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