THE MICHIGAN DAILY Arts & Entertainment Tuesday, April 1 9, 1977 Page Five UMS benefit standard' "Man in the Moon Marigolds': Memorable, By SUSAN'BERRY Matilda's rabbit and calls up the By-JIM STIMSON, twice the width of his waist), oven was contrasted with the principal of the high school toE Ormandy has complete assur- dreamy romanticism of the next T'HE ARENA THEATRE, be- inform him that Mrs. Hunsdorf-'7 THE PROGRAM for last Fri- ance and authority at the podi- selections, two nocturnes by De- cause of its structure and er called to tell him she wishes j day's Eugent Ormandy's Uni- um. He warmed up the orches- hussy. "Nuages," the first noc- size, has an amazing capacity she was dead." versity Benefit concert was a tra with Beethoven's "Lenore" turne, had a haunting and far- to present powerful drama with That this scene was carried traditional one. It included Beet- Overture. off theme, carried well by David an intensity that is nearly shock- off with such a compelling in-,; hoven's Fifth Symphony and At several points in the Leo- Updegraff's violin. "Fetes" fol- ing. This potential has been ex- tensity is the highest compli- ; "Lenore" Overture, Debussy's nore, the music builds to a high lowed "Nuages," and it built plored often in the past with - "Nuages" and "Fetes," and Re- volume, then suddenly breaks from a quiet introduction to a varying results. Last weekend ._ _ _ _ spighi's Pines of Rome. into a softer section. The break heraldic climax, amply pow- Roadside Attractions' The Effect Perhaps these time-worn vet- is signalled by Ormandy's pre- ered by the brass section. of Gamma Rays on Man in the erans were easier for a student cision baton-stroke, and the or- The final selection was Re- Moon Marigolds took full advant- orchestra to play with a guest chestra sounded surprised at the spighi's Pines of Rome, an age of these possibilities, and conductor. Or maybe the plan- violence of the transition. But evocative "symphonic poem." the result was truly memorable. ners thought a benefit concert by the end of the Leonore, and ! The first movement used a Divina Cook played Beatrice audiepce would appreciate the certainly in the following piece, noise-maker (a la New Year's Hunsdorfer, an aging, embitter- standard selections. Beethoven's famous Fifth Sym- Eve) to produce a carnival f ed failure of a woman whose Whatever the reasons, the re- phony, Ormandy had the dyiam- atmosphere. The next sections energetic hostility is absorbed sult was a rousing evening of ics of the orchestra well under were calmer, and even included in draining all possibility of recoded ighingae's ong pleaureMaster ofSCience old favorites. Battle - scarred control. a recorded nightingale's.song, pleasure from the lives of her warhorses though they are, the As the evening passed, the Actually, there was no prob- two daughters,layed Patric- The Master of Science i pieces performed by Ormandy orchestra seemed to warm to lem with the program. The audi- ia Albrecht and Lavinia Moyer. (MSS) is a 48 credit-hour and the tUniversity Symphony the music. By the end of the ence enjoyed it, the student No occasion is so unusual as earth or bioloical science Orchestra still had some fife in Fifth, the pizzicato was crisper , musicians enjoyed it, and even 1 to prevent Beatrice from reach- required for admisson. The them. and more audible, and the horns ' Maestro Ormandy looked pleas- ing into her emotional bag of 0 Basic Environmen brighter. Volume and precision ed. He was so pleased that he I tricks and extracting some ele- Appled Ecolov,, AND SO GOES Ormandy, itare vital to Beethoven. called his young charges the;ment of self-persecution to pre- Science, E nvironm seems. A short but powerfully- "Junior Philadelphia Orches- vent any occasion rescuing her Cr micalAnpvss, ment to Cook's performance. tion as the intimidated Matilda The audience could feel nothing was no less than perfectly exe- but compassion for this woman cuted. All her movements were who throughout the play was so remarkably and consistently offensively obnoxious. childlike, from the trembling of The performance of Albrecht her tortured face to her tiptoe- added irony to this reaction. Al- ing with anxious