ARTS The Michigan Daily Tuesday, January 24, 1984 Page 5 Not just high school stuff Maestrofarl Dahler and his Ann Arbor Chamber Orchestra played host to violinist Ida Kavafian in a heartfelt presentation of some classical pieces Saturday night at the Michigan Theater. Music from the chamber By Robin Jones A D EDICATION. In a word, that sums up Saturday night's performance by guest violinist Ida Kavafian and the Ann Arbor Chamber Orchestra. Kavafian and the Orchestra played their hearts out to an appreciative audience at the Michigan Theater despite the sub-zero cold. The concert began with William Boyce's delightful Sym- phony No. 1 in B-Flat Major. Perhaps overshadowed by Han- del, Boyce is regarded today as the leading English represen- tative of the late Baroque style. The first movement of the Symphony had an upbeat, positive style, utilizing the Baroque conventions of sequence rnd imitation. The piece continued in two more movements that the Orchestra performed with confidence. Kavafian then joined the Orchestra in a strong performan- ce of Mozart's weel-known Concerto for Violin in D Major, K. ,218. In the Allegro, Maestro Carl Daehler led a playful ;dialogue between the Orchestra and soloist, showcasing Kavafian's virtuosity in a difficult cadenza full of double- tops. The musicians kept the Concerto under control per- orming with extreme concentration, considering the an- $oying pounding going on in the bowels of the theater. ;Kavafian seemed to be venting frustration during the Con- certo, executing each passage as if she were running the last leg of a 10 mile race. Yet, the music was technically superb. Kavafian just didn't look like she was enjoying herself. Following the intermission, the Orchestra performed "The Lark Ascending" by Ralph Vaughn Williams. Though the piece had a sloppy start, it soon smoothed itself out. Kavafian's solos as the lark sang above the accompanying Orchestra with clarity and grace. She relaxed her grip on the instrument, and allowed the smoothing sounds of the strings to coaxe the violin along, resulting in a balanced performan- ce. As an encore, Kavafian appropriately chose the "Winter" section from The Four Seasons by Vivaldi. It's too bad that the Orchestra and soloist never connected rhythmically. Daehler was in a panic from the beginning, trying to unite the soloist and lower strings, while the har: psicord struggled to fit in without sounding rushed. Yet, Kavafian made it all worthwhile, playing the familiar melodies that make you want to hum along. Unfortunately, that is where the concert's life ended and the Michigan Theater went from warm to chilly. The final work of the evening, Haydn's Symphony No. 710 in B-Flat Major just didn't have the energy that the rest of the concert did. The Symphony's four movements dragged on, exhibiting poor intonation, obvious missed notes in the horn part, and generally a lack of conviction in the Or- chestra. Kavafian's departure from the stage seemed to have taken the professional out of the Orchestra.' The concert was a success, as a whole, and demonstrated^ Ann Arbor's devotion to good chamber music. A little Mozart on a bitterly cold night can warm you, especially if it is played well. Kavafian was pleased with the performance, and remarked that the Ann Arbor Chamber Orchestra plays like s "real chamber orchestra," and "listen well," a crucial skill that can either make or break an ensemble. That is a valuable compliment coming from a fine musician. Maybe she'll even come back. By Larry Dean W WHAT, YOU MAY ASK, is poetry. Well, that's the type of age-old question that sets the most learned minds achatter in yet another in a series of intellectual debates, or else harkens other folks back to their grammer or high school days, when Chaucer, Frost, and Dickenson were the only poets the faculty found to be, palatable for impressionable young brains. Even the, analytical geometry was must-do prior to that artsy-fartsy stuff, especially in lieu of a future rung on the company ladder. But now we're in college, and with distribution requirements that rage that they are, that question carries a lot more weight than it used to. On a cam- pus like ours (if I may use the familiar), there's a proliferation of poetry readings, workshops, classes, and the like - however, the audience for those events is normally limited to those involved directly with the proceedings, so a lot of good stuff passes through, unnoticed, but an un- wary general public. The University Visiting Writers. Series brings in a choice selection of personalities to grace us with examples of their craft. Tuesday afternoon at 4 p.m. in the West Conference Room of Rackham, there will be such an oc- currence happening: Diane Wakoski, Writer-In-Residence at Michigan State and author of some forty-plus volumes of poetry, will be reading from her works. Admission is free. Jacki~e MOUNT HOLLY, N.J. (UPI) - Friends of singer and songwriter Jackie