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.

February 26, 1976 - Image 5

Resource type:
Text
Publication:
Michigan Daily, 1976-02-26

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

THE MICHIGAN DAILY
SidE O NE """" n'" ve Thursday, February 26, 1976 Page Five

w
1 I

Michael Tilson

Thomas pe

Beethoven's later choral

FA

ART GROUPS STUDY
t USE OF MONEY
fIm s NEWYORK A' - A semi-
nar to help nonprofit arts
groups make the most of their
financial resources was held
i~i ~here in October. The seminar
was jointly sponsored by Asso-
ciated Councils on the Arts and
the American InstitP tofC rti-

ulc 111i.11140u 1 SIUe OI ertl-
By KEVIN COUNIHAN was too subdued, Thomas is 1812 when the composer was ment, Beethoven wrote a cele- troduces two themes which are fied Public Accountants.
EARLY IN 1969, Michael Til- back in good graces with a mag- simultaneously working on Sym- bratory cantata that joyously, then transferred to the chorus More than 60 administrators
son Thomas, the 25-year-old nificent new recording of Beet- phony No. 7 to 1824 which also praises the work of his subject in the subsequent movements. of 26 museums, symphonies,
assistant conductor of the Bos- hoven's Late Choral Music (Co- marks the year Beethoven com- with stirring chords of brass and Through a typically inventive theaters and dance groups took
ton Symphony Orchestra, re- lumbia M 33509) with the Lon- pleted the Ninth Symphony. strings and with a full choir use of recapitulation, the two parts
placed an ailing William Stein don Symphony and Ambrosian WRITTEN on commission to pronouncing such tributes as movements weave in and out of Tw
berg at a concert in Philhar- Opera Chorus. In each piece, celebrate the opening of a new "Hail to Thy Father! Our Sa- the piece and are finally re- preparation of financial state-
monic Hall and began an almost Thomas keeps sharp control over theatre in Budapest in 1812, the, vior/Who has brought faith and united in a stunning coda. me rats budeting nitrin
Horatio Algeresque rise to prom- both orchestra and chorus and "Incidental Music to King; hoe.operations gby me monitoring
inence. Thomas is a refreshing produces performances that Stephen" displays Beethoven in Structurally, the piece is but IN CONTRAST to this delib- means of finan-
character on a fairly unexciting 'keep true to the composer's his majestic (and somewhat hu- a further example of Beetho- erate piece of program music, cal reporting, preparation of
I documents for use in fund rais-
music scene. He has recorded wishes while providing insight morous) guise as the patriot par ven's indefatigible brilliance for the "Elegiac Song" reveals andsed
perhaps the best performance of into this eternally enigmatic excellence. "King Stephen" tells' compositional technique. The unusually overt sensitivity. Writ- ing.and procedures for main-
Ives' Three Places in New genius. the story of the sainted national relatively short "Overture" to ten in 1814 for soprano, alto, troigs nternal financial con-
England as well as the Stanley The five works presented on hero of Hungary, Stephen I, "King Stephen" supplies all the tenor and bass soloists with s
Silverman-Richard Foreman op- the LP document a particularly who was instrumental in convert- compositional material for the string accompaniment, the "Ele-
eratic tour de force Elephant (fruitful and mature time period ing his countrymen and neigh- rest of the work. giac Song" mourns the prema- Second week-
Steps and shows no signs of in Beethoven's career. In this boring tribes to Christianity in After an opening series of de ture death of the wife of one of Campus Theater
limiting his repertoire. instance, the choral music spans ; the 11th century. scending fourths in the trum Beethoven'sOpatronspandclosest Sh oren at 6:45
If last year's Carmina Burana 1 a twelve-year sequence from To this dubious accomplish- pets and horns, the overture in- friends. In addition to the ex- Sorry No Posses
pected sombreness of tone and
expression, the piece is startling- "MYSTERIOUS
'TRANSFORMATION': lyrcontemporary in its voice
leading in both chorus and MONSTERS"
strings. Schoenberg's "Trans-
figured Night" must surely pay
anCious : ECtriv ia j zz homageto this beautifully cryp- ___603_eastbry