excitement to brecht's sensitive characteriza- add the finishing touches to her, display. The timing and strong charac- terization of this play added up to an explosive performance. Roadside Attractions will be welcome to share any similar productions with the Ann Arbor community in the future. ; ~ ~ Indiana University-School of Public and Environmental Affairs in Environmental Science n Environmental Science degree r program of preparation for both careers. A deree in physical, eenigineerinq, or mathematics is areas of study included are: tal Science Aplied Earth ental s, Mathematics r Sceces built man (his shoulders look THE TURBULENCE of Beeth- tra." GuA areri wrap-up superb By KAREN PAUL performing on a Joseph Guar- neri instrument of 1728, carried EXPERIENCING the perfect- his many medolic passages with ed union of the Guarneri grave and maintained the pro- String Quartet and Beethoven per quartet texture rather than on Saturday night caused me to taking over as a solo instru- regret that I had missed the ment. David Sayer added depth other concerts in a series of per- through countermelodies en- formances of the complete hanced by the beautiful tone of Beethoven string quartet cycle. his 1669 Andrea Guarneri cello. began fugally, then grew into rich chords of organ-like sonor- ity. Violin solos in the fourth movement sounded much like a late romantic violin concerto, and the cellist easily perform- ed in the high range of, his in- strument. The Guarneri String Quartet created a masterful rendition i i z i prisoners from their undeserved torment. So when daughter Ma- tilda (Albrecht) retreats into scientific experimentation and ends tp a finalist in a school ecience fair, Beatrice reacts to the news as to a personal af- front. "How could you do this to me?" bellows Beatrice, and the tortured Matilda looks gen- uinely remorseful for her trans- gression into success. WHEN BEATRICE consents to accompany her daughter to the final rounds of presentations, she is taunted by daughter Ruth (Mover) with her old high school nickname "Betty the Loon." In- stantly her face contorts with the memory of her obviously devastating adolescence and in a panic of gelf-pity she poisons * Environmental Management and Pohcy Economics, Environmental Planning, Envirometal Maogement-, Environmental Law, Environmental Engineeri ng * Professional Experience Internship, Applied Project, or Applied Science Thesis * Applied Environmental Science Concentration Specializatian in a particular environmental science field: Environmental Impact Analysis, Land-Use Analysis, Environmental Bioloav. Water Resource Science, Microbiologv, Geography and Geologv. " Limited fee remissions and assistantships available. " Mid-career options available School of Public and Environmental Affairs Master of Public Affairs The Master of Public Affairs degree (MPA) is a 48 credit-hour interdisciplinary program of preparation for public sector careersbCandidates are admitted from a -variety of educational backgrounds. Courses in the core concentration include: " Public Management " Public Organization " Quantitative Analysis for Public Management I & 1 " Public Management Economics " Law and Public Affairs * Public Finance and Budgeting " Internship options " Mid-career options * Limited fee remissions available The areas of profesisonal study available are: " Comparative and International Affairs " Environmental Poi cv " Health Systems Administration " Management of Public Affairs * Planning . * Policy Analysis " Public Financial Administration * Public Safety Policy * Public Sector Labor Relations " Urban Affairs For information and application write: Director, M.P.A. Program or M.S.E.S. Program Director of Public and Environmental Affairs Indiana University 400 E. Seventh Street Bloomington, Indiana 47401 The musicians, prforming the quartets Op. 18, No. 2, Op. 59, No. 3 and Op. 132 in Rackham Auditorium, displayed An inti- mate understanding of Beethov- en's music from his earliest tof most mature quartet styles. Evident from the opening measures of Op. 18, No. 2 was the Guarneri Quartet's homo- geneous blend of tone, precise technique and exacting interpre- tation. The four musicians