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November 23, 1977 - Image 5

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Publication:
Michigan Daily, 1977-11-23

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Periman

spark s

By STEPHEN PICKOVER
R ARELY IS one able to walk away
from a symphny concert these days
without feeling remorseful about
something. The trombone sounded like
the mating call of an African buffalo,
the bassoons came in late, the drums
Detroit Symphony Orchestra
Ford Auditorium
November 19,1977
Antal Dorati............conductor
Rosalind Rees.............. soprano
Eugene Wade .........french horn
Itzhak Perlman............... violin
Schuman ......The Yound Dead Soldiers
Mendelssohn.....Concerto for Violin and
Orchestra in E minor, Opus 64
Shostakovitch..Symphony No. 5, Opus 47

melody which accentuates the tragedy
and deathly stillness of the three young
soldiers.
The young soldiers do not speak.
Nevertheless, they are heard in the
still-house: who has not heard
them?
They say: Whwther our line and
our deaths were for peace
and a new hope or for nothing we
:cannot say; it is
you who must say this.
WHILE the music is melifluous in it-
self, much of the song's success is due
to Rees' moving interpretation. Her
sudden dynamic shifts, perfect pitch
and unforced tone were excellently
executed, demonstrating a superbly
controlled voice. Wade's gentle yet firm.
horn accompaniment, something
echoing and other times harmonizing
with the melody, was a perfect com-
plement to Rees' voice. Credit is given
to Dorati for keeping the piece from
becoming melodramatic and paying
careful attention to its sonority.
The highlight of the evening came
when Itzhak Perlman stepped on stage.
Born in Tel Aviv, he is becoming the top
violinist of our generation, ranking with
Heifitz, Kreisler, Stern, Oistrak and
Milstein. One of Perlman's best charac-
teristics is that he is not only heaven to
listen to, but even more fun to watch.
Even though dressed in a tuxedo and
playing with a national orchestra,
Perlman brings an air of informality to
the stage. His facial gestures range
from emotional to serious to jocular,
and above all, he knows how to toy with
an audience. He moves into a ritard,
dishing out his notes with the care a
father uses giving away his daughter.

The audience holds its bre
pauses, smiles at them, and ca
the phrase amidst their sighs.
The Mendelssohn Violin
opens with an "Allegro M
passionato" which begins. m
violin playing the famous them
took Mendelssohn five years
plete. The first tutti is double f
orchestra full of vitality under
experienced baton as they
violin in the melody: Perlman
cadenza slow and lyrically;
building a faster tempo on the s
notes and reaching an apex as1
the half notes.
THE FIRST movement lead.
into the second, an Andante. (
one of the most romantic aqr
wrenching melodies ever
Perlman's playing was best
up by an elderlywoman, pro
her ceventies who sat in fron
When he bean the melody she1
her husband, smiled, and w
"like silk." Often when Perlin

obliterated everything or the violins
shrieked over some little piece of gossip
that. you still have trouble understan-
ding, especially since the movement
was a largo. Fortunately this was not
the case with the Detroit Symphony Or-
chestra and their guest soloists, all of
whom gave marvelous performances.
The program began with William
Schuman's bicentennial composition
The Young Dead Soldiers b7y soprano
Rosalind Rees accompanied by Eugene
Wade on the french horn. Dorati, who
conducted the DSO, and Rees both
premiered the piece on April 6, 1976.
with the National Symphony Orchestra
in Washington D.C. The text of the song
is taken from a poem by Archibald
MacLeish from his collection Act Five
and Other Poems. The words them-
selves are depressing, and Schuman
has composed an eerie lamenting

