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February 23, 1977 - Image 5

Resource type:
Michigan Daily, 1977-02-23

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Arts Entertainment Wednesday, February 23, 1977 Page Five


Guarneri Plays
"~ s
IT'S HARD to imagine an ensemble better suited to play a
cycle of Beethoven string quartets than the Guarneri Quar-
tet. They have the experience and confidence to convey the ener-
gy, the passion, and the gravity of Beethoven's chamber works.
The Guarneri's long-since sold-out appearances Saturday
night and Sunday afternoon allowed the enthusiastic Ann Arbor
community another look at one of the world's most popular
chamber ensembles. It was their third in a cycle of four Beet-
hoven concerts held at Rackham Auditorium; the final Guarneri"
concerts will be April,16 & 17.
The program opened with a Quartet in F major (Op. 18, No.
1). The first movement's melody was carried by violinist Arnold
Steinhardt, while Michael Tree on viola and David Soyer on
cello formed a sprightly background that could only be describ-
ed as Beethoven.
THE "OTHER" violinist of the quartet is John Dalley. To
call him the second violinist would not quite do him justice, and
a comparison of Steinhardt and Dalley's abilities is beyond this
reviewer's capabilities. They traded themes back and forth all
evening (as did the entire quartet), playing with zeal and au-
thority. The latter doubtless has evolved over the 11 years the
ensemble has been together.
The "Harp" Quartet (Op. 74) followed the F major, and is so
named for its use of pizzicato, or plucked rather than bowed
strings. The graceful viola part is one of the strong points of the
piece, and Tree rendered it beautifully.
After intermission came the Quartet in C-sharp minor (Op.
131), the longest piece on the program. During this work, and
indeed at times in the previous two, the group displayed flaw-
less timing. A silent point in a piece left the audience on the edge
of its collective seat, and 'the four players rejoined as if guided
by a single hand.
Soyer's cello playing in the last piece, sometimes tranquil,
- _+. ,..r~.,+ t.- -i-I+n h,. oniit f +la m tci+ T1a nn'

Local talent recreates Flood
By SUSAN BARRY ren would naturally raise a lot of pro and the other a ripieno, composed of
"QT'S HARD to tell who they are blems. But Donald Bryant takes an a larger variety of instruments. The
0 without their heads," remarked optimistic attitude and seems to com- Ann Arbor Recorder Society is also
Nancy Houk, referring to the groups mu eate a certain magic to the child- participating.
of children streaming up the aisles ren, from lecturing them on respect- THE BRYANTS are pleased t h a t
at the rehearsal of the First Pres- ing the sanctity of the church when this opera will provide so many op-
byterian Church's presentation of their naturally restless impulses be portunities for a variety of their con
Noye's Fludde. gin to dominate, to matching the gregation to be involved in. Donald
The children were rehearsing, their "Kyries" of marching voices to the Bryant stressed the fact that Brit
parts as animals in this Benjamin music. Each child is assigned his or ten intended his opera to be perform
Britten adaptation of the Chester her position on the stage structure of ed by community people, so the music
Mystery Play, based on the Biblical the ark and it isn't without a certain was intentionally easy to perform
story of Noah's ark. awe that the observer watches them The fact that this work was writ
This opera - to be performed on blend raher neatly into their places. ten for the people to be involved with
Thursday and Friday at 8 p.m. - is Three of the principals themselves and not to please the composing ar
the second major production by the and 11- and 12-year-old boys singing tist provided'the Bryants with the op-
church, which presented an original treble parts, in which they achieve a: portunity "to do things that involve
opera about the Tower of Babel in the strikingly clear accuracy. Playing the as many people in the church as pos
Fall. The originators of that effort, parts of Noye's sons are Nuvi Mehto, sible." This makes the performers
Donald Bryant and his son Travis, are Lauren Rauch, and Paul Schultz. feel more like a family and creates
-- also directing and conducting Noye's Their wives are played by Patrice j a cooperative attitude that is reflect
Fludde. Donald Bryant is the direct- Freier, Clare IHoldgat , and Susan ed in a performance where so many
or of the University Choral Union as Krehbiel. The part of Noye will be' different personalities must be co-
well as the church choral director. sung by Stephen Bryant, and of his .ordinated.
Travis Bryant is" a lyricist and corn- reluctant wife will be performed by Advance tickets to Noye's Fludde
Dpi Photo by ANoser and is basically responsible for Sally Carpenter. are available at the church and their
NDY FREEBERG the stage direction and lighting of the Members of the congregation w M 1 purchase is strongly. recommended,
Kids rehearse their roles in the First Presbyterian Church's show, production. make up the two orchestras, one a particularly for the Friday night per-
NoyEs Fludde', which will air the end of the week. STAGING AN OPERA with 60 child- sma'l string and percussion ensemble formance.
- - - - - -- - - -

