100%

Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue

Share

Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

March 22, 1977 - Image 5

Resource type:
Text
Publication:
Michigan Daily, 1977-03-22

Disclaimer: Computer generated plain text may have errors. Read more about this.

THE MICHIGAN DAILY
A rts &tm ent Tuesday, March 22,1977 Page Five

//11 [

Ceccato enthuses Choral

Union

By SUSAN BARRY
IT HAS BEEN DECLARED by many that Aldo
Ceccato has brought new life to the Detroit Sym-
phony Orchestra since he joined it as music director
in 1974. Whether or not this can be proved, it is un-
deniable that Ceccato's presence enlivened the Choral
Union in their presentation of Beethoven's Missa
Solemnis with the Detroit Symphony Sunday after-
noon at Hill Auditorium. Ceccato's personality in-
fused the choir with its energy and was reflected
in a performance that was pleasantly variable in
its tone and intensity.
The mass began with a smoothly simple "Kyrie"
that was performed with an exceptional richness of
tone and depth in the choral as well as instrumental
sections. Seth McCoy, the tenor soloist, performed
with a range most remarkable in that the lightness
and ease of his tone actually increased with its in-
tensity. Thus his high tones were noticeably un-
strained and clear. Benita Valente, the soprano
soloist, also performed with a strong, resonant and
wonderfully accurate clarity.
The "Gloria" contrasted in its rapid and vigorous

tempo. It was here that Ceccato's personality be-
gan to emerge. His dramatic and powerful maneu-
vers animated the intensity of the choir which built
and diminished effectively as the soloists returned.
ELAINE BONAZZI, the contralto, had a full voice
but was too easily overpowered by Valente. When
the women sang together the blend was unusually
well-balanced and the voices complemented each
other nicely, but as all four of the soloists sang
together the voices of Valente and McCoy were pre-
dominant.
The blend was more remarkable in the relation-
ship of the choir and orchestra. From the majestic
fortes to the rather ethereal tones of the softer sec-
tions they were evenly matched, although at appro-
priate moments sections of the orchestra or choir
emerged subtly and provocatively. This effect rose
to a passionate level of excitement in the "Amen,"
punctuated by expressionate movements by Ceccato.
The "Credo" began with a solemn quartet of
soloists. This was resolved in the "Et ressurexit"
where the personality of the performance took on
a joyful expression.

IN THE "SANCTUS" the orchestra emerged in
solo sections of the Prelude. Concertmaster Gordon
Staples performed with 'such dramatically sweet
simplicity and ease of technique that, especially in
combination with the solo voices, his solos created
the most moving moment of the afternoon.
In the "Angus Dei" bass Ara Berberian had a
chance to explore the -full, although rather subdued
tones of his voice. His technique was rather unusu-
ally nasal but the effect was not unpleasant. Here
the contrast in the technique of the soloists was most
obvious. McCoy performed' with a vivacity that was
extremely appealing. Valente's clearness and accura-
cy were most prevalent. Bonazzi often sacriffced ac-
curacy in her higher range but her performance
was full of warmth. Berberian's voice was deep and
carefully placed.
The "Agnus Dei" conveyed its dramatic anguish- in
its plea for mercy with menacing drum rolls and
vocal solos weaving and echoing in warning but end-
ed peacefully in the "Dona nobis pacem." As the
final -victorious flourishes vibrated through the hall
the effect was stirring and memorable. Ceccato and
his orchestra's next visit to the University will un-
doubtably be warmly anticipated.
en blast ff

DoilvyPhoto byANDY FREEBERG
Anthony Braxton, virtuoso jaz musician, lets g o on the alto sax at one of his Saturday night
performances here.

