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F 0
Friendly
flute
James Galway
University Musical Society
Hill Auditorium
8:30 p.m., Friday, March 18
By Lauris Kaldjian
J AMES GALWAY ... To those who
have seen and heard this man per-
form, the mere mention of him name
produces a smile that recalls a flutist
whose Irish charm and expert ability
have made him admired by audiences
the world over. Whetherhe plays solo
Bach or a pennywhistle folk tune,
Galway consistently communicates the
joy and satisfaction that he receives
from music.
Unlike many renowned musicians,
Galway has few pretensions about him.
His witty candor and friendly nature
have an immediate effect on an audien-
ce. With bearded face and pleasant
brogue his leprechaun-like appearance
adds even more to the magic of his
music.

Galway's unstilted manner is no
doubt related to humble origins. Born to
working class parents in Belfast, he
was horrified by the thought of working
in the factories. So he began learning
the flute from his father, and by the age,
of fifteen he began formal study on
scholarship in London and Paris.
After playing in the orchestra of the
Royal Opera House at Covent Garden
and the BBC Symphony, Galway went
on to hold principal positions with the
London Symphony and the Royal
Philharmonic. Finally, in 1969, he was
appointed first solo flute of the Berlin
Philharmonic and remained there until
1975.
Galway then decided to pursue a solo
flute career, a venture neither often nor
easily done. Fortunately audiences
were ready and his orchestral
springboard propelled him into a new
arena for which he was superbly fit.
There has long been a disturbing
separation of popular and classical
music. Few have dared an attempt to
bridge that gap, and even fewer have
been successful at it. Andre Previn and
Itzhak Perlman come to mind in the
realm of jazz. On a wider scale James
Galway has recorded a variety of dif-
ferent music: Japanese flute melodies,
folksong arrangements, even a country
LP. His collaboration with Cleo Laine is
another example of his sustained effort
to communicate to a vast audience.
As a proponent of contemporary
music Galway endeavors to enrich the

James Galway: Smilin' eyes
flute repertoire throughout the world.
When in Rome he plays like the
Romans do. He has worked with com-
posers from India, Israel, America,
Spain, Australia, and Britain, and he
has commissioned numerous works
composed especially for him.
Tonight in Hill Auditorium Galway
will perform with his compatriots of
The New Irish Chamber Orchestra, as
part of their currentjoint U.S. tour. On
the program are Baroque works by

- -
Diner
drama
By Andrew Chapman
SCENE 6A: A young woman, played
by Barbara Thorne is taking inven-
tory in the basement of her small town
diner. She's pretty, with simple, home-
spun good looks. In this story, she is
also hard up for money.
Sammie, played by Timothy Grimm,
is talking to Thorne (Cheryl in the
story) about anything but money. The
emotion between the two characters is
subtle, not overdone. But it seems
realistic, at leastcloser to real than you
see on almost all contemporary
television productions.
Cheryl is embarrassed about asking
Sammie for money (most people would
be). But she does-in a low key
way-and she gets the cash t'o save her
failing diner. The episode is, as much as
possible, about the way normal people
react to hard times, to unemployment
and recession, and to real life in 1983.
Behind the script and the acting are
the Michigan Video Writers, a group of
Ann Arbor artists who are interested in
writing and producing independent
programs for cable television. The
group was founded last year by about
six University graduates and their first
film, The End of the Small Town Diner,
is now in the last stages of production.
With a $1,700 grant from the Michigan
Council on the Arts and a $10,000 overall
budget (made up in part of gifts of
equipment from local video com-

panies), Small Town Diner is not going
to be the most polished of productions.
But flashy staging and tear jerking per-
formances are not what the writers are
looking for-it's more of a real life in-
terpretation.
"(The production is) funny and it's
very real," says Thorne. "It never gets
melodramatic." Cheryl, Thorne's
character, is young, married, prac-
tical, and decent, she says-just like a
million other normal Americans. She is
also plagued by America's tough
economic times-just like 200 million
other Americans.
The End of the Small Town Diner is
"more of a character study on how
economic factors effect people and
their values . . . how they interact
given certain economic pressures,"
says Ed Saunders, assistant director on
the project and a member of the Video
Writers.
"We're examining how that (hard
times) changes relationships between
people," Saunders says. Beyond the
character studies, the plot line of the
story -is loose: the three main characters
all face monetary problems and must
change the way they live to stay afloat.
Shot to look like anytown U.S.A.,
Small TownrDiner will have a
definite Ann Arbor flavor. The diner
used for most of thescenes is the
Cloverleaf on Broadway. Stockroom
scenes were shot in the basement of the
Central Cafe.
Everyone in Ann Arbor, according to
Saunders, has been extremely helpful.
The Cloverleaf even closed one after-
noon so the group could shoot an in-
terior scene during the daytime. Most
of that local help has been, says Saun-
ders, "just out of the kindness of their
hearts."
Ann Arbor Video, a local video
production and rental company,
donated about $2,000-worth of equip-

