ARTS
The Michigan Daily
Wednesday, September 21, 1983
Page 5
_ _ __ _ __
Bohemia: Alien
sound at home
y Frank Schraner
emi-techno-pop/rock with obvious
jazz influences. There, will that do?
.t's not easy describing the sound of
Bohemia, a critically-acclaimed band
from Chicago that will be appearing at
Joe's Star Lounge this Thursday night.
On stage will be either four or five
band menbers, depending on whether
or not drummer Mark Wallner is with
ohemia on its current tour. The band
as at times in the past performed with
digitally recorded drums programmed
by Wallner in place of a live drummer.
Carla Evonne (lead vocal, alto
saxaphone, piano), Fast Frank (tenor
saxaphone, guitar), Lee d'buddah (lead
vocal, guitar, keyboards), and Zirbel
(bass, background vocal) are the other
Bohemia members.
The band's latest studio project is No
Ordinary Moon, a three-song, 12-inch 45
rpm disc. "Is It Hot Enough?" and the
title track feature Evonne's voice,
which is thick 'n' rich in the Debbie
(Blondie) Harry mold. The title track
also contains some frenetic sax playing
reminiscent of Mars Williams' sax
work with the Waitresses.
"Nightmare Alley," the EP's
highlight, is a slow, brooding song built
around a bass riff set against bleak ar-
peggios played on acoustic piano. Over
this, as many as three saxaphones
simultaneously wail and squawk in
semi-dissonance, creating a tension
PIANO
DROPOUTS
How to Play the Piano
Despite Years of Lessons
Two years of testing have
produced a new course in
making music. This course is
based on an amazing
breakthrough in piano in-
struction, and it is intended
for people who can at least
read and play a simple
melody line of notes.
This new technique teaches
you to unlock your natural
ability to make music. You
will learn how to take any
melody and play it a variety
of ways: rock, folk, swing,
jazz, semi-classical,
bolero . . . you name
it . . . just for the sheer joy of
it! By the end of this 8 lesson
course, you will know how to
arrange and enrich a song so
that you won't need sheet
music or memorization. How
well you play depends upon
how much you practice, of
course.
Come and experience this
revolutionary new way of
bringing adults back to the
piano.
FREE DEMONSTRATION
Monday, September 26
From 7-8 p.m. at
KING'S KEYBOARD HOUSE
115 E. Liberty
in Downtown Ann Arbor
FOR MORE INFORMATION
CONTACT:
earninig
Network
617 E. University #260
Ann Arbor, Michigan 4810
313/ 996-9667,
The Ann Arbor Learning Network (AALN) is a private
community educational program. This program was farm-
erly administered by the University of Michigan as the
U-M Courses for Adult Education. (UMCAE).
Bohemia immigrates to Joe's Thursday night.
only partly relieved by the chorus, the
lyrics of which are: I can hear Your
years as you creep by/ Lost in
ni htmare alley, alone iyou cry. This
cut sounds like a hangover feefs but is
infinitely more enjoyable.
Bohemia is no ordinary band. Come
hear for yourself. Ann Arbor's Non-
Fiction is tenatively scheduled to get
things started at about 10 p.m., with
Bohemia to follow at about 11. Cover is
Season gives classic cornucopia
INDIVIDUAL THE, RES
b " -e a - 700
$2.00 WED. SAT. SUN. SHOVGOAY
BRUCE BERESFORD' S
FRM HEEN
DIRECTOR OF tS
BREAKER MORANT AUL ts.
AND
TENDER MERCIES"
A UNIVERSAL CLASSIC
THURS. 7:10, 9:10
WED. 1:00, 3:10, 5:10, 7:10, 9:10
"UNUSUALLY RICH"
New York Times
GERARD DEPARDIEU
T HE R ET URN OF
MA RTIN GUERRE
THURS. 7:25, 9:30
WED. 1:10, 3:15, 5:20, 7:25, 9:30
By Stephen Vann
LASSICALLY SPEAKING, Ann
Arbor has it all. This season
concert lovers are not only being
treated to an all-star cast, but the script
is phenomenal too. Under the title
"Starlight Starbright," the University
Musical Society presents a roster of
utstanding soloists and equally ac-
claimed orchestras from around the
world.
One of the true delights of the season
is found also in the exceptional
programming. Not only are we being
treated to world class artists like Isaac
Stern, Mstislav Rostropovich, Leonard
Bernstein, and Yo-Yo Ma, but the
programs tastefully avoid the "war
horse" syndrome too often found in the
VOster.
Since Isaac Stern is already sold out I
won't depress those of you without
tickets by extolling his musical virtues.
A list of other "not to be missed" con-
certs this season would be extensive,
but highlights would definitely include.
the two cellists Mstislav Rostropovich
and Yo-Yo Ma.
Though Rostropovich has more
recently turned his bow to conducting,
he will present an evening of music for
cello and piano which promises to
delight. His program will include
Beethoven's Sonata Op. 69 in A major;
arguably the finest and most com-
pelling of the five Beethoven sonatas in
this medium, and the Schumann Adagio
and Allegro Op. 70 (originally scored
for horn and piano) which he recorded
last year on DGG.
Yo-Yo Ma is a young cellist of 28
whose supreme artistry catapulted him
to prominence in May of 1978 when he
was the winner of the prestigious Avery
Fisher Prize. Though the program is
not yet available, I would gladly wait in
line to hear him play literally anything.
Those who heard him play the
Khachaturian concerto in last year's
May Festival can testify that Yo-Yo Ma
is an artist who could make Frere
Jacques into an 'event.'