Manchester's latest
LP a disappointment

By PAUL J. GRANT
A/IELISSA Manchester is a
brassy and gutsy vocalist
whose songs have brightened
up AM radio playlists. She can
sing in a nearly - perfect jazz
style and can camp it up as
much as her former boss Bette
Midler. (Manchester was an or-
iginal member of Midler's back-
up group). Her new album, Bet-
ter Days & Happy Endings may
sell well but, unfortunately, it's
not nearly as strong as her pre-
vious work.
Manchester's last album, Me-
lissa, which may be used as
a basis for comparison, was
sweet and funky. Each of its
tracks exuded some indefin-
able energy, but the new al-
bum consistently fails to get off
the ground.
IN LARGE part, I ascribe
this to the production of Vini
Poncia, a protege of producer
Richard Perry. Poncia seems
to haveall but xeroxed Perry's
technique but with less con-
cern fordetail. While Melissa's
vocals are strong, there is noth-
ing in the monochromatic ar-'
Starcast
By MIKE TAYLOR
BAR band named Starcastle
has, for some reason, re-
leased their first album, also
called Starcastle (Epic PE 339-
14). The six members of this
group apparently would like to
belong to Yes, but as they
don't, they have produced an
album sounding remarkably
like Yes. Terry Luttrell does a
great Jon Anderson imitation
on guitar, and the rest of the
band tries very hard to sound
like their mentors from Yes.
Unfortunately, just because
they sound like Yes doesn't .

rangements for hert
against. There is no ten
therefore no excitemen
The single "Just You
is a prime example of t
of direction. In threen
the song is over and th
er tends to forget that
existed. The opening cu
py Endings" fares bett
rhythm section is c
and tight, and the Car
like sentiments rest inc
ously in the backgroun
easily the best cut on
bum.
Other songs try to br
of the dreary routine b
only varying degreesc
cess. "Rescue Me", a7
of the old Fontella B
falls far short of the
in terms of intensity.
Up Woman" tries to be;
song but fizzles out in t
cess. Somewhat better
beautiful and sensuous
Tfrn fhP n nnd f

to work
sion and
it.
and I"
this lack
minutes,
e listen-
it ever
t, "Hap-
ter. The
ontrolled
ol King-'
onspicu-
d. It is
the al-'
eak out
but with1
of suc-
remake
ass hit,
original
"Stand
a torch
the pro-
is the
"Come

w - - ir.ro

Ui

The final three pieces

are

By TOM BERGH 39) "to the Lotus Feet of His something of interest to offer less, the subtle interplay and shorter works, two of which
W HENEVER you come upon Divinity". Yet being of open the listener. In particular, on soloing of the instruments pro- were written to the verse of
an album that is dedicated mind I decided to swallow my , the 18 minute title tune, San- vides an atmosphere of emo- Goethe. Except for the haunting
to one Divine power or another prejudices and give it a listen. cious takes advantage of the tional power that is seldom "Song of Sacrifice" which fea-
there is a very great temp- And it's excellent! vocal talent of Gayle Moran, a' achieved on record, tunes a convincing solo by so-t
tation to immediately con- This is one of the finest ef- former member of the Maha-? prano Lorna Haywood, these
sign it to the poryvinyl chloride 'forts to be recorded within the vishnu Orchestra, to interweave iTone, consisting of Gerald beces display a similar am-
recycling bin, electric jazz idiom in some with his synthesizer work and T Carboy on bass and Ernest Ca biance in their fast-moving
So imagine my chagrin when time. Sancious and his band lend the cut a crystaline, exotic ter on drums and percussions.
David Sancious, a musician Tone are all splendid musi- flavor which is extremely com- keeps mainly to the background Both the Lond Sy ho
whose keyboard work, especial- cians, but more importantly pelling. . but provides a solid foundation and AmbrosianChoS prfor
ly on Bruce Springsteen's first they refuse to rely solely on But perhaps the finest music br Sancious' soloing on synthe- admirably throughout and re-
two albums, I have always had speed and pyrotechnics to lend on the album is "The Play and sizer, organ, piano, and guitar, snodiwll thouMihael Tindr-
a great deal of respect for, ded- their music excitement as so Display of the Heart", a duet hot ga ns i o a d uitr, et s nond well to M ichael Tilson
icates his latest recording many bands in this genre do. for piano and acoustic guitar th acoustic and electric. Yet Thomas skillful direction. With
Transformation (Epic PE 339-1 EACH cut on this album has Besides being technically flaw- en th these onatidn the e retino the
of technical brilliance on a wide lied" where the intonation in the
variety of different instruments, horns is a little sloppy and the
" ,the most impressive things tempo becomes muddled, these
about this recording are the su- five examples of Late Choral
perb jobs done of composing Music stand as a welcome ad-
and arranging, which are both dition to Beethoven's recorded
^ ) creative andl accessible, works.

