ARTS
The Michigan Daily Tuesday, March 22, 1983 Page 5
*James Galway's
Animated fun and frolic
4
trilling
By Lauris Kaldjia
BEFORE THEIR lead(
walked briskly onto t
New Irish Chamber Orc
have been a gathering of
musicians on the outskirt
their motley, unimpressiv(
seemed at odds with Hill
formal air. Then entered M
hearty, beareded mat
irresistable smile brimm
faee, and a golden flute hel
tly in one hand.
The audience responded
to his modest bows wit
plause. The concert beg
without Mr. Galway
acknowledging, with char,
good humor, a few late-co
is no doubt that he appreci
bon's generous welcome
audience's frequent appla
movements. So the audi
some rprotocol, is that so
think of worse things - a
watch alarm piercing the
grand pause, or an obno
directly proportional to
musical comprehension. I
Galway's rapport with his
instant and captivating.
The contrast between Ga
accompanists was
throughout the mostl
program. In comparison
pure, lush tone the orc
sounded bland and thi
psichordist, who looked
waiting for Godot, could ha
strument sparkle instead
lower strings tended to f
performance
woodwork, both in appearance and
sound. There were, however, signs of
rn vigor in the orchestra's otherwise sober
performance. The Allegro movements
er and soloist in both the Quantz and Vivaldi selec-
he stage, the tions elicited welcome vitality from the
hestra could first violins.
neighborhood Occasional intonation problems
is of Dublin; aside, the unaffected orchestra was an
e appearance appropriate background for James
Auditorium's Galway, a musician not given to
ir. Galway, a pretension. His music was anything but
n with an common, and his expressive capability
ing over his was extraordinary. Telemann's Suite in
Id nonchalan- A minor gave Galway ample room for
interpretation; Baroque bounds did not
immediately confine his free spirit. Elegant warmth
h warm ap- and undying energy pervaded the
gan, but not Quantz and Vivaldi Concerti as well.
patiently Galway's technical facility was taken
acteristically for granted, and his complete control
)mers. There inspired confidence in the minds of his
ated Ann Ar- audience. With scarcely a thought he
despite its would toss off multiple sixteenth-noth
fuse between scales at charging speeds. Arpeggiated
ence lacked secondary dominant progressions had a
bad? I can similarly wonderful effect. Fortunately
lone electric these acrobatics were done with an
silence of a ease that exposed the underlying
xious cough musical intent rather than being ends in
a lack of themselves. Galway's lower register
In any case, was rich and mellow, and his use of
listeners was vibrato let sustained notes bloom into
full flower.
lway and his Mr. Galway the conductor was more
noticeable akin to Galway the man than to Galway
y Baroque the expert flutist. When not leading
to Galway's with his flute he directed with comfor-
hestra often table, prosaic movements. His unador-
n. The har- ned conducting fit the unstilted manner
like he was of the orchestra. Arthur Duff's Irish
ave let his in- Suite for Strings was conducted with
of plod. The deserved homeliness and its folk con-
ade into the tent was aptly delivered. Though idyllic
ppw
., :<.
By Katie Brewer
I F YOU THINK animation is limited
,to Saturday morning cartoons,
you're in for a surprise when the Ann
Arbor Film Cooperative presents the
Ottawa International Animation
Festival on March 24th in Auditorium A
of Angell Hall.
The animated film is unique among
.. film genres as it creates a world from
E the individual artist's eye-one which
inspires and expands the imagination of
the viewer as well. Most animated film
is of three types: claymation, drawn
animation, and puppet animation.
Claymation and puppet animation are
three dimensional forms of the art
which show small figurines (clay or
foot- otherwise) carrying out the action of
ang the story. Drawn animation is the more
stg' conventional form which is exemplified
eMr. by the average Walt Disney animation.
The films included in the festival are
duc- contributions of professional animators
ores. from around the world, according to
fthe Ann Arbor Film Cooperative
Than spokesperson Michael Frierson. "They
;igue come particularily from Eastern
and Europe, which is a hotbed for animated
istle film-making," Frierson said.
coat Some of the more special moments
during the film festival are occupied by
ared three highly acclaimed films. The
Great Cognito (Will Vinton, 1982, USA)
is a fine example of the art of
claymation. It follows the story of an-
impersonator who becomes the people
he imitates. Cognito has been
nominated for this year's Academy
Award for Best Animated film and is
produced by a man who has been cited
as the master of the art of claymation.
Tango (Zbigniew Rybczynski, 1981,
Poland) presents the humorous side of
human fate using an unusual process of
optical printing. It has also been
nominated for this year's Oscar for its
complex visual design. In terms of
animated film, it's a "must see . '
Crac (Frederic Back, 1981, Canada)
tells an interesting story of a rocking
chair which traces its history through a
series of owners while commenting on
life, love, and progress. The virtue of
this film lies in its beautifully, drawn
animations. It was the winner of the
1982 Academy Award.
The animated film is often
overlooked by audiences who may not
consider it true film. It is time to
become aware of the potential
pleasures of animation and to start
making an intelligent choice when
Oscar time rolls around.