concert
ath. He positions, he will play a short gliss,
)mpletes lengthening or shortening depending
upon the mood he wishes to convey.
Concerto As seemingly effortless and graceful
alto Ap- as an Olympic figure skater, he set into
with the the third movement, Allegretto non
ne which troppo. Here he was like a child with a
to com- new toy, smiling and tripping over the
orte, the strings with glee. The twins in front of
Dorati's the elderly matron (around age ten)
join the giggled, while their, parents quichly
took the hushed them. I think Perlman would
at first, have preferred the giggles.
ixteenth After intermission, the symphony
was on the Fifth Symphony of
Shotakovitch, and proved that it could
keep the excitement of the evening at a
peek. Dorati took all the movements a
little slower than I'm used to; however,
this was compensated for by the superb
tone in the strings and woodwinds
especially. On the subject of the Sym-
phiny, the composer wrote thatit "is an
individual in the making. The Sym-
phony resolves the tense tragedy of the
early movement on an optimistic
plane." It was composed in 1937 to
celebrate the 20th anniversary of the
U.S.S.R.
THE FIRST movement, Moderato,
begins with the upper and lower strings,
questioning and answering each other
in the framework of the theme. It even-
he trilled tually crescendo's and breaks into a
march, snare drum rolling in the
background. The Allegretto boasts
s directly several flute solos, which were
Certainly beautifully played with - excellent
nd heart- quality and full,jlilting tone, which
written, calmed the audience and prepared
summed them for the quick paced Allllegro non
)bably in troppo with the horns leading the
it of me. melody.
turned to The whole symphony has slavic and
hispered romantic overtones and because of this
an shifts dynamics and richness of tone are ex-
tremely important. Dorati maintained
the strings with full vibrato contrasted
with the trombone's sometimes harsh,
bellowing sound which helped heighten
the tug-of-war feeling. The orchestra
seemed more controlled and precise
then in the past, though not to the point
he earlier of sacrificing their lyricism.
he night. ---
ment, the Water evaporates from lakes, riv-
glaringly ers and oceans throughout the world
nd croak- on sunny summer days at the rate of
ffect was some 16 million tons a second making
I by the the air muggy and humid. The
ng some- moisture eventually returns to the
novement earth as rain, snow or some other
g out into form of precipitation.

By RENEE SHILCUSKY
THE STAGE is set. The spotlights
endlessly search the audience for
familiar faces. Men in tuxedos and
women in long shimmering gowns wait
patiently for the entrance of their fa-
vorite stars. The long-awaited night has
come: the presentation of the Tony
Awards, theatre's equivalent to the
Oscar in the motion picture industry. So
begins Applause, Soph Show's annual
musical, to be presented in the Men-
delssohn Theatre December 1; 2 and 3.
Based on the film All About Eve, Ap-
plause concerns the talented but aging
"queen of Broadway" Margo Channing
and her jealous involvement with an
avid fan - turned understudy, Eve
Harrington.
Soph Show's production of Applause
is being sponsored by UAC as a part of
an effort to involve freshmen and
sophomores in a major university pro-
duction. Musket, a sister organization
to Soph Show which regularly produces
musicals, generally involves an older
and more experienced cast and crew.

But Andy Kurtzman, producer of Ap-
plause, finds that working with fresh-
men and sophomores has some very in-
teresting advantages. "What these peo-
ple lack in experience and knowledge,
they more than make up for in spirit
and willingness to work," he commen-
ts. Sophomore Scott Eyerly, the direc-
tor, agrees. "I've found that the cast's
excitement with the show is magnified
with these undergraduates. In fact, it is
the cast's sincere interest and their
ability to work that gives us what will
be a spectacular and lively show.
"APPLAUSE uses a cast that is pri-
marily non-theatre students. We hope
this kind of tight'harmonic casting to be
a trend for Soph Show," Eyerly con-
tinued. "We've worked strongly.with
the cast, and we think we've achieved
our goal.
Tickets for Applause are available at
the Mendelssohn Theatre for $3.00 bal-
cony and $3.50 main floor. Production
dates are Thursday through Saturday,
December 1, 2 and 3.

The Michigan Daily-Wednesday, November 23-Page 5
'pS
Apause wil peasel

John Wayne, Honorary Crusade Chairman.