Shown Tonight at
7:00 & 9:10
Open 6:45
4

ACADEMY
AWARD
NOMINATIONS
Emanl I 1# o t
Seasn iael
Plunmer
who would Be ing

entertainer on r'~1gnumiwiis

theannarbr ilmcooeraiv

ing tunme"inSiSing a By LOYD PETTEGREW first hand experience for Tom ed by brilliant monologus -
pseudo-gospel number with' a NIG1I'IHAWIKS at the Diner Wis pnaeufny n cue
zestful alto sax obhgato to Me- (Asylum) is a' musical lun- ;.AS A SINGER, Waits' voice Eventthe songs themselves are
lissa's vocals, cheonette served by ersazt gour- nicotine ring to it. It is as dis- than the material on his pre-
met Tom Waits. Waits, singer
and songwriter, surfaced earlier tinctive and effective as that vious albums.
Sndthis decade as an obscur of Spike Jones; yet there is no Several cuts are elegant in
inbe~ air of affectation in young both conception and execution.
entertainer with no discernable Waits' style. Most notable are "Better Off
musical roots. Three records His latest album is note- Without A Wife" which chain-
mente're asgodEahf later, he has emerged as a nt-WtotAWf hc hm
mean they'res good.Each something of a cult hero within worthy, fresh, and ambitious- pions social orthogonality, "Put-
the members of Starcastle play rock music's inner circle, faithfully personifying its name- nam County" - a Steinbeckian
their parts well, but they play His relative obscurity may be sake: ighthawking at the dner, look into the grist of small town
them by themselves, with none due largely to the fact that his This two record set, recorded life, and "The Ballad of Big Joe
of the interplay that makes d live by tenured studio engineer and Phantom 309."
music by their famous counter- eral public consumption on the Bones Howe, is all one could Tom Waits is no less than a
parts so dynamic and exciting. AM airwaves ask for. musical phenomenon in this era
Furthermore, while each suc- The subject of Waits' verbal A SIGNIFICANT reason why of "high amplification and the-
cessive Yes album tends to excursions reminds one of the this album is great, not just atre rock." His music rings
mark an advance over pre-; ballads of the late Jim Croche. good, is the ambience created true through the din, but only
vious work. Starcastle is just Waits, however, is better able j by, in Waits' own words, "some to a small following who have
a rehash of old ideas; nothing to establish the authenticity of of the most imaginative, leviti- taken the time to appreciate his
new is presented. People who his unadulterated wanderings cously deteronomous hi voltage quality and authenticity-minus
can't get enough "progressive through the beer-belch halls and musicians ever to unpack their the glitter and pomp. Night-
rock" may like Starcastle, but junk food kitchens of a ne- wares." hawks stands as a musical re-
when we've already got Yes, glected America. What appears Nighthawks represents t h e past for those whose appetites
why do we need second-rate to be the product of Croche's evolution of Waits as a per- remain unsatiated from the ac-
imitators? vivid imagination is positively former. Every song is proceed- couterments of schlock rock.

i,,
4
!'',
- ''
j,
Y
3
3
"I
r
. i
}
.1
(1

TONIGHT-Thursday,
FREE

Feb. 26th
FILM

The Story of Temple Drake
(Stephen Roberts, 1930) AUD. A 7 & 9
Karl Struss festival in conjunction with Cinema I and
Cinema Guild. Laroelv responsible for tighter Hollywood
censorship, this frank adaptation of Faulkner's white-
slavery shocker "Sanctuary" features Hopkins penetrat-
ina study of the title character's inner turmoil. Karl Struss'
cinematography creates a distorted nightmare world of
sinister darkness, dramatic contrasts of light and shade,
eerie camera movement. Unique vintage print. FREE.
in AUD. A, ANGELL HALL $1.25
FRIDAY: BRUCE LEE double feature
FEATURING:
MASQUERADE