Telemann, Quantz, and Vivaldi. As a
sample of both Irish and contemporary
music the orchestra will perform Ar-
thur Duff's (1899-1956) Irish Suite for
Strings.
There are still tickets available to
hear James Galway, one of the few
flutists ever to rise above the orchestral
masses into public view and ap-
preciation. Like an Irish pied piper he is
sure to lead the audience to conten-
tment at the rainbow's end.W


Mostly
class
Mostly Bross
St. Andrew's Episcopal Church
8 p.m.,Friday, March 18
By David Martinez
F EW COMBINATIONS of musical
instruments can match the sonic
power and aural splendor of a brass
ensemble combined with organ and
percussion instruments. The roots of
such ensembles go back at least as far
as the middle ages, where trumpeters
and drummers served nobility, per-
forming ceremonial heralds and battle
music.
The early music scholar David
Munrow once noted that because of
their importance to royalty, trumpeters
and drummers "occupied a more
elevated social position than most other
professional musicians." It was only
natural that this music for nobility be
combined with the organ, considered to
be "the king of instruments".
In scenes depicted in "The Triumph
of Maximilian I" from 1526, one finds
portable organs being played on horse
drawn carts, in combination with brass
instruments and kettle drums per-
formed by players mounted on horses.
Such a mixture of instruments ob-
viously created a large amount of
sound. While the nobility was

enamoured by such combinations of in-
struments, others like the 16th century
musician Sebastian Virdung wrote in
despair about the noise, especially that
of the army drums.
Virdung wrote, "These drums are to
the taste of those who cause much
disquiet to pious old people, to the
sickly and weakly, the devout in their
cloisters and those who have to read,
study and pray. I verily believe that the
devil must have had the devising and
making of them, for there is no pleasure
nor anything good about them."
A century later, in a treatise on music
from 1635, the musician Marin Mersen-
ne said brass instruments "serve in
time of peace and war for all sorts of
public celebrations as is seen in
marriages, banquets, tragedies, and
carrousels."
Historically, the church has also
combined brass instruments with the
organ in its display of pomp and
ceremonial, as heard in the works by
Giovanni Gabrieli for St. Mark's
Cathedral in Venice.
Thus, down through the recent cen-
turies, brass instruments, together with
organ and percussion, have served to
lend importance to festivities-secular
as well as sacred.
One might ask then, what event is
being commemerated tonight when the
Mostly Brass ensemble performs its
debut concert?
Put simply, it is a celebration based
on the love of music making-for them-
selves as well as for the pleasure of
others.
Mostly Brass (the organist and two
percussionists are the only "non-brass"
performers) is "a volunteer group of
twenty-four local university level and
professional musicians performing
works for brass, and for brass with
organ and/or percussion," according to

the group's founder, John Shuler.
The notion of forming such a group
first struck Shuler two years ago, as he
was finishing his Masters degree in
trumpet performance with Armando
Ghitalla, Professor Trumpet in the
School of Music. This school year,
Shuler posted sign-up lists and relied on
word-of-mouth to obtain a pool of in-
terested brass players. As more people
signed up, they would give Shuler the
names of other talented performers.
The group soon discovered though,
that trying to coordinate the busy
schedules of twenty-four musicians
caused immense problems. Difficulties
with absenteeism and "resignations" of
over-committed musicians plagued the
group early on. Meaningful rehearsals
were difficult to coordinate when
musicians assigned to a part were
missing, and when others had to sub-
stitute on a part they were not
scheduled to play on at all. Until an
organized system was worked out, the
constant change of personnel from
week to week precluded attention to the
finer points of ensemble playing.
Another problem Shuler had to tackle
was obtaining a copy of a little-known
work by the late American composer
Carl Ruggles, entitled Angels. Com-
posed in 1920, the work originally called
for forces of six trumpets 'and a bass
trumpet, creating a homogeneous
trumpet family sound.
Later, the work was revised - writ-
ten with the goal of making the work
easier to play, with simplified rhythms,
re-orchestrated for trumpets and trom-
bones, and written in a key of minor-
third lower.
Shuler opted to perform the more dif-
ficult, original version, but to find it, he
had to contact trumpet players and
publishers on both coasts, finally
locating the manuscript of the score in