Ortiz, orchestra super

By CINDY RHODES
and DAVID VICTOR
LAST SUNDAY'S performance of
the Symphony Orchestra of Brazil
was overall very good. Although its per-
formance of the Brahms symphony left
something to be desired, this was made
by the fine conducting of Maestro Isaac
Karabtchevsky and the sheer exquisite
beauty of Cristina Ortiz' performance
of the Prokofiev piano concerto.
The evening opened with the Preludio'
to Heitor Villa-Lobos' Bachianas Bra-
sileiras,' No. 4. The first of four move-
ments, the Preludio is often played by,
itself as it was in this performance.
Scored totally for strings, the piece re-
lied heavily on the low strings but other-
wise sounded much more Baroque in
style than 20th century Latin. Maestro
Karabtchevsky conducting in slow,
grand sweeps'from liquid arms seemed
to be glued to the floor as he leaned
precariously from section to section.
Marking measures with an imperious
nod of his head, the Russian-born Bra-
zilian led the strings to a rich and full-
bodied conclusion.
Prior to the performance of the
American premiere of Marlos Nobre's
In Memoriam, the audience was hushed
by a sobering announcement. The
memorial piece was to hold a double
significance for the Orchestra's violin-
ist, Pesach Nisenbaum, had died the
night before in Chicago. A request was
made that, in his memory, no applause
be given at the conclusion.
THE AVANT-GARDE work, heard
for the first time in Brazil in September
of 1976, opens with an almost insect buz-
zing of tension produced by racing high
strings against pizzicato bass, and ran-
dom percussion and brass outbursts.
While Karabtchevsky dynamically
jabbed at cues, the percussion, high
woodwinds, and brass argue back and
forth over sustained high string notes
and continue as the strings disintegrate
into a chaotic murmor. Over this back-
ground a trombone and then clarinet
solo lead the orchestra into a powerful
crescendo. Quieting, a cello solo rides
into a sudden gunshot of percussion and
explosion of sustained shrill chords
from the piccolo, and violins. Soon the
piece collapses into discordant and har-
sh complaints of the horns and flute.
Regathering some sense of order, the
string chords and contrabassoon bot--
tom offer a more conventional back-
ground for angry percussion in which
the bass drum is annoyingly deadened
until it sounds more like pounding
against a wall than the striking of a
drumhead. From this point the piece
enters into two building passages

broken by two grand pauses before
hushing dramatically. As a single
plucked chord concluded the work,
silence fell upon the auditorium with
haphazard coughing in place of ap-
plause.
The appearance of pianist Cristina
Ortiz in the Prokofiev Concerto marked
the highlight of the evening. A breath-
taking light piano backed by flawless
strings followed the opening clarinet.

considerable let-down after tI
excellent performances of t
Throughout the first moven
French horn was awful with
exposed passages of impure a
ing tone. The devastating el
only somewhat meliorated
superb solo oboe. Recoverii
what in the famous second n
with Karabtchevsky reaching

Symphony Orchestra of Brazil
Hill Auditorium
November20,21977

Isaac Karabtchevsky .....................
....musical director and conductor
Prelude from Bachianas Brasileniras, No. 4.
... Villa-Lobos
In Memoriam ...... ............Nobre
Concerto No. 3 In C Major, Op. 26, for
Piano and Orchestra...Prokofiev
Symphony No. 2 in D major ....... Brahms

Only momentarily serious, Ortiz looked
and sounded as if she were playing
some sort of game at the keyboard. The
important clarinet lines seemed bland
in comparison. In the second
movement, a series of five variations of
the theme, the pianist showed herself
capable of tremendous variety. At first
demonstrating a marvelous tension
achieved by holding back each note to
the last possible point, she later spun in-
to a vibrant, jumping line marked by an
unexpected smoothness. In a dreamy
andante tempo, her hands seemed to
float above the keys never raised more
than a few inches, her fingers gliding
along releasing mellifluous tones. Clos-
ing the movement, she masterfully
handled the abrupt change into an en-
ergetic allegro gusto.
The third movement opened with a
staccato bassoon broken off by an
almost sassy piano. We were pleasantly
surprised by so lighthearted a rendition
of the usually angry sounding
movement. Ortiz changing moods after
the woodwind interlude led by the or-
chestra's outstanding flood, joined with
the strings and built into a glowing
coda.
AFTER RETURNING for a bow
three times to unabated applause, the
young pianist performed an encore, Al-
berto Nepomuceno's Prece (Prayer).
Performing with a quiet tenderness and
grace she had not shown earlier, she
dedicated the short piece to the late
Nisenbaum. When she finished, she was
crying.
The Brahms' Symphony No. 2 was a