The Ottawa International Animation
Festival, a Canadian Film Board
group, began in 1976. It has become the
most respected showcase in North
America for the best of the world's
animated film production.
This program is a collection of the
finest films from the festival, rarely
seen animation from around the globe.
As well the previously mentioned
features the program also includes
films from China, Czechoslovakia,
Hungary, and Yugoslavia. The
animated film is . rare and unusual
viewing so this opportunity should be
taken advantage of on March 24th. In
addition to the Ottawa films, the Ann
Arbor Film Cooperative will present a
second feature at 8:40 p.m. of animated
shorts that have won the Academy
Award prior to 1980.
Galway
... fine flutist
motifs plaintively sang, andf
stompin' open fifths boisterously r
the work sounded tired; the orch
could have used an extra pair of
Galway's energy~sustaining lungs.
With typically humorous intro
tions Galway presented his enc
First came his rearrangement of
Scherzo to Mendelssohn's Ita
Symphony, complete with Irish g
and "For he's a jolly good fellow,"
of course that beloved pennywh
which inevitably emerges from his
pocket.
With a golden tone that gently so
along the stratosphere of his ra
Galway rendered a heartfelt I
favorite, Danny Boy. The evening
cluded with proof of Mozart's Iris'
fluence: Galway's "Off Mozart
plausibly classical work that soo
overrun with Irish folk tunes.
audience loved it, and so did he. Th
Jimmy.
nge,
Irish
con-
h in-
," a
n is
The
anks
Battle: No passive resistance
Orgniia azz music
By James McGee
UNUSUAL AS IT may seem, Lyman
Woodard has used the old church
organ to bring a unique sound to the
world of jazz. Although the reputation
of Woodard's jazz organ is widespread,
I had some reservations concerning the
adaptability of the organ to jazz
rhythms. These doubts were soon laid
to rest as the Woodard Organization
began their first set Saturday evening
at the U-Club.
Featuring veteran jazz guitarist Ron
English, saxophonist Chuck Overton,
Renell Gonzales on drums, and fellow
Cass Tech graduate Regina Carter on
violin, the Organization performed an
arrangement "typical of that '60s type
jazz." Written by Lyman Woodard
himself, the tune was entitled "Cheba."
This piece had rhythm arrangements
which sounded very much like those in
the jazz opus "The Girl From
Iponema." However, there were inter-
mittent changes from this basic theme
to Latin beats. Most of the solo work for
this song was handled by Regina Carter
who seemed a bit fearful of expressing
herself fully on the violin. Nevertheless,
when the feeling came, she demo-
nstrated musical improvisation nearly
comparable to that of her fellows. Ex-
perience is the only cure for what
seems to be lacking in her playing and,
singing, for the talent is there.
Until Saturday evening, I had not
realized the power and versatility of the
organ in jazz music. Lyman Woodard
provided support for the soloists most
of the time. When his time came to
stand out, he came across with un-
common fire and intensity.
I was amazed and pleasantly sur-
prised to find that the band had no need
for a bass player. All of the bass lines
were played by Woodard. Although he
had no vocal spots, Lyman Woodard
was fascinating as he displayed his vir-
tuosity on the organ.
The star of Saturday evening's per-
formance was Woodard's saxophonist
Chuck Overton. He easily matched the
energy of Woodard's solos, yet he
retained a style all his own. Overton's
patterns were clear, precise, and had a
helluva lot of soul. Overton's best effort
was the vocal rendition of Ray Charles'
tune "Down in my Tears." With an
organ introduction sounding nearly - if
not exactly - like a gospel intro, Over-
ton fbok over with vocals and sax that
succeeded in bringing across the soulful
feeling of Ray Charles. Later in the
evening, Overton sparked the audience
with a lot of southern soul by coming
right out into the audience and blowing
the life out of that tenor sax.
As a whole, the Woodard
Organization was very tight and well in
tune. At times, however, the violinist
had trouble finding her place. The
engineers often had to turn the mikes
off due to the intense volume of this
naturally enthusiastic band. Thanks to
this enthusiasm and the awesome
musical ability and dexterity of the
Woodard Organization, it was an
evening of good times and great jazz.
By George Shepherd
K ATHLEEN BATTLE, in her Satur-
day evening concert with the Ann
Arbor Chamber Orchestra, did not have
a Brunhilda-sized bellow with which to
endanger any glassware. Yet her pure
tone and vocal agility combined with
her intelligence and physical beauty to
compensate abundantly for her voice's
small size.
Battle's high soprano is lyrical and
pure, with each tone produced with
craft and care. Her sound penetrates
because of bright purity - not size.
Battle thinks before she sings and
doesn't try to push her voice beyond its
limits. Though she contorts her mouth
as she sings, Battle's tone sound effor-
tless, without technical flaw. Moving
form surprisingly powerful low notes to
a ringing high C, the ranges of her voice
integrate easily with no abrupt changes
in timbre. She cruises through
devilishly difficult fast sections and
floats high legato phrases with stunning
control.
For many years, while working as an
elementary school teacher, she had no
success in the Met auditions; others
could sing louder. Upon hearing her,
however, conductor James Levine
recognized what was here made abun-
dantly clear: beautiful tone and vir-
tuoso technique satisfy as much as
vocal brawn.
