ARTS
Tuesday, February 10, 1981

Tues. Feb. 10th Lunch Forum
at INTERNATIONAL CENTER-603 E. Madison
"AN INTRODUCTION TO

,The Michigan Daily

Page 7

THE MUSLIM WORLD"
-by Doctor Umar F. Abd-Allah
Assistant Professor of Islamic Studies
Dept. of Near Eastern Studies
Usof M
Ecumenical Campus Center
International Center
Church Women United in Ann Arbor

Virtuoso concert by Yablonskaya

Sponsored by:

at 12 NOON
admission: $1

By LAURIE ANDERSON
Oxana Yablonskaya, the Russian-born pianist who
recently emigrated to the U.S., performed an im-
pressive, wide-ranging recital Saturday evening at
Hill, featuring music by Scarlatti, Beethoven,
Chopin, Prokofiev, Schubert, and Liszt.
Vablonskaya began the program with three
Scarlatti sonatas, in C Major, K. 159, in D minor, K. 9,
and in A minor, K. 149. Some of the nicer aspects of
Yablonskaya's style, which were evident in this
group of sonatas, are her clean trills and embellish-
ments, and her ability to contrast, with dynamics
different sections of the pieces. Her sound, unfor-
tinately, was marred by the ugly, uneven timbre of
her piano-it sounded harsh and brassy in the upper
registers, and dull and muffled in the lower ones.
Another problem, in the beginning of the recital, was
that Yablonskaya did not seem comfortable with the
size and the acoustics of Hill. She tended to play too
loudly and percussively, apparently fearing that she
would not fill up the auditorium with sound.
K THIS WAS especially apparent in the second piece,
te lively Op. 101 Sonata in A by Beethoven. Yablon-
'skaya's approach to the sonata, overall, was sen-
sitive and skillful. She sustained a warm, legato tone
in the lyrical sections, and clean, brisk melodic lines
in the fast-moving contrapuntal sections, but her
playing tended to be too heavy handed. She would
also momentarily lose control when she came to cer-
tain difficult passages, rushing through them too

quickly, with many inaccurate notes. Her tendency to
smear cadences together with the sustaining pedal
also spoiled some of the nicer moments in Beethoven.
Her performance of the Chopin Sonata in B-flat.
Minor, however, which ended the first half of the
recital, was masterful. This sonata can seem
tiresome because it is performed in concert halls so
often-perhaps too often-but Yablonskaya brought
to it some fresh insight. She played forcefully, but

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c

'With the pianistic sensitivity and
virtuosity that (Yablonskaya)
displayed She will undoub-

composer. By this time the pianist had adjusted to the
strange timbre of her instrument, and she managed
to draw remarkably sweet sounds from it.
Yablonskaya then turned to transcriptions by Liszt
of three Schubert art songs. Like many of Liszt's
transcriptions, these pieces are very long and redun-
dant, and the artist herself seemed slightly bored by
them. Again, she tended to get over-excited during
difficult passages, and over-pedaled and played inac-
curate notes.
The recital concluded dramatically, however, with
Nos. 5 and 6 of Liszt's "Paganini" etudes. These
etudes present perhaps the most formidable dif-
ficulties in all of piano literature, but Yablonskaya
tossed them off with brilliance and accuracy. Her
fingers ripiled with ease through the clusters of
grace notes and octave passages contained in the fif-
th etude.-
The sixth etude consists of variations on a familiar
Paganini melody, which become increasingly more
complex, but Yablonskaya defied the etude's tran-
scendental difficulties and played louder and faster
as the piece progressed. The speed and volume at
which she played the etude's brilliant concluding ar-
peggios which transverse the keyboard was dazzling.
Yablonskaya has been on the international concert
circuit for only three years, but with the pianistic
sensitivity and virtuosity that she displayed Saturday
evening, she will'undoubtedly enjoy a greatly suc-
cessful career.

macy's is looking for
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with a warm, singing legato touch and beautifully
proportioned and contrasted phrases, and without the
harshness and heavy-handedness evident at the
beginning of the recital. Her playing of the famous
"Funeral March" movement, in a dry, detached
manner with perfect dynamiccontrol was especially
effective.
THE SECOND HALF of the recital opened with the
brief, one-movement Sonata No. 3 by Prokofiev,
which Yablonskaya approached with the grace and
cool detachment appropriate for this modern Russian

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l1

Parliament

's

latest is down-and-ou

Parliament - "Trombipulation"
(Casablanca) - There is no one else
quite like Parliament. Or perhaps I
should say there is no one else quite like
George Clinton, the
Parliament/Funkadelic mastermind;
that holds this album together backed
by a rotating contingent of P/F players..
As we have come to expect from
recent P/F releases, if you can sit
through the lyrics of this album, you're
in for a real treat. But the lyrics can be
a real trial. Trombipulation is vaguely
about Sir Nose d'Voidofunk (an old
Parliament character), an ancient race
of humans named Cro-nasal Sapiens
that had trunks instead of noses, and
the process of trombipulation by which
certain animals use their well-
articulated noses as hands. But, as is
true with most funk, this album is
mostly about nothing at all, for the
lyrics are only an excuse for George
Clinton to work his vocal-arranging
magic.
IN THAT RESPECT, Trombipulation
is far ahead of most-other recent works
from the Parliament/Funkadelic stable
of stars. One cut in particular, "Crush
It," is quite remarkable in its myriad

lead vocals. The featured vocalists
seem to be constantly in flux, creating a
frantic, ranting dialogue that would
take a scorecard to follow. If you can
overlook the fact that these voices are
dropping little pearls of wisdom like "If
your nose is running and your feet are
swelling, you must .be upside down,
fool!" you'll probably be impressed
with the intricately fluctuating vocal
arrangement.
Of course, behind all this verbal in-
sanity is the usual, unmistakable

Parliament sound. B
own inimitable self o
Lee Chong even fills
half-defected (to Ta]
nie Worrell. One bad
of slow tunes on thisa
that, Parliament inje
into the vocals and
the rhythm to save th
ignomy that any le
have made of them.
By far not the best:
(check out anything
ship Connection era
particular for that), b
rely on Parliament t
cingest best.

ootsy Collins is his
)n bass and David
sin nicely for the
king Heads) Ber- CEDAR-POINT AMUSEMENT PARK, Sandusky,
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ct enough passion mer employment:
enough throb into Date: Wednesday, February 11
eeenog throbmitoe
Esser band would Time: 9:00 a.m.-5:00 p.m.
* Place: Placement Off Ice
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-Mark Dighton

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