SATURDAY NI(H;T SHOW

Unique
By KENNETH TOSOLT
THE LAST CONCERT of the
"Almost Spring Tour"
brought together blues greats;
Johnny Winter, Muddy Waters
and James Cotton Saturday
night at E.M.U.'s Bowen Field-
house.
The evening began with sever-
al instrumentals by Muddy's

lam

lets

Braxtonp
By JIM STIMSON trane, whose
LISTENING TO Anthony Braxton talk is some- ton acknowl
thing like listening to his music. If you While Br
enter in the middle of an idea, you won't be most spirite
able to make head or tail of it. contrabass
Braxton is one of the most Intellectual, ing was in
scientific and radical horn men in modern mu- Both these
sic. He plays all varieties of saxophone, nu- lower in sou
merous clarinets, and flute. Says Braxton, "I'd register of t
be miserable if I played sax all the time." moronsly lo
BRAXTON DISPLAYED his many talents BRAXTO
during two concerts last Saturday night in the fects of the
Michigan Union Ballroom. The concerts were net, which
prefaced by a lecture at noon and a work- At times Br
shop at 1:30. elephant, us
Braxton wasted no time getting started at students are
the 8 o'clock show. With three quick nods to fit together
the band, he launched into a fast-paced hard- sound.
bop alto sax number reminiscent of Eric Dol- Braxton
phy's more frantic flute improvisations. Trom- bone, Barry
bonist George Lewis played in unison with Brax- Helias on b
ton for the opening of the piece, keeping up bassist for t
the frenzied pace until Braxton broke into an land was sla
improvised section. This solo reached a spiritual Helias. Hel
peak that brought the crowd to its feet, ability, how
Braxton resembles the late Eric Dolphy in Percussic
many respects. True, they play the same range Braxton rec
of instruments, but more importantly, Braxton do more tha
plays with a similar intensity and disregard for a variety of
current trends. "I'm not afraid to make mis- horns, lendi
takes," he told his lecture audience. music, as w
BRAXTON, UNLIKE DOLPHY, seems at ever that m
peace with himself. He comes off more like Braxton's
a physics professor than an avante-garde music- sented by E
ian, with his quiet tone of voice and scientific ed by a gr
vocabulary. And though he's been said to play for the Art
with "scientific detachment," he conveys at the venerab
times a spirituality more akin to John Col- bearing Apr
Film festival wnes

lyrically
eimp~ortance in mnoder n music Brax-

JOHNNY WINTERS' slide gui-'
tar and Texas blues highlighted
the first set. Winter screamed,
grinding out superb licks and
raunchy, but suitable vocals.
He played a mournful slide and
rapid leads on his Bibson Fire-
bird, howling songs like "Don't
Want No Woman" and "Come
Into My Kitchen", a song cov-

bluesm

corded by the Allman Brothers
Band. In the middle of a slide
solo, Muddy broke a string on
his vintage Telecaster, one of
the original Fender models.
Dispatching the guitar off stage,
Muddy returned without it to
sing.

Working." on his harp, while Johnny Win
The exciting, eclectic blues ter, deeply entranced in the
combo. encored with the boogie synergetic spell, knelt on the
classic "Goodbye Baby." Cli- edge of the stage and played
maxing a three hour blues ex- powerfully to an ecstatic, sell-
perience, Cotton blew furiously , out crowd.
--1

edged in his lecture. back-up band, featuring guitar- ered by the Stones as "You
raxton's saxophone work was the ist Bob .Margolin, pianist "Pine Gotta Move". At times during
d and moving of the evening, his Top" Perkins, drummer Willie his solos, Johnny cut loose and
clarinet and contrabass sax play -"Big Eyes" Smith and bassist pranced about, eyes closed and
claine an cotrbas sa ply-Char-les Calmese from the smiling.
teresting and highly entertaining. James Cotton Band. They set Though Winter played excel-
reed instruments are considerably the pace for the first part of lently, some in the crowd
und than sax or clarinet, with the the concert with the fast blues wouldn't let him shake his rock
he contrabass sax being almost hu- of "Hideaway," the song which success. "This ain't no rock
w. made the late Freddie King fa- and roll show, this is natural
N PRODUCED the most unusual ef- mals. blues," Winter remarked to
concert with the contrabass clari- The boogie continued as hecklers' requests for his old
has a range close to a tenor sax. James Cotton joinedtthe group. hits.
,ratonmad itsoud lke dyngPerhaps the greatest of harp Muddy Waters' tunes compos-
raxton made it sound like a dying players, Cotton, who is synony- ed the remainder of the concert.
sing overtones that first-year horn mous with Chicago - style blues, He began with sterling rendi-
e taught to avoid. Somehow it all played forcibly in a wire-mouth tions of classic tunes like
for a wholly unique yet coherent attack, accenting his notes with "Hootchie Cootchie Man" and
a hard slap on his harp. "Trouble No More", both re-