Wilson, who died Saturday at age 49, say he "thrilled the audience wherever he went" and was one of the great singers of his generation. - Wilsonk who gained fame with his 1958 best-seller "Lonely Teardrops," was admitted to Burlington County Memorial hospital Jan. 8 and died Saturday morning at 11 a.m., a hospital spokesman said. Wilson had been in poor health since suffering a heart attack in Septembert1975 and collapsing on stage at the Latin Casino in Cherry Hill. He had been unable to speak or care for himself and stayed in nursing homes and hospitals in Philadelphia and New Jersey. "Jackie was an electrifying singer. He thrilled the audience wherever he went," said Hal "Doc" Wade, a former radio disc jockey on WNJR-Newark and a popular radio personality during the 1950s. Wakoski was born in Whittier, California in 1937, and attended the University of California at Berkely where she received her B.A. degree. From there, she moved to New York City, to work as a clerk in a bookstore, and then teach English to junior high students. In 1962, her first book of poens was published; that same year, she was anthologised in a collection called Four Young Lady Poets, which was edited by LeRoi Jones. This earned her some wider recognition as a poet, but with receipt of a Robert Frost Fellowship in 1966, and the publication of her book Discrepancies and Ap- paritions, Wakoski finally seemed to establish, a stronghold in the poetry universe. Wakoski considers poetry to be "a human art"; furthermore, she feels that poetry which is the most readable is also the most intimate and touching. It's no surprise, then, that she regards the spoken experience as an incredibly important one wherein the dynamics that might escape the reader on the page spring to life in the poet's ver- balizing. Not poetry as performance, but poetry as itself, where the poet reads that which is essential to them, and puts their heart into the com- munication of such essentiality. She cites Dylan Thomas, Allen Ginsberg, L NFDIVIDUAL. THEATRES M.THRPU FR I. 1:ob P.M. SHOWS and William Carlos Williams as artists whose work she has both admired and been affected by. Contemporary poetry can be every bit as alive as the movies, or any other comparable kinetic experience, by vir- tue of the aliveness and sincerity present in the poetry. Diane Wakoski's work far outshines the show-offish nature of other present day poets with the simpicity of its language, and the emotional wallop that is potential in its directness of statement. So don't go away from this endorsement thinking that poetry is just for the English majors, writers and highbrow literati, because-it's not -'as Wakoski herself says, in her poem, "Greed, Part 4": If only life left us with metaphors./ But we are lucky if life/ leaves us! with life- it's for anyone who wants to experience the most minimum requirements for living blown open by the tremendous facility of a few words spoken in a manner that is as universal as the art of speech itself. 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Osbourne Band's lead guitar? Rick Derringer's latest album Good Dirty Fun, a com- bination of rock's commerciality and latest trends. Derringer hits listeners first with two hard rocking tunes, "I Play Guitar" and "Party at the Hotel." Both songs deal with Derringer's life as a rock star 'and are directed to a teenage audience with superficial lyrics such as, Get drunk and raise hell and Party till we go insane. Derringer's intense and pleasing lead guitar is .the only redeeming value to these two songs, which ignite the listener. The first side of the album establishes a hard rocking image for Derringer, but he strays from this in- tensity. On the second side, Derringer tries his hand at a little rockabilly with "Mitake Magnifique" - and its distur- bing similarity to the Stray Cats leaves one bored with the all too familiar twang of guitar and bass. The following cut, "White Heat," puts Derringer back into a favorable light since it is the first time he shows any glimpses of personal feeling and emotion. Following that he confuses the listener once again with, "When Love Attacks," a stab at the middle-of-the- road top-40 in a duet with Bonnie Tyler. Their voices are musically compatible, yet there is a certain chemistry lacking which makes one wonder if they were even in the same studio recording. He abruptly switches gears again and finishes with two more driving songs which nicely frame the album, and gives a false impression that this is'a solid rock and roll package. Rick Derringer's style is very imitative and his songs hold little lyrical value. But his lead guitar perks up many of the songs and puts him in competition with the current "hard driving rock" trend. - Robert Danowski i Bast 800-233-8950 " 0 1~ r _ _.1 9. , l west 800-648-331 1 In NV call (702)588-5654, Dept. 0134 Order Status Number: 588-5654 P.O. 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