the Music Library at Yale, where em-
ployees charged him a twelve dollar
minimum to photocopy a two-page
score. It was worth the trouble to
Shuler, who believes that the perfor-
mance will be a "premiere."
Other works to be performed on the
program include the well-known Fan-
fare for the Common Man, by Aaron
Copland; Divertimento by Leonard
Salzedo; Giovanni Gabrieli's Canzon
Duodecimi Toni, performed an-
tiphonally with brass choirs playing
simultaneously from the rear balcony
and in front of the sanctuary; Marcel
Dupree's Poeme Heroiqu; "Sokol Fan-
fare" from Sinfonietta, by Leos
Janacek; a new arrangement for brass
of the Pachelbel Kanon, by local com-
poser John Stout; a Suite from the 1860s
American Brass Band Journal; and the
finale - Eugene Gigout's Grande
Choeur Dialogue.
Assisting Shuler in the coordination
of this performance is organist Tim
Strode, and conductor Chris Zimmer-
man. The musicians have spent this
last week in intense rehearsal
situations, with rehearsal times for in-
dividual pieces computed to exact
minutes, to match the individual
schedules of interacting performers.
Shuler is confident that "the talent
within the group will make the concert
a good one."
The performers are also excited.
Mostly Brass trumpet player Cathy
Barnes commented, "It's a good group
to play in, and it's nice to play
something besides just band music."
The performance takes place at St.
Andrew's Episcopal Church, 306 N.
Division. Cost of admission is $2, and
after defraying the expenses of the con-
cert, the remainder of the money will-
be donated to a local charity. W

Director Mann: Behind the camera
ment to the group for the project. That
gift, says project director and video
writer Scott Mann, was essential.
Mann, who graduated from the
University in 1978, is the coordinator of
Small Town Diner, the writers' first
project. He runs around a lot during
shooting, helping to set up the camera
and trying to keep an eye on the actors
at the same time. With only ten crew
members, the project is a definite
group effort: no one has only one job on
the set.
Not only is work spread out, but the
hours can also be grueling. A few weeks
ago, the group worked from 4 p.m. until
dawn, all inside the cramped interior of
the Cloverleaf. "We were pretty giddy
by the end," admits Thorne.
In addition to the shooting, all the
cast and crew members hold down
other Ann Arbor jobs. Saunders works
as-a media consultant in the University
education school, Mann works at the
University's Michigan Media center,
and Thorne organizes at Ann Arbor's
Performance Network.
Given the amateur standing of the

project, their
and ever ris
Broadcasting
terest in the
take a look.
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local cable
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But no ma
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which shoul
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While this
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"We're pro
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growth in
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audiences a
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the network

SUMMER IN EUROPE IN JULY

CHARTER FLIGHT
NEW YORK TO... ONE WAY
AMSTERDAM...........255.00
FRANKFURT....... ......249.00
GENEVA................ 330.00
LONDON................ 195.00
MANCHESTER............ 250.00
MUNICH ................ 259.00
PARIS....................265.00
ROME................... 259.00
SHANNON.............. 199.00
SPAIN.................. 239.00
ZURICH ................. 290.00

SCHEDULED FLIGHT
DETROIT TO
BRUSSELS......... 620.00/700.00
HAMBURG.............. 696.00
LONDON................ 696.00
YOUTH EURAIL PASS
1 MONTH ............... 290.00
2 MONTH..............370.00

*INEXPENS
" Special Veg
" Unusual Sa

HAPPY HOUR
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Monday-Saturday 4-7 p.m.
THE CC
516. .Liberty
994-5360

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.,,,

4 Weekend/March 18, 1983

Ar1 . r I. FU~[ ~Ar~u(~' rida o Stray 10 .~AM to I
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