WINTER soon rejoined the
group, playing slide on "Deep
Down -in Florida," a cut from
Muddy's new album Hard
Again, leading the musicians
into an all-out jam. Muddy belt-
ed out "Mannish Boy," with a
soulful screaming accompani-
ment by Winters and Cotton be-
fore launching into searing ver-
sions of .'The Blues Had a Baby
and They Named It Rock and
Roll, Number Two" and the
blues standard "Got My Mojo

1,

was ably assisted by Lewis on tram-
Altschul on percussion, and Mark
bass. 'Helias was the third string
the show; first the great Dave Hol-
ated, then Fred Hopkins, and finally
ias erased any doubts about his
ever, with his speed and sureness.
onist Altschul is a veteran of many
ording sessions, and knows how to
an pound the skins. He used as wide
percussion devices as Braxton used
ng wide textural contrasts to the
well as appropriate rhythm (what-
ay be).
lecture-workshop-concert was pre-
clipse Jazz and was partially fund-
ant from the National Endowment
s. The next Eclipse event will be
le Sonny Stitt, with his quartet, ap-
il 10.

OPEN POETRY READING
An opportunity to read your own poetry. An
opportunity to hear the work of student poets.
TUESDAY, MARCH 22nd
8:00 p.m.
PEN DLETON ROOM
second floor, Michigan Union
e

I
t +
t
r j
I
i
I
1
i
i

Amity,
APDQIL'JULY
LSAT,
SEMINARS
START APRIL 1
FOR APRIL 16 LSAT
12-Student Avg. Classes
5 Specialist Instructors
18 Class Hours
To receive our complete
course brochure and schedule
information without cost or
obligation, call toll-tree to
leave your name and address:
800-2-43767
11 am to 6 pm weekdays.
Cal now for advance
information on JULY
Law Boards.
AMITY TESTING INSTITUTE

The DOOBIE BROTHERS, with special guest COM
MANDER CODY, will appear, in concert, April 20 at
Crisler Arena. Reserved seats are $7.50 and $6.50 and
will go on sale tomorrow morning at 10:00 a.m. at Hill
Auditorium. Riding on the tidal wave of their "Greatest
Hits" album, the Doobies will team up with a homecom-
ing appearance by Ann Arbor's own Commander Cody
in what promises to be one of the biggest shows of the
year.
. Speaking of big shows, what more could you say
about ELVIS . . . His concert scheduled for April 24
caused more excitement, telephone calls and general
hysteria than we've seen in a long, long time. The
ticket sale was last Saturday at Crisler, with any-re-
maining seats available this week at the Michigan Un-
ion Box Office. When those hips sway . . . Heartbreak
Hotel ...
This Sunday night, the princess of funk, CHAKA
KHAN and RUFUS will fly in for 1 show with DONALD
BYRD and the BLACKBYRDS at 8:00 p.m. in Crisler.
Since Rufus' last Michigan appearance at the Pontiac
Silverdome last July, they've released their hot new
album, "Ask Rufus."
Lastly, HARRY CHAPIN is appearing at Hill Auditor-
ium on Friday, April 1. Harry received the 1976 Rocky
Award for recognition of his great public service on be.
half of World Hunger. Chapin, who has raised nearly
a million dollars for charitable organizations is our
proud example of the many people in the music indus-
try dedicated to helping others.