the strings, the orchestra easily moved
on to an excellent rendering of the
following allegretto in which we were
struck by the crystalline purity of the
high woodwinds. Finally the orchestra
burst open with dazzling magnetism'in
the finale carried by the strings with
vigor and verve leading to a coda in
which even the horns shone.
In comparing the performances of
the four pieces, the one that shines
above the rest was the Prokofiev con-
certo, which glowed with the brilliant
virtuosity of Ortiz. The Symphony Or-
chestra of Brazil seemed better equip-
ped to handle the first two pieces, both
by Brazilian composers, than the
Brahms symphony. They both glowed
with the native fire of their Brazilian
homeland, which the orchestra was
able to interpret with emotion and feel-
ing. The Prokoviev concerto was totally
flawless, and Ortiz' impromtu encore
for Nisenbaum was quite moving. If the
orchestra could somehow adjust their
performance of the beginning of the
Brahms symphony so that its quality
equals that of the other pieces, the ef-
feet would be perfect. As it was, the
good points far overweighed the bad,
and it was well worth viewing.
The introduction of vestibules in
the late 1880s allowed passengers for
the first time to walk safely from one
railroad car to the next.
0/" SUNY

t
E
1
1
1
f
t
i
i
r
a

WEDNESDAY is...
BOTTLE
NIGHT
featuring:
Premium-American
Bottled Beer
at a
GREAT PRICE!
On South University

Maybeikwe1 wrl
cure cancer
without yourP h -elp
but don[t1be
your life on it.,
The way it stands today, one American out of four wvill
someday have cancer. That means it will strike some member in,.J
two out of three American families.
To change those statistics we have to bring the promise of
research to everyday reality. And to expand our detection program
and techniques. And that takes money. Lots of money. Money we
won't have -unless you help us.
The American Cancer Society will never gv up the .fight.
Maybe we'll find the answers even without your help. But don't
bet your life on it.
We want to cure cancer in your lifetime.
Ameri can Cancer SocieArr
Tssacnr ibutd b tc lshra ai 0 ubl c:sreC

NEW PALTZ
OVERSEAS PROGRAM
8TH YEAR
UNIVERSITY OF PARIS
SORBONNE
Undergraduates in philosophy and related
majors earn 31-32 credits in regular Sor-
bonne (Paris IV) courses. SUNY-Paris IV
agreement insures students avoid cumber-
some pre-inscription and attend Paris IV,
not provincial universities. Oirector assists
with housing, programs, studies. Orienta-
tion, language review. Sept. 15-June 15.
Estimated living, airfare, tuition, fees: $3400.
N.Y. residents; $3900 others. Professor David
Blankenship, Philosophy Department. SUC,
New Platz, New York 12561 (914) 257-2696.

s1
Announcing the FALL 1977
* LS&A Student
I"
Government ElectionsH
For Eight (8) Full Year Member-At-Large Positions,
and Four (4) Half-Year Seats on the Govern-
ment's EXECUTIVE COUNCIL.
Elections will be held
on Dec. 7and 8, 1977
(WEDNESDAY and THURSDAY)
With 12 available seats, your chances of winning are
excellent. LSA-SG will reimburse you for $30.00 of your
campaign costs. This is an excellent opportunity for you to
help curb the alarming epidemic of complacency at U-M.

I

6 -

I

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Musket
ul1 CJis looking for

DIRECTORS & DESIGNERS
for the March 16, 17, 18, 19 presentation of

'' " lfSf+.
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.

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