time. He dresses in everything
from his shirt and tie, to his car,
garage, and the ,stars. Unfortunately
the man forgets his watch, undresses,'
returns to earth and says, "For God's
sake, don't forget your watch."
Voznesensky belongs to th(
generation of Russian poets who began~
publishing during a relatively liberal,
period in the Soviet Union in the late'
1950's and early 1960's. His first volume'
of poetry, "Mozaika," was published ill
1960. Later collections include
"Parabola," "The Triangular Pear,
In the last poem Voznesensky read he
said, "I finish where I begin - frorm
music ... I'll do it without translations
- only with sounds. I want you to hear
the sounds of Russian bells."
This poem was somehow one of the
most powerful poems of the entire-
evening. Although a large part of the
audience, could not understand his
words, everyone, without a doubt,
heard his Russian music.
ULT R ATY PE
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ANN ARBOR, MICH.-995-4223
By WENDY GOODMAN
and MIKE TAYLOR
FRIDAY NIGHT at 8:45, Mary Mc-
Caslin walked on stage, deposited
a banjo there, and left. Only at the Ark
would an artist act as prop person.
Singer-songwriter McCaslin returned
shortly with her guitar to do a delect-
able set filled with her curious blend of
country, western, and folk. Her crisp
voice and crative guitar tunings mark
her as an unusual performer. When
these assets are coupled with her play-
ful tunes and forceful lyrics, the result
McCaslin opened with a couple of her
own songs, "Northfield" and "San Ber-
nardino Waltz," songs of moving and
changing. "The Emigrant Song," a new
number in defense of all those people
who have moved 'ut west, showed what
a McCaslin son is like before it's
"LIFE TAKES YOU away from your
old friends," she explained as she went
into the title song of her new Philo al-
bum, Old Friends. McCaslin called the
next song her favorite of all "that I've
written."'Whether her favorite or not,
"Prairie in the Sky" is certainly her
finest work. The words sound like
they've been riding on the prairie for at
least a couple generations of cowboys,
anidhe nelody is so riihnht'her guitar
sounded like an orche$tria.
The songs McCaslin played by other
folks were no less distinctive. Stan
Jones' "Ghost Riders in the Sky" ex-
emplified her moving approach to
western songs. She also sang a Cole
Porter song from a Roy Rogers movie,
"Don't Fence Me In."
Picking up the banjo, McCaslin
played an interesting version of the
Beatles' "Blackbird." She also did "a
song from an English musical. I'm sure
they never thought of it as a banjo
tune." The crowd laughed at first, then
listened to her bizarre treatment of
McCASLIN'S traveling companion
Jim Ringer did the second set. Ringer
has a relaxed, brusque style, perfect for
the stories of rounders and wanderers
he sings. While McCaslin's perform-
ance was an intense, moody affair,
Ringer's combined sad moments with
Though a fine songwriter, Ringer
played mostly songs by other people.
After explaining that David Bromberg
has just recorded one of his songs, he
sang a Bromberg tune. He also did the
amusing "Chinese New Year's Waltz."
"This being a college town, I'm sure
you'll recognize your part," he said
before a "whistle-along," "Grandma
Whistlin' 'What a Friend We Have In
Jesus' ." J.D. Loudermilk's "Bad
News" brought smiles to many faces.
Best of all, perhaps, was Lefty Frizzel
and Bill Anderson's hilarious
'When a recipe calls for "flour," use
all-purpose flour. When self-rising
flour is needed, the recipe will
specify it. Self-rising flour contains
leavening and salt; all-purpose flour
fl a - w-r A ai~e-
RINGER'S own songs showed great
understanding. "Hubbardville Store"
stood -out as a particularly 'striking ex-
Later, Ringer and McCaslin came on
to do a joint set. The combination of
Ringer's relaxation and Mcaslin's in-
tensity worked well. Their not-always-
synchronized voices and dual guitars
created an effect altogether different
from their solo sets.
Earlier this year, local musician
Craig Johnson sang "New Harmony"
for Ringer and McCaslin. Ringer liked
it so much he put it on his new Philo
album, Tramps and Hawkers. Friday
night, with Johnson in the house, he
played the excellent song again.
Michael Murphey's "Geronimo's
Cadillac" provided \' rousing sing-
along. Ringer's "Raclel" and McCas-
lin's "Young Wesley" were both strong
Before we knew it, it was all over.
There would be no fourth set, no en-
cores. Ringer and McCaslin had left the
stage empty and the people humming.
FRIDAY AND SATURDAY, DECEMBER 2 AND
3, AT 8:30; SUNDAY, DEC. 4, AT 2:30
In Hill Auditorium
For nearly one hundred years, this traditional work has opened the
Christmas Season for thousands of concertgoers, and this year is no excep-
tion. Donald Bryant will again be on the podium, conducting the 350-voice
University Choral Union and University Symphony Orchestra, with soloists
Kathryn Bouleyn, soprano; Linn Maxwell, contralto; Dan Marek, tenor;
and Joseph McKee, bass.
To be assured of the performance of your choice, buy your tickets
now at Burton Tower (first floor of the carillon tower behind Hill Audi-
torium) or order by mail:
MAIN FLOOR--$5 and $4; FIRST BALCONY-$3; SECOND BALCONY-$2.50 and $2