seemed to be playing of one mind - each nuance being thought out and executed withs an absolute control. Violinist Arnold Steinhardt, of Op. 59, No. 3. After a slow THE OTHER MEMBERS of introduction, the first movement the quartet, John Dally, violin became a lively dialogue be- and Michael Tree, viola, were tween the instruments, the third better able to demonstrate their |movement flowing gracefullyI remarkable ability in the Op. and the lightning speed of the 132 quartet, because Beethoven last movement sparking the gave the four instruments a audience to an enthusiastic more equal footing in this piece. standing ovation. The Guarneri quartet captured ! The series ended with a con- the sophisticated intricacies of cert on Sunday afternoon in the work composed of 25 years which the Guarneri String Quar- after Op. 18. They smoothly tet performed Beethoven's quar- transacted changes of texture, tets (Op. 18, Nos. 4 and 6, Op. character and dynamics. Each 95 and Op. 135, to complete the movement evolved from its mo- cycle: I was unable to attend tif-like kernels into the large, but do not doubt -that it was complex forms of Beethoven's every bit as great as Saturday late period. The third movement night's concert. I T om Waits: One of a kind By BILL STIEG "HE'S AN ORIGINAL," Bon- nie Raitt once said of Tom Waits, who went out of his way to stay in flophouses when on tour with her last year. No one who saw the raspy- voiced singer-poet Friday night at the Michigan Theatre will argue with that statement. Waits, an enigmatic spokesman for the seedy side of America, lived up to his burnt-out image' for an hour and a half, includ- ing three encores, before stumb- ling off stage for good. During that hour and a half, he growled out more than a doz- en of his bluesy songs, backed by a very tight sax, bass and drum combo. Waits played pi- ano on about half the selections, and on. the others he simply stood- at the mike, writhing spastically and fishing for cig- arettes in an old, dirty sport coat. HE LOOKED LIKE a half- drunk, half-storied bum who had just caught a couple of hours sleep, probably in a hotel lobby or train station. Which is just the image he wanted to project. Contrary to present appear- ances, the 26-year-old Waits and he loses some of the inti- grew up in a middle-class home macy and rapport with the audi- in southern California. After ence evident in his live album, high school, he began working "Nighthawks at the Diner." nights as a dishwasher, short- Nevertheless, he came across order cook and janitor, sleeping quite well Friday night, delight- in the daytime. ing the somewhat rowdy mid- Waits writes songs about the night audience with his antics seamy night world he his will- and poetry. ingly subjected himself to. His He sang seven songs off his songs are vivid portraits of the new album, Small Change, in- "bowels of the metropolitan re- cluding the title cut, which be- gion," as he says, but they have gan beautifully with Waits a romantic, almost sentimental lighting a cigarette on the dark- touch to them. ened stage as the sax started to moan. It was a typically AS MIGHT BE- EXPECTED, brilliant bit of showmanship Waits would best be heard in a that somehow captured the es- dark, smoky bar. But now that sence of Waits' world of "warm he hasquite a large following, beer and cold women," across big concert halls are necessary, town from easy street." RUDOLF STEINER INSTITUTE OF THE GREAT LAKES AREA Every child has natural creative abilities that need to be nurtured. Sheila Dailey, a certified teacher trained in the arts, will conduct A CHILDREN'S ART WORKSHOP exploring themes contained in fairy tales and legends through painting, movement, and clay modeling, for chil- dren ages 5-9, at RUDOLF STEINER HOUSE 1923 Geddes Ave. Saturdays, 10-11:30 a.m., beainninq April 30 Fee for six sessions: $25 For more information, please call 761-7183 MAJOR EVENTS uww , OFFICE Presents: DGGIE * ISITHERS - - - ----- "Live" in Ann Arbor SUN.- WED. APRIL 24-252-27 LYMAN WOODARD ORGANIZATION cov Q. 2.00 [ I c'1 r vz also appearing STARFIRE Disco THUI±S.-FRI.-SAT: COMMANDER CODY WEDNESDAY, APRIL 20, 1977 CRISLER ARENA-8 P.M. RESERVED SEATS $6.50 I.