THE MICHIGAN DAILY
i E NE i "review Page Five
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N DESIRE Bob Dylan presents biguity of his earlier works. barrassingly poor production work. his wife's affections in almost
himself as a sad-eyed, mysterious AS A WHOLE, Desire is much less The musicianship on Desire is a cal terms.
messenger who has finally found the conceptually unified than his most marked improvement. Scarlet Ri- In fact, the title of the al
rightmusical style to compliment his recent albums. While Planet Waves vera's violin accompaniment is breath- surely related to this song;
expressive, visionary lyrics. From was a paean to his wife Sara and takingly beautiful. Using long, mourn- only effort on the new LP w
-- the:first note to the last, it's ap- Blood on the Tracks dealt with his ful notes that create a continuity of speaks effectively about the
parent that Dylan's singing and his separation from her, Desire is more mood throughout the album, she often of separation that dominated
choice of back-tip musicians are his of a musical and lyrical hodgepodge seems to be reading Dylan's mind, on the Tracks.
..pt hbest since Blonde on Blonde. is it features a mixture of protest The rest of Dylan's back-up band is "ISIS" IS a long, rambling
But the problem with Desire (C(o- songs, lve songs and travel logs as highly competent at the very least- tive in the tradition of "Stuck
lrmbia PC 33893) is that while the LP Ye as some deenly personaI work. EmmvLou Harris' vocals on such of Mobile With the Memphi
is an unqualified success in musical Nevertheless, Desire cannot be numbers as "One More Cup of Cof- Again." The song contains s
terms, Dylan's lyrics-usually the written off as another Dylan disaster fee" and "Joey" add a badly-needed Dylan's most tantalizing lines
outstanding feature of his work-are like Self Portrait because there are a extra musical engredient. Howard dream in which he "broke i
maddeningly uneven. Dylan seems to cosiderable number Af redeeming Wyeth's drumming also provides the tomb, but the casket was emp
"a be taking a more objective, lss per- features: including "Isis" and Sara," enery needed to drive numbers like searches "back to find Isis to
sonal stance than he did on Blood on two of Dylan's best songs. "Hurricane" and "Isis." I love her."
the Tracks and, as a result, most of lBut most of all, Desire, even though EVEN THE most capable musicians Despite these inspirational m
these songs are somewhat one- is uneven, is an encouraging sign can't turn embarrassingly-poor ditties in "Isis" and "Sara," the new
dimensional. rom Dylan because with it he finally like "Romance in Durango" or "Moa- is, all things considered, some
His best works like "Visions of cleans tip his musical act for the zambique" into powerful recordings. a letdown after Blood on the
Johanna," "Mr. Tambourine Man," first time in years. Likewise, the melodies of "Black But anyone who is vitally co
or 'Tangled Up in Blue" continue to SINCE 1966 he has recorded almost Dianmond Bay" and "One More Cup with the future of rock can't b
grow on you, but songs like "Joey" all of his work in extreme haste, of Coffee" don't provide much room be pleased with the fact that I
r;and "Hurricane"-despite their effec- often with musicians of questionable for improvement, either. at least attempting to refine<
Doily Photo by PAULINE LUBENS tiveness as rock numbers-just fade talent. Blood on the Tracks, in par- Without a doubt, "Sara" and "Isis" prove his art at a time when
Dylaaway in the listener's mind. What's ticular, was marred by out-of-tune redeem the value of the album. On pop music's leading perform
clearly missing is the provacative am- guitars, boring solos and some em- "Sara" Dylan describes the loss of content to live off their past L

mythi-
bum is
it's the
here he
themes
Blood
narra-
k Inside
s Blues
ome of
in this
nto the
ty" and
tell her
noments
ralbum K
thing of
Tracks.
ncerned
help butVi
Dylan is
and im-
most of
ers are
aurels.

GU RRE-LIEDER'

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .f
!¢::: /l::a:". . ::x :::: :v;:%N: 'a:... . . . . . . . . .^.......'!".......1:..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..o. r. A.~r...'..: :. S. A.:

Schoenberg

played

perfectly

"I LOVE YOU"v
SAY IT IN A DAILY
VALENTINE

By KEVIN COUNIHAN

song-cycle based on poems by tialiy disastrous sonic pyramid. Schoenberg also structured each
the Danish writer, Jens Peter melodic section so as to work