By C. S. NICHOLS
ONLY MINUTES before the
Ann Arbor Film Festival's
Winners' Shows Sunday evening,
'The List' was posted. Only 43
films had earned cash prizes
out of a field of over 450 entries.
As usual, there was dissent in
the crowd over the judges' se-
lections.
The controversy centered
around the big winner, James
Benning's "11x14", which cap-
tured the $750 Tom Berman
award. "11x14" draws criticism
for its length (81 minutes) and
lack of intensity; praise for its
visual strength.
The color film has sequences
of varying length, most of them
showing trucks, other vehicles,
and farm scenes. Its clear im-
ages and straightforward cam-
era approach were welcome
sights after numerous entries
with optical distortions and
blinding technical tricks.
THE FILM suffers not visual-
ly, but from its content. There
is a vagueness about the film's
intent, a lack of order and di-
rection. Granted, experimental
film's perogative is to deviate
from standard cinematic forms

such as plot and theme. But
when such deviations bore and
alienate the audience, the form
falters.
"Haliburton" (Mary Moulton)
won $400. A jolting shot of a
nude women with razor blades
stuck in her breasts was cruc-
ial to the film's sensitive por-
trayal of a woman engaged to
be married in 1948. Many view-
ers thought it too outrageous for
acclaim. Paul Winkler's "Bark-
Rind," that irritating barrage of
grass, bark, and insect noise,
won $150, much to the dismay
of this critic and other Festival
goers.
, Few could argue, however
with $150 awards to "Tanka"
(David Lebrun), a "whirling
dervish" of Tibetan paintings,
and "American Shoeshine,"
(Sparky Greene) by farthe au-
dience favorite during the Fes-
tival.
Saturday night'saFestival
screenings were a gala to re-
member, thanks to Pat Olesko.
Olesko an extraordinary crea-
tive model who designs outrag-
eons costumes did a striptease
at the 7 p.m. show. She is also
the nude on this year's Festival
poster.

PERSONAL
Mature'young Woman
with beautiful voice
seeks equally mature
people to join her on a
romantic fantasy.
REPLY:
MINNIE RIPERTON
C/O EPIC RECORDS
AND TAPES.

a
!

GODULD
SATURDAY, March 26 7:30 p.m.
RACKHAM AUD. $3.50

I

,

I

tw$
,_' S '

:^,X~f Akf c. r7 t8 iN 0

GET INVOLVED,
POWERFUL PEOPLE NEEDED
" Do you have personality and organizational skills?
4 Would you like to get involved in the decision-making process
at U of M
Because of graduation and term expiration the Student Government
has student openings on the following committees:
UNIVERSITY COMMITTEES:
Board in Control of Intercollegiate Athletics
Program Evaluation
Budget Priorities
Residency Appeal Review Committee
University Steering Committee
Office of Student Services Policy Board
ACRICS (2 year position)
Energy Conservation Task force
University Cellar Board of Directors (2 year position)
University Council
Union Board of Directors
Academic Planning Analysis Committee
SACUA COMMITTEES:
Civil Liberties Board
Student Relations Committee
University Relations
Classified Research
MSA Committees
Personal Interviewing Committee
Insurance Committee
Budget Priorities
Program Committee
Student Organizations Board
Previous committee experience is not required. All that is necessa'y is the willingness
to devote a small amount of time to the committee work.

I

r,

THE MAJOR EVENTS OFFICE Presents

DISCOVER
TUMURRkWI
a unique collection of arts & crafts from the
decendants of Mexico's ancient cultures;
Tumurrawi offers a colorful choice for the col-
lector as well as those who seek the unusual as a
gift. 'nuient gu .tries- pottery

M
f

IF

III

®1

I

Back to Top

© 2021 Regents of the University of Michigan