In much opera, the central ex-
citement is the singer's vein-bursting
attempt to push a big voice up to high
notes. Though it grips viscerally, such
singing has the intellectual interest of
weight lifting. Composed before the age
of sobbing tenors, however, the pieces
performed by Battle provided oppor-
tunities for a much more complete vir-
tuosity.
The first of two arias from Handel's
opera Alcina was filled with trills and
with tough coloratura, to which Battle
had added a large amount of additional
ornamentation. Calmly conquering the
technical problems, she ripped through
it without seeming to breath hard.
In the second Handel aria, Battle
displayed her hauntingly pure soft, high
singing. She has one irritating habit,
however: she slides up to nearly every
note. This scooping interrupts her
legato line and does not suit baroque
music.
With her slender figure, intelligent,
striking face, and silvery dress, Battle
was gorgeous - pleasant contrast to
the Miss Piggy look-a-likes one often
sees at the Met. She is a fine actress.
And though the audience had no idea
what the songs were about because
their texts were in foreign languages,
she appeared to' be expressing them
beautifully.
Exultate, Jubilate, by a 17-year-old
.Mozart, is really a concerto for voice,
complete with cadenzas. Again Battle
shimmered in the soft sections and
roared through the fast. Her tempo in
the final movement was the fastest this
reviewer has heard. After she finished
with a rush to a high C, one wondered
what she could do in an encore to top it.
The answer: the same movement, still
faster, still better.
Absolutely in control mechanically,
Battle went beyond the notes and, with
superb diction, sung the Mozart piece
charmingly. Irritatingly, the meaning
of the words was again a mystery.
Throughout, Battle's manner was calm
and tasteful, avoiding both vocal
histrionics and hackneyed gestures.
Two bus loads of people had travelled
all day.from Battle's and conductor
Carl Daehler's home town of Por-
tsmouth, Ohio, to see the concert. At the
concert's end they presented huge
numbers of roses to Battle who in turn
distributed the flowers to the orchestra.
The orchestra and Daehler were wor-
thy partners to Battle. While not as
technically perfect as the best
professional orchestras, the group
played with a spirit and skill which
should be enjoyable to all. Daehler con-
ducted from memory; his spare serious
style was just right for a group almost
small enough to play without a conduc-
tor.
The programs which Daehler chooses
are fun. Here, in addition to the.pieces
with Battle, the ensemble played
Haydn's good-spirited Hunt symphony
and a pleasant, if lightweight, work by
Lars-Erik Larsson. Recent performan-
ces have included a Valentines Day
concert with a promising young trum-
peter and a live accompaniment of a
vintage movie. There is good pastry
available in the lobby.
Ann Arbor's cup is spilling over with
musical events. Yet the Chamber Or-
chestra provides a relaxing contrast to
the chronic seriousness of most other
local classical music organizations.
The group deserves to thrive.
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FUN AND ADVENTURE
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TUES5:107:109:10
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Records
Bow Wow Wow-'When the
*Going Gets Tough the Tough
Get Going' (RCA)
The Mohicans. You may not have
noticed, but there aren't all that many
of them left. The last of them are get-
ting squeezed into their little corner
reservation, to be laughed at and
feared, or incorporated into tourist
culture.
The first time I encountered the man-
Stra "When the going gets tough ... "
was at age seven at a neighborhood
swim club practice. They had this big
banne hanging over the pool, en-
couraging little kids to enjoy pain. Most
of the time, I blew it off. When the going
got tough, I switched to breaststroke.
Bow Wow Wow doesn't seem to be
doing much better. They had a
challenge: how to follow up the initial
public crush on Annabella Lwin
(comely refugee with mohawk and ten-
*der years) and Last of the Mohicans
without resorting to pandering or
boring. People liked to dance to "I Want
Candy" and to swelter in the teasing
phrases of "Louis Quatorze." They en-
joyed the group's recent appearance at
Second Chance. But with a pop-top flim-
fad group like the Bow Wows, people
make him happy. Really, now. The
satire is just too much.
Poor Annabella; she got into the
business too young-a case of arrested
public development. It's a good thing
she's got a superb bass player behind
her, and a potent sense of humor, or
these '50s remakes/remodels (all
originals, but they shouldn't be) would
really have fallen short. As it is, When
the Going Gets Tough ... is just a little
dry. For Mohicans.
-Ben Ticho
b b b .-- -a.,,, O b
bb D
sQ~e~eee
ibal
le
xi
don't just want more, they want better,
or at least, different.
And so, when the going got tough,
Bow Wow Wow went flat. The new
album just isn't that fun, and not very
interesting either. The swingy social
critique single cut, "Do You Wanna
Hold Me?" once again milks An-
nabella's musical teasers, but nothing
on the LP gets to the core of the barum-
bi like the opening drums of "I Want
Candy" do.
Try out the opening lyrics to "Quiver
(Arrows in my) ": Finding a way a
way to make whoopie!/Finding a
way a way to make love!/sitting
alone in my teepee/Finding a way to
S
eeE"' S'7ta U"'?
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