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July 09, 1971 - Image 9

Resource type:
Text
Publication:
Michigan Daily, 1971-07-09

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

Fridlay, July 9, 1971

THE MICHIGAN DAILY

Page N in e

Friday, July 9, 1971 THE MICHIGAN DAILY Page Nine

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Watts plays at Meadowbrook

By JOHN HARVITH
Heat, humidity and an un-
daunted, s p r a w l i n g audience
greeted this tardy reviewer as he
more-or-less successfully manag-
ed to wedge himself into a post-
age stamp plot of grass at a
Meadowbrook Music Festival
concert featuring conductor Six-
ten Ehrling, pianist Andre Watts
and the Detroit Symphony Or-
chestra.
As this relentless search for a
patch of green ensued, the pro-
gram had already begun with
Carl Nielsen's Third Symphony
("Espansiva"). This most acces-
sible of the twentieth-century
Danish composer's six sympho-
nies was a cause for keen expec-
tation since Ehrling and his or-
chestra have long established
themselves as being among the
outstanding Nielsen interpreters
of our time. Unfortunately, P&R
men of the recording industry
haven't caught on yet, relying
on big-selling names with lesser
interpretive Powers (i.e. Leonard
Bernstein) to steal the national
spotlight with their Nielsen re-
cordings
After this glowing promo for
Ehrling's Nielsen, it's not a lit-
tle embarrassing to confess that
Saturday night's Espansiva was
somewhat disappointing: the en-
semble simply lacked cohesion in
the first two movements. Sloppy
string entrances and limping
pizzicatti frustrated Nielsen's
carefully wrought architectural

plan, and the "heavenly" non-
verbal soprano - baritone vocal
cantilena in the Andante move-
ment sounded more perfunctory
than anything else. Mercifully,
the orchestra suddenly snapped
to attention for the concluding
two movements so that Ehrling
was able to exhibit his rare tal-
ents as a Nielsen exponent. The
impish humor, vigorous ath-
leticism and soaring lines of the
Espansiva finally shone foth
through Ehrling's smooth handl-
ing of tempo changes, his inps-
tence upon clarity of melodic
lines, and his idiomatic grasp of
the work's dancelike ch rector.
Recalling Andre Watts' virtuo-
sic, muscle - botggling imp

through the Rachmoanin'tf Third
Concerto at the 1969 Moadow-
brook Festival, this nyemtbty of
the Saturday evening tudience
fully expected similar s rfng-
snapping calisthenics in the
Brahms Second Concerto. Whiile
making the most of the con-
certo's more extroverted mo-
ments, Watts stunned this listen-
er by the unexpected subtlety
and refinement of his playing
his finesse with echo effects in
repeated phrases, his controlled
ear-ravishing pianissimi in the
slow movement, his graceful,
lilting account of the final move-
ment, where he displayed play-
fulness and delicacy worthy of
a great Mozart pianist.

lecorded suckers
(Continued from Page 5) it once, they'll go for it again.
group looks like they fit right See, things don't change that
into the CSNY, Van Morrison, much.
Band Schtick; and since that's Maybe all this won't happen.
what's happening, United Artists UA is pretty poor at promotion
can give them some big promo- and they might be incapable of
tion about their creativity and getting this product hot. I hope
relevance to today's music, the so.Buttasyprdthov.nifhou
same way the Magoos were pro- never hear of Klatu Berrada Nik-
moted in '66, and the people will neveriheaflatuerrdan
fall for it, just like they fall for tou again, at least you've been
Elton John. Never mind that the brought up to date on the Blurs
Dependables are just as phony Magoos.
and pretentious in this scene as And didn't Carole King write a
the Magoos were in the acid- lot of crummy Top-40 hits in the
hippie scene; if the people go for early 60's.

I x
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Stste stroetrtatoae Unvsty.an aroorM, chgn e s tadsium nasiLbetyAn Aro Mchi
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e 0 0 y ont 9 .00 POsam 7i . Phoe i-l2

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