ARK PERFORMANCE:
Reed--authentic hillbilly music

By JOAN BORUS warm,
the au
IT'S REALLY sad that so few that t
people saw Ola Belle Reed they a
and her family at the Ark last
weekend. Not only are they ex- And
cellent musicians, but they put chal on
on a really fine show filled with show.
anecdotes and typical country nal whl
humor: or Da\
a bre
And it takes more than a poor woran
audience turnout to shake Ola's bd a
optimism. She simply informed
those who did show up that she OF
and her family were pleased to around
play for them and that we were it prov
all going to have a good time. of pro
It's certainly easy enough to keep t
have a good time with the here's
Reeds. First of all :hey play says in
some of the best country music duction
you're ever likely to hear. Ac- knew."
tually, calling it "country" is :her, m.
an injustice to Ola Bellh; the come f
term doesn't have much mean- tone of
ing for her. She prefers to call
her music "hillbilly," because So do
"we called it hillbilly music of bei
then, so that's what we 'hou his ow
he pick
BUT WHATEVER label ycu Free,
give it, the renditions are crisp, the auc
sharp and authentically rough- Ola i
edged and harsh. Each of the ish mo
Reeds has their own separate not sur
musical personality in addition I claims
to being tight ensemble players. Polish,
Ola's claw-hammered banjo play-
ing is considered to be among
the best in the business. Per
husband Bud plays a >entle,
laid-bhack Ruiitar and rails owtI

close-knit feeling with among others. The same sort of ! a tremendous potential for bring-
dience. You never forget mock-dictatorship which she ing people together.
hey are a family before I holds in her family extends to I
re performers. the audience as well. When she It is this spirit which touched
finds a song she wants them to me far more than any flashy
it's definitely a matriar- sing she stands up in the middle banjo lick, quick guitar runs, orI
ne, with Ola directing the of the floor, intones the words stirring songs, though the Reeds
the 'do that and much more. Ex-!
Her definitive nods sig- 1 line by line and insists the audi- .
hen she wants either Bud ence return the words back to periencing Ola transcends print-
vid to play a solo or take her, unaided, as many times as ed words; she's too large in
ak. A portly, imposing it takes for them to learn it. spirit, voice and common-sense
, she dominates her hus- Like a choirmaster or a conduc wisdom to be accurately repro-
nd son. tor, she directs the audience duced in the space allotted here.
with her hands, signalling to If she returns to the city of
COURSE the kidding them when she wants them to Ann Arbor, she ought to find a
is all good natured, but wider audience.
level off or stop completely.
iirf.p JU.)1 11th rihtclJ1J'JU1

COMING
SOON
Our Annual
Spring Vacation
Special
Mar. 7--13
BILLIARDS
AT REDUCED RATES
AND
M PiN Bowling
At The UNION

WEEKLY HOURS
9 p.m.-2 a m.
516 E. Liberty

FRI. & SAT. HOURS
8 p.m.-2 a.m
994-5350

COMING MARCH 1: LESLIE WEST
fI ADVANCE TICKETS ON SALE NOW'

III

1i

ues just the rign amount
evocative antagonism to
he audience alert. "This
my old man Bud," 0la
a lofty offhanded intro-
n, adding "though you all
But Bud gets back at'
uttering asides which be-
unny just by his look and
f voice.
oes David. After a night'
ng mock-ordered around,I
ally was allowed to pickI
n song to play. The song{
ked was "Thank God I'm
to the infinite delight of
dience.
s a combination of Jew-'
other and schoolmarm;
prising for someone who
to be "part Scotch-Irish,
Jewish and Indian,''

ALL THIS is terribly impor
tant to Ola. More than a per-
former, she sees herself as an
educator whose medium i
music. For her, music is a pow-
erful, god-given talent which ha
We Can
Provide The
Difference
UIM Stylists

t
^ {
y
tttt N
1l
S

j}
1
i
4
i
._,.

FRIDAY NIGHT AT HILLEL
6:00 p.m.: MINYAN DAVENING
6:00 p.m.: RAMAH DAVENING

7:00 p.m.:

8:00
8:30

GRAD SHABBAT DINNER
Call 663-3336 for Reservations
By 5 p.m. Thurs.
REFORM SERVICE
ONEG SHABBAT HEBREW HOUSE
800 LINCOLN

I

PLUS-
Friday Only
At 9:00;
A Special Preview
Showing of a
Major New
Motion Picture!

p.m.:
p.m.:

at H ILLEL-1429 Hill St.

At The

UNION

Women's Experimental Films
This program of experimental films by women
includes: HOW FUN and FUN ON MARS by
Sally Crukshank; ORANGE by Karen Johnson;
JEFFERSON CIRCUS SONGS by Susan Pitt1
k'rnnmin. ARMIFRITIo : h., as. r, -ta . s

I Wish My Mommy and Daddy
met through UAC Computer
Match
® APPLICATION
. .. . ..R ....

POETRY READING

I

Back to Top

© 2021 Regents of the University of Michigan