A iley


Eclec tic


sometimes urgent, was vital to thi e spirit of the music. it s good By PAULA HUNTER proved that even an experienced In the second movement Ms.I
to see four such talented men in a quartet. It would almost be dance patron can find continued Yuan is partnered with MelvinI
a waste for an instrumentalist like Tree or Soyer to play anony- ; HE ALVIN AILEY American joy in a concert by this highly Jones in a short classical pas
mously, even in an orchestra of the highest caliber. Dance Theater performed to accomplished company. de deux as the corps chases.
- --- a sold-out audience Monday eve- Most characteristic , of this on and off the stage with the'
ning in The Power Center. The company is' the virtuosity of its sleek, coolness of jazz dance.
Iet 'Ailey Company has a loyal fol- members. Each dancer presents The recurring switch from one
A ~rk b e i e f it:lowing in many cities outside a different approach and this style to another emphasizes the
of New York and the only nega- 'combined with the unique reper- difference between the balance
tive comment that I overheard tory keeps the audience enticed and symmetry of classical dances
concerned. Judith Jamison's, the and awaiting the unexpected. as the dancers attempt to
company's "superstar" absence. After attempting to note. indi- "shine" and the assymetry and
It goes without saying that the viduals for particular moments, quick shifts of weight charac-
L o oie tue scompany was well received aft- I gave up realizing that I had teristic of jazz dance.
er a program of familiar and nearly included the entire com- The program note explains
By WENDY GOODMAN Variety was evident not only new works. pandy. ,that, "Night creatures, unlike'
and MIKE TAYLOR in the playing, but also in the It has been said that a per- Monday's program gave the stars, do not come out at night
ia , - choice of tunes. Bloom oencd fect mtroductiou to the art of dancers a chance to dazzle the - they come on, each thinking
ES, this is a guitar, joked with Beethoven and fromthere dancing is an evening with The audience as it incorporated two that before the night is out he
Kenny Bloom during the leaped to "Silver Threads and Alvin Ailey American Dance highly technical pieces, Night or she will be the star." This
first of what was to be t h r e e GodnNele"t A Im Theater. There is a certain . Creature" and "Gazelle," with orsse witb eE.Ti-
sets filled with a variety of i- Goes By" to "Makin' Wooee' . amount of show biz combined a longtime favorite, Revela- ton is inherent to the choreogra-
ternational instruments, worldly He s M n ingicee' with a melange of ethnic, pop, tions." tn is inhes to e coneta-
songs, and down home wit. yse a groun singi modern and classic dance styles. The progression of works from sias copesmke toustant
Bloom's Friday and S a t iu rda ysloCrtciwth ongsc h a . I-pogesinswitches from ensemble to solo'
yday s with op c asf' The Ailey Company offers a def- the cool "Night Creature" to to duet dancing. Ms. Yuan and
night performances at the Ark "I'm number two, I try hard- mite alternative to the thread- the intensity of "Revelations" her partner struggle to exert
were benefits for the struggling " "If you're gonna play the base starkness of traditional brought the audience to its feet their "stardom" but are contin-
coffee house. jukebox mister, please don tmodern dance. Ailey has never in recognition of this company's ally caught up by the corps,
Bloom, who has played w i t h oplay A-11" and "Lunchbox' required his audiences to ac- lbeautiful dancing. displaying beautiful ensemble
brass, jazz, country, fol , and ("I've got a lunch box full of cept an introverted, singular ."NIGHT CREATURE" is dancing. The piece is elegantly
rack bands (not to mention a broken hearts, a thermos fufl ; style, characteristic of many choreographed by Ailey to mu- crafted, enhanced by the music
Turkish orchestra), has behind modern dance companies. In- sic by Duke Ellington. Ailey of Ellington. One is acutely
him enough musical experience of tears".) stead, Ailey presents a reper- fuses jazz and classical styles aware of the symmetry or "clas-
to switch with apparenit ease I BLOOM may not write much tory noted for its diversity of throughout the piece as the dan- sirism" of the music while vis-
from such common instr:Iments of his own music, but he does styles seen in works by various cers or "night creatures" fly ually enjoying the balanced fu-
as the Ukranian Bandura and do some unilque arranging. His I choreographers. on and off the stage attempt- si'on of two very different dance
the North Umbrian Small Pipes, "reggae version of a 1'0O A NEWCOMER to dance could
made from the hide of a gen- Blanche Ring song was quite an certainly appreciate the power Tg to n lss e
uine Nauga, to exotics like the adventure. Of Ukraninn ances- and energy needed to sustain 11 Tina Yuan and Ulysses Dove
guitar and clarinet, while kee .[ rh eosrtdwt i the demanding repertory. The! dance together in the first and "HOBO SAPIENS" is a solo
gtran ainwhlkep' tyhe demonstrated with ..is tedmndneeroy h third movements, alternating be- dance choreographed by George
ing his audience wide-eyed with bandura a condenyed, ers'o Ailey dancer seems accomplish- third jovement laing be- dance coreosraphe bere
curiosity and amusement.eof ed in jazz as well as in classi- tween jazz and classical styles. Faison to music of Stevie Won-
BLOOM brought only seven of a Ukranian ballad - in Lkran- cal ballet, in popular and in
his instruments with him. Ex- ian. Following that, he sang a modern dance. Since the reper- ;
plaining how he managed t h e bi-lingual French World War I! tory is eclectic and not designed - JOHN FORD Double Feature
train ride from his no ne in "epic" about the horrors of around one singular style theJo
Evanston, he remarked, "Well, war. ("We were youn ' We t in the may dane are OF SHARK ILArNhD
the recrder an small ipes i generally of a universal nature PRISONER O S A K IL N
fold up n my pack, as does thewere dumb/ We were s ared, - easily recognizable. And yet
clarinet. The bandura goes -in and full of cum.") the Monday night performance
this 'hand and the guirar and -- One of the most distinguished biographical films' of the
zither (Cynthia) go in the other. 30's, this film relates to the fate of Dr. Samuel Mudd who
I sling the dulcimer over my set John Wilkes Booth's leg and suffered for it. Starring
back." He was accompviued by Warner Baxter and John Carradine. 1936.
Harvey, a "six-foot invisible
rabbit who plays bass'. H a r- YOUNG MR. LI C"LN
very's bass playing was as ex bil at 9:05)
cellent as all of Bloom's was.
"Style of playing reflex.s the'c Henry Fonda's brillant performance as the honest county
region where you're from ', be- lawyer. Sergi Eisenstein once said if he could have made
gan Bloom, as he pluckel out a any film other than his own, this would be his first choice.
few notes on his dulcimer early
in the first set. "I'm fromn Los \ CINIMAGUILD BOTH FOR OLD ARCH.
Angeles". Thus flowed the eve- jV( -1$2.00 AUD.
ning. ;___ --- - - .
1 bb. fir.! Z'II A I L 1f'"1 l, A w'Cm 1t -- A-. t. I