THE MUSIC of Arnold Schoen- Jacobsen. Jacobsen's almost Balance is the essential quality
berg is so inextricably asso- imagistic verse concerns the for effective use of the Wag-
ciated with serialism and the Camelot-like legend of the nerian orchestra. The sheer size
twelve-tone system that his twelfth century King Valdemar of divrsity of instrumentation
strong ties to German Roman- I of Denmark, and Schoenberg can overwhelm the most skill-'
ticism are often forgotten. Yet took obvious care to preserve ful orchestrator, but, as in the
the works of Beethoven, Wagner the rhythmic sense of the lines., case of Gurre-Lieder, control is
and Mahler were important in- never sacrificed. This was ac-
fluences on his compositions, as U N D E R Schoenberg's in complished at least in part by
they would be on his two dis- fluence, the listener is transfer- a subtle use of ostinato and
ciples, Berg and Webern. red to a magical kingdom of doubling of passages in the
The compositions that led up rich forests and vegetation. The winds and brass. Not only does
to the expressionistic Pierrot angry King Waldeman curses this allow for greater depth of
Lunaire-,such as Pelleas und God for permitting the death of , orchestral color, but it provides
Melisande, the first two string his sweetheart, Tove, by his space in which to introduce new
quartets, and the Chamber Sym- vindictive Queen and for the themes.
phony No. 1-revealed Schoen- sentence that upon his death, he
berg's tonal experiments. It must ride nightly through the THIS NEED for flexibility can
then becomes of particular sig- sky in vain search of Tove. be best appreciated upon learn-
nificance to experience the work This damnation is made even ing from Alban Berg's analysis
which preceeded those formid- more Wagneresque in Schoen- of the work that Gurre-Lieder
able accomplishments. This has berg's orchestration of the score is comprised of 35 leitmotifs.
been provided for listeners in a ten years later. Employed for Though each motif establishes it-
new recording of Gurre-Lieder, the cantata is a huge orchestral self as an independent source
sensuously interpreted by Pierre ensemble, including ten horns, for movement and identification,
Boulez and the BBC Symphony four harps, a bass trumpet and
Orchestra and Singers (Colum-, choir. Yet, in following afas-
bia 33303). cimile of the score, it was ob-
Originally written in 1900 and vious that the composer made
scored for solo voice and piano, discriminate and exceptionallyg-
Gurre-Lieder is an ingenuous knowledgable use of this poten- !
Snow's 'Second
Powerful sequel
By KURT HARJU strings and various other in-
IKE Maria Muldaur's Wait-|struments (such as a tuba quin-
ress In A Donut Shop, Phoe- tet)
be Snow's latest record Second I It's obvious that her backup
Childhood (Columbia PC 33952)| work with Paul Simon on his
is an outstanding sequel effort latest album has influenced
that lives up to the amazing Phoebe in this respect. Simon's
promise of her debut album. producer Phil Ramone handles
With the hit single "Poetry the studio chores while othera
Man" under her belt, Phoebe standbys like Hugh McCracken
needed only to prove her artistic on guitar and the Jesse Dixon
staying power, and this LP es- Singers add the distinctive
tablishes her as a major talent. touches that have helped char-
Though Second Childhood is acterize Simon's solo recordings.
unlikely to produce anything as
popular as "Poetry Man," it is OF ALL the songs, the first
a work that fully develops her track on each side is the best.
unique style and displays her "Two-Fisted Love",is an incred-
vocals and lyrics in a subtler ibly moving number that is as *
and more effective setting. Each powerful as any rock'n'roll songY
cut has been crafted with lov- without any of the harshness or
ing care to create a richer but speed. Likewise, "All Over" is
more precise sound that uses See SNOW, Page 8

in groups as well. Thus, the
beautiful symphonic interlude
before the "Song of the Wood-
Dove" is made up of nine pre-
viously used Waldemar-Tove
themes.
The score is no less brilliantly
interpreted up Boulez and the
BBC orchestra. The painful
lyricim so well refined by the
Romantics is omnipresent in
Gurre-Lieder and displayed in
all its glory. As Tove, Marita
Napier is outstanding, capturing
every nuance and beautifully
expressing them in her rich and
majestic soprano voice.
The success of Gurre-Lieder
should be sufficient encourage-
; ment for Boulez to attempt sim-
ilar works. A new Tristan and
Isolde would be a possioility.
For now, let us hope that the
trend continues.

TONIGHT-Thursday, Feb. 5
BLOW-UP
(Michelange!o Antonioni, 1966) Aud. A, 7 & 9
Based on a fine short story by Spaniard Julio Corazar. A
mod London ohotographer realizes after the fact, that he
may have photoaroohed a murder. The unreality of reality
is the basic theme. Music by Herbie Hancock plus a
sequence with the Yardbirds with Jimmy Paqe and Jeff
Beck. An extremely important film and winner of many
awards. David Hemmings, Vanessa Hemmings, Sarah Miles.
AUD. A, ANGELL HALL
Admission $1.25
FRI.: THE KING OF HEARTS and ANGEL
double feature in MLB.

COMEDY PREMIERES!
THE PROFESSIONAL THEATRE PROGRAM
THE ACTING COMPANY
premieres in their repertoire
CONGREVE'S
'The Way of the World
Feb. 6 and 7 at 8 p.m.
Feb. 8 at 3 p.m. & 8 p.m.
I1
Directed by NORMAN AYRTON
POWER CENTER
Tickets at the PTP Ticket Office, Mendelssohn Lobby.
Mon.-Fri.. .10 a.m.-1 p.m., 2-5 p.m. and all Hudson
Stores. Call (313) 764-0450 for info.
The Comedy Hit
231, south state TeCmd
of the Year!
SHOWS TONIGHT
Theqt e Phone 662-6264 AT 7:00 & 9:00
OPEN AT 6:45
4 s.unie~sLost Times Tomight
C C AMPUS "LE SECRET" (PG)
OPEN AT 7:00
STARTS. TOMORROW!
m g o
polished performances
enteYtim ens
MICHAEL YORK RICHARD ATITENBOROUGH TREVOR HOWARD
STACY KEACH CHRISTOPHER PLUMMER SUSANNAHI YORK
A hm ,, IO ITRNATIONAL LTD CNU
CRONIONCON UC
GD ALED EST 4.

THE UNIVERSITY OF MICHIGAN
PROFESSIONAL 1HEATRE PROGRAM
GUEST ARTIST SERIES
in the POWER CENTER
TICKETS
$2.50-
Book by Ossie Davis,
Philip Rose, and Peter Udell
Music by Gary Geld
Lyrics by Peter Udell

TONIGHT-
Live-On Stage
"HAIR"
Thetr -Phne66- ,9 7:00.& 10:00
-TOMORROW-
ADVENTURE IN ALL ITS GLORY!
.. _$1,. tI Y:: : "esent-
I pun n