Page 6-Wednesday, July 11, 1979-The Michigan Daily Guitarist's strains By GERARD PAPE fluid. This moody, stately piece did not Carlos Barbosa-Lima, the interna- suffer for lack of clarity, and one could F tionally famous Brazilian guitarist, observe the agile guitarist firmly and opened the University Musical intensely moving from chord to chord.- Society's Summer Fare Series in ALBERT HARRIS' 1951 "Sonatina" f Rackham Auditorium Monday evening. was next. Barbosa-Lima proved to be y While his playing in the first half of the equally facile with the fast and slowt concert seemed mainly to highlight his sections of this work. Again, precision t disciplined technical expertise, the was the key characteristic-never an y second half revealed Barbosa-Lima's ambiguous note; the playing intense, r range of expressiveness. but not overly emotional.1 The program opened with Santor- Barbosa-Lima's transcriptions of five sola's "Prelude in Ancient Style." This Scarlatti harpsichord sonatas followed. piece, written in 1945, is a neo-baroque They were the highlight of the first half. composition. Barbosa-Lima executed it Barbosa-Lima's combination of in a manner that was both precise and precision and clear contrapuntal ex- EDUESAY MONDAY GT IS ADULTS IR.,ST.,SUN. '"DEDA S GUEST NIGHT" EVE. a NOUDATS $3.50 X "BARGAIN DAY" TWO ADULTS MOI.-TNUH.EVI. $3.00 1.50UNTILS:30 ADMITTEDFOR THE AllUMATINEES $2.50t $15 Nl :0 PRICE OF ONE CNILD TO 14 $1.50 -4 . iest MON, TUE, THUR. FRI 7:20-9:30 MON. TUE, THUR, FRI 7:30-9:30. 1 1:15-3 20 5 25 7 30 9:35 1:30.3:305:30-7:30-9:30 -xuk fluid and precise pression were just right for these baroque masterworks. Especially im- pressive were the virtuosic speed and agility he displayed in the last of the five, as well as the particular flourish with which he played all the ornamen- tation (trills, etc.). The transcriptions themselves demonstrated how these works benefit from the resonance and richness of guitar as opposed to har- psichord sounds. The only fault one could find in the execution of these works, and perhaps of the first half pieces in general, was a somewhat stiff and mechanical feel to the playing at times. Bach's "Andante and Allegro from Violin Sonata #2" concluded the first half. Again, the transcription seemed richer and more fluid than the original. Especially well performed was the Allegro section which featured some of Barbosa-Lima's fastest, smoothest, most legato playing. THE SECOND HALF opened with Ponce's "Theme Variee." From this piece on, Barbosa-Lima's playing seemed looser and warmer. His technique was just as good, but judging from his facial expressions, he seemed to be allowing himself to feel the music more. The "Three Etudes" by Mignone and the "Sonata" by Ginastera were both written for Barbosa-Lima. The first of the three eludes (#5) stood out for its exquisite sadness and passionate longing. Barbosa-Lima seemed to be pushing the guitar to its limits of inten- sive expressiveness. The other two etudes, while interesting melodically, seemed to be more traditional exam- ples of the form, that is, i.e. studies in difficult and fast playing. Ginastera's "Sonata" concluded the program. At times, Barbosa-Lima Caries Barbosa-Lima Guitarist Rackhm Auditorium July 5 Works by Santorsola, Albert Harris, Scarlatti, J. S. Back, Ponce, Mignone, and Ginastera would use the guitar as a rhythm in- strument, tapping at the wood. He ob- tained a full range of sounds by sliding his fingers over a string and plucking at the strings above the top of the guitar neck. The piece was very interesting rhythmically as well. Barbosa-Lima executed all special effects in his usual delicate and subtle way. The piece con- cluded with a half-strummed, half- finger-picked finale that was both in- tense and exciting. This quite enjoyable evening of Bar- bosa-Lima concluded with encores of Villa Lobos' "Prelude #2" and Savio's delicate "Little Music Box." A. Fiedler dead at 84 BOSTON (AP) - Arthur Fiedler, the zesty showman who brought classical music to millions as conductor of the Boston Pops, died yesterday at his Brookline, Mass. home, a Boston Pops spokesman said. The 84-year-old maestro, who had remained vigorously active until the past year, died at 7 a.m. at his home, Pops spokesman Larry Murray said. On June 5, Fiedler suffered a heart attack, his fifth since age 44. The hospitalization was the latest in a series of illnesses that began with surgery to relieve pressure on his brain in Decem- ber, 1978. Fiedler opened his 50th season with the Pops in May. But a few days later, he collapsed backstage and spent several days in the hospital suffering from exhaustion. FIEDLER BECAME conduc- tor of the Boston Opos Orchestra in 1930, and in the years that followed, he molded it into a Boston institution that lovingly fed classical music to people who swore they did not like classical music. His intention was to bring people into the hall to hear Souse and send them away humming Mozart. He believed that he suc- ceeded. For 10 weeks each spring, Fiedler channeled the sometimes forbidden virtuosity of the Boston Symphony into the musical tastes of the "average guy." For most people, he was thePops. Arthur iedler With his stern military mustache and flowing white hair, he led the orchestra through bouncy mixtures of light classics, show tunes, and Top 10 hits. When not conducting Pops concerts in Boston, Fiedler traveled throughout the world leading local orchestras. His schedules would have been num- blingly exhausting for most men half his age. For instance, in 1976, at age 82, he made 164 appearan- ces outside of Boston. Fiedler was born Dec. 17, 1894, in Boston, the son of Emanuel Fiedler, the Austrian-born first violinist with the Boston Sym- phony. In 1910, the family moved to Berlin when his father retired. Young Fiedler went there to school at the Royal Academy of Music. But as World War I ap- proached, he returned to Boston, there to remain for most of the t rest of his life. . 1 _~ F'.'4 :7 "' ",i."-. T.T'4' '4 ,."-0' "Pz:'a..:.',a . v g , .a. a e x , a c = '.: s ?-. F . 9.