der and Billy Preston. Carl Par-
is dances the role of a New York
City black who goes from a kid
with visions of fame to a bow-
ery bump The story line is very
strong; no one doubts that Paris
is a kid with dreans as he holds
a basketball and Stevie Wonder'
sings, "...they've been, spending
mOst their lives living in a fu-
ture paradise." With a kick the
basketball disappears and gar-
bage can lids lower; the ending
is hardly a surprise as Billy
Preston's, "Nothing From Noth-
ing," completes the montage of
popular rock songs.

MARCH 31-APRIL 3, 1977
Evening Performance 1 ,

$:00 P.M.
Matinee, Apr#
2:00 p.m.
$3.50, $4.00, $4
Tickets availab
at '
UAC Ticket Centri

ra s


SHOWTIMES 1-3-5-7-9

As It was Acted (with great Applause) in 1623

ANNAl?131212UIUM U=L)
Tonight in Auditorium A, Angell Hall
(Peter Pilof an, 1970) 7 & 10:30
In this spectacular Berkeley Memorial Day concert, Jimi Hendrix,
rock's all-time guitar virtuoso, plays "Purple Haze," "Machine
Gun," "House of the Rising Sun," several unrecorded songs, and
a long instrumental jam, ali backed by Mitch Mitchell (drums)
-and Billy Cox (bass). "This film is a must-see for all Hendrix
fanatics, or rock music fans. His long-long unaccompanied giutar
"Star-Spangled Banner" sequence is more than worth the price
of admission "-New York Herald.
(Anton W. Green, 1972)
Japanese Samurai flicks stars Peter Bergman as love-crazed
A free-wheeling spoof of the '30's sci-fi movies, King Kong, and
gorilla-mad scientist Nasi Goreng, and Phil Proctor of Firesign
(One Plus One)
(Jean-Luc Godard, 1968) 845 ONLY
The Rolling Stones rehearsing "Sympathy for the Devil" provides
the backdrop and counterpoint to a whirling attack on and exam-
ination of politics, society, and cinema. "A movie experience of
major importance . . . beautifully and carefully composed, a kind of
testament to Godard's very original, creative impulse, which is
undiminished by the world he would annihilate."-Vincent Canby.
Admission: $1.25 single feature, $2.00 double feature
Thursday, Feb. 24 in Aud. A-

isn't it?

Cancer Society

SHOWTIMES 1-2:25-3:50-

,. a : . ,.. :. _ _ ,.

4.44. rjrjrplIA v 9-k-97 Friday through Sunday


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4 I '^^^at 8:00 p.m.
at 2:00 p.m.
The and Pw Award-Winning



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