Leonard Bernstein returns to Ann
Arbor for the first time since 1967 in two
nights of concerts with the Vienna
Philharmonic.Bernsteinhas worked ex-
tensively with the Vienna orchestra,
recently recording all nine Beethoven
symphonies in a series of live concerts
recorded by DGG. I doubt his energetic
podium technique has changed with
age.
On the symphonic front, the Warsaw
Philharmonic will present the fiery
Symphony No. 10 of Dmitri
Shostakovich. Written in 1953,
Shostakovich's 10th embodies the
terror and rythmic intensity of the
Stalin years. In his autobiography
Shostakovich refers toseach of his sym-
phonies as monuments to the victims of
the Stalin regime. In light of recent
political events in Poland and the Soviet
Union, this should be a particularly im-
passioned performance.
The other half of the concert i$ pianist
Misha Dichter performing the often
elusive first piano concerto of Johannes
Brahms--the musical antithesis to the
Shostakovich. The Brahms is a highly
introspective and warm-blooded work
requiring both lyricism and virtuosity
of the performer.
Lovers of chamber music should not
feel at all neglected by this season's
musical offerings. At the top of the
diverse list is the Beaux Arts Trio, an
ensemble of deserved international
reputation. Their October concert will
include the Mendelsohn Trio in D minor
and the Smetana Trio in G minor, both
charming but seldom performed works.
Another interesting twist to the
season's program is the inclusion of the
first two of the string quartets
dedicated to Prince Rasumovsky by
Beethoven. The quartets will be per-
formed in two seperate concerts by the
New World and Takacs Quartets,
respectively. They emerge from
Beethoven's middle' period with the
refinement of theclassical era, yet look
ahead towards the Romantic period
that Beethoven introduces. The works
are vibrant and accessible, and form
welcome halves to two well balanced
programs.
Tickets for these events are available
in Burton Tower, and are selling
quickly.
Moeser s organ donates beautiful music
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By Knute Rife
JAMES MOESER returned to his
alma mater Monday night for an
organ recital in Hill Auditorium. He
delivered.
:Moeser earned his D.M.A. at
Michigan in 1974 and is currently Dean
of the School of Fine Arts at Kansas.
University. Moeser was placed on the
program at rather short notice.
Wolfgang Oehms, cathedral organist in
Trier, West Germany, was supposed to
have performed but cancelled. At first
I: was disappointed, as I had heard
Oehms in Germany and wanted to hear
him again. Moeser removed any
disappointment, though, with his fine
display of technical virtuosity.
The program opened with Liszt's
Prelude and Fugue on B-A-C-H,
a typically Liszt piece-showy with
grtay contrasts. Tension ran
throughout the work there was much
thunder interspersed with a stillness
that provided no calm. It also featured
a solo by a part of the organ one rarely
gets to ear: the echo division in the
ceiling.
This was followed by a personal
favorite, Durufle's Prelude. This
was a total contrast, ilowing,
melodious, with a pervading sense of
calm and an incredible bass line.
Next came Sokola's Passacaglia
Quasi Toccata on theTheme
B-A--C-H. This was a rather odd
piece with simple melodies and har-
monies overlaid by rhythms and tonal
progressions.
Before beginning the second half of
the concert, Moeser addressed the
audience introducing his page turner,
Sam Kuntz, the university organ
caretaker - it was a nice touch.
Moeser also greeted the members of
the Detroit, Flint, and Ann Arbor chap-
ters of The American Guild of
Organists, which were helping to spon-
ser the recital. Finally, he begged to-
remove his coat, as the temperature
was even more beastly on stage than in
the seats.
The second half of the recital was
Widor's Symphonie No. 5, a Romantic
piece with definite Baroque undertones.
At times the piece had a Brahmsian
quality; at others it was more akin to
Elgar's Edwardian pomp. The piece
largely used the older parts of the
organ, and one could hear some
creaking leather.
Moeser returned for an encore, an in-
teresting improvisation combining
lightning and mist and containing a
couple of variations on "The Victors."
Moeser is a technical virtuoso, both in
fingerwork and footwork. He handled
them all-the galloping Liszt, the
flowing Durufle, the disjointed
Sokola-with flair and grace.
His feel for the pieces took some time
to develop, though. His transitions on
the Liszt were rather mechanical, and
he seemed unsure of the instrument.
Moeser warmed up for the Durufle and
seemed more assured, but returned to a-
more mechanical style on the Sokola. It
was difficult to tell if that was all
Moeser, though, as it is a rather cold
piece.
On the Widor he was in the groove, in
touch with both the piece and the in-
strument. The encore was obviously
grand fun for him, as it was for the
audience.
All in all, a splendid recital. I hope
Moeser makes another homecoming
soon.
The shocking, never-before-told
story of the secret last-gasp
attempt to save "Leave It to
Beaver" from cancellation
"What would have happened if the producers
of 'Leave It to Beaver' had brought in the likes
of Jack Kerouac, Tennessee Williams, Ingmar
Bergman and Franz Kafka as writers? THE
BEAVER PAPERS: The Story of the 'Lost Sea-
son' provides the answer with script and com-
ments for 25 episodes written as parodies of
the masters...'The Beav' would have flipped'
-USA Today
"THE.,
PARTIAL CONTENTS
"Dharma Beaver"
(Kerouac)
*Cries and Beavers"
(Bergman)
"Farewell, My
Wallace"(Chandler)
"The Beaver Zone"
(Serling)
'Lady Cleaver's
Beaver" (Lawrence)
"Waiting for Wally"
(Beckett)
"Beaverwolf"(Hesse)
'A Clean Well-
Lighted Beaver"
(Hemingway)
"The Beaver
BEAVER
PAPERS will
take its place
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PUT'EM
AWAY
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