"Here is an orchestra of sound musicianship and first-rate quality." - The Times, London p~cae r;'.Xa rav c~+ 't . Erich Bergel, Conductor DTROIT SYMPHONY ORCHESTRA Schubert: Symphony No. 8 (Unfinished)' Beethoven: Piano Concerto in B-flat Radu Lupu, pianist Lutoslawski: Concerto for Orchestra Fri March 5 at 8:30 Hill Auditorim Tickets at $5.00, $7.00, $9.00, $10.00, $11.00, $13.00 Tickets at Burton Tower, Ann Arbor, MI 48109 Weekdays 9-4:30, Sat. 9-12 (313) 665-3717 RUSH TICKETS Available from 4-4:30 today at Hill Auditorium Box Office $3.00 ea.-limit 2 7jIVE iVSITYeUSICAL 8OCIETY In Its 103rd Year ARTS' Page 6 Friday, March 5, 1982 The Michigan Daily Ho iger Os oboe not an i wind r By Jane Carl O BOES ARE primarily regarded as orchestral instruments in America, as are most wind instrumen- ts, and have been defined as "an ill wind that nobody blows good;" but Heinz Holliger, the bookish, bespec- tacled, 42-year-old Swiss oboist and composer, has done more than his part to change both images. His overwhelming virtuosity has ear- ned him world-wide acclaim for both his interpretation of the expansive baroque oboe literature and that of new works by composers such as Berio, Stockhausen, and Penderecki, who are among the 60 composers that have writ- ten works for Hollinger. Speaking by phone from Seattle, where he appeared before his recent American premier of a work by Witold Lutislowski for oboe and harp with the Minnesota Orchestra, Holliger related the state of European oboists. "The oboe is much more common as a solo instrument in Europe, especially in England, which is due to the British oboist Leon Goosens, a pioneer in the field. In America, the training from the very beginning is orchestral. ."I, too, started more than twenty years ago as an orchestral player, but that was only for three years. Now I sometimes think it is also a pity that I am a soloist. I would like to play with a good orchestra and a good conductor, but only for one concert. Then, I would go back and be a soloist again," said Holliger with a laugh. As a composer, Holliger studies with Boulez and was very influenced by the Viennese school. His own Study on Multiphonics explored the harmonics, chords, and various other effects possible on the oboe. Speaking of the two vocations Holliger said, "Both professions are together. I couldn't be without either one. I wouldn't play as I do if I didn't compose, and I wouldn't compose as i do if I didn't play. "Although I have written for the oboe, I'm not interested in writing music for my onw performance. I'm very interested in the human voice. I've recently written two one-act operas based on the Beckett plays "Come and Go" and "Not I," and a cycle for a capella chorus using the poems of Holderin." Heinz Holliger and his wife Ursule, a harpist, will appear at Rackham Auditorium Sunday, March 7, at 4:00 p.m. The program will consist of 19th century paraphrases of Bellini and Donizetti, solo works for oboe and harp by Benjamin Britten, and Andre Jolivet's Controversia, a piece in- troducing new techniques for both oboe and harp. Tickets are available at the University Musical Society, Burton Tower. Swiss-born oboist Heinz Holliger displays his expertise at Rackham Auditorium Sunday afternoon. APPRENTICESHIPS IN THE ARTS s PARSONS at Lake Placid Parsons at Lake Placid. A fresh approach to summer study, offering intensive two-week workshops by master artists/craftsmen. Parsons at Lake Placid is an extension of Parsons School of Design's internationally acclaimed summer programs. The curriculum is struc- tured to develop new skills and refine existing tech- niques for students at every level. Records WORKSHOPS: SCHEDULE: CREDITS: FACULTY: FACILITIES: SETTING: Ceramics Photography Glass Wood Papermaking Surface Design Metals Fibers Printmaking Siouxsie and the Ban- shees-'Kaleidoscope' & 'Once Upon a Time/The Singles' (PVC-Jem) Both of these albums seem to have been released in America without much fanfare; apparently the attitude of the record company is that their release was required by historical obligation, a sentiments that (quite literally) sells them short. Kaleidoscope, especially, deserves' far more attention. Every bit as com- manding as its follow-up, juju', you might also find it somewhat more listenable. The hooks seem somewhat more liberally doled out over the course of Kaleidoscope, though that in no way lessens the tone of deathly grandeur that typifies The Banshees sound. In many ways, I think history may prove Siouxsie and The Banshees to be Two-week sessions, June 20 to August 28. Two undergraduate or grad- uate credits for each workshop. Robert Lee Morris, Mary Ann Scherr, Don Reitz, Dorothy Hafner, Junco Sato Pollack, Joan Livingstone, Albinas Elskus, Rudy Staffel, Heikki Seppa, Cornelia Breitenbach. Superbly equipped studios Comprehensive Design Library Exhibition Gallery Housing available upon request In the natural splendor of the Adirondack mountain resort village at Lake Placid, New York. an underestimated quantity in their own time. An apt comparison would be that Siouxsie and The Banshees do for dance music what The Velvet Un- derground did for folk music-they took it on a tangent that explored its darker implications and applications, and thereby set the standards for wave af- ter wave of fascinating derivations. But that possibility is clear only on Kaleidoscope. It is much harder to mate a strong case for Once Upon a Time, which seems mostly just ar- bitrary and obligatory. The only real use I can see for this LP is as a basic Banshees primer. All of side twq is now available"on other albums, which one really must own if one is to take Sioux- sie seriously. And if side two is unnecessary, side two is downright annoying. Personally, I would much prefer to forget that The Banshees produced any music prior to Kaleidoscope. Even if "Hong Kong Garden" is the "poppiest" thing thatQ The Banshees have ever done, it still can't overcome the forced and strident temperament that completely obscures their other work from this period. The only amusing aspect of this stuff is that the musical histronics (produced high and shrill like fingernails scratching on a blackboard) make Siouxsie's vocals sound every bit as ridiculously trashy.. as the best/worst of Black Sabbath. If that sounds good to you, go ahead and try Once Upon a Time with my, blessings. But I could almost guarantee- that you'll find Kaleidoscope that much better. It is here that we finally see the true blossoming of Siouxsie and the Banshee's nightmare factory. I'm sure*. The Banshees would much prefer to be remembered as The Velvets rather- than the Black Sabbath of their era. -Mark Dighton, ill y N c - LSAT MCAT -GRE GRE PSYCH * GRE BIO r MAT GMAT - DAT - OCAT -PCAT VAT- SAT 1 ACT* CPA*TOEFL f For detailed brochure, please send the coupon or call the Office of Special Programs: (212) 741-8975.- m -- -- -m -- -- -mm- - mm m MUSIC DANCE TELEVISION PAINTING FILM THEATRE CRAFTS THEATRE SCULPTURE PUBLISHING RADIO GRAPHICS MUSIC GALLERIES PHOTOGRAPHY ARTS ADMINISTRATION MUSEUMS : Soopg cif Office of Special Programs Parsons School of Design 66 Fifth Avenue New York, NY 10011 MSKP - NA TL MED BDS ECFMG - FLEX VQE NDB - NPB I -NLE SbD1M. M4PEAN EDUCATIONAL CENTE R Test Preparation Specialists Since 1938 For information, Please Call 211 E. Huron St. Ann Arbor, MI 48104 (313) 662-3149 FOR INFORMATION ABOUT INTERNSHIPS, CREDITS, COSTS, HOUSING, AND SPONSORS, CONTACT: Great Lakes Colleges Association Arts Program 2182 Broadway (at 77th Street) New York, New York 10024 (212) 580-1620 Name Address City State _ Zip Support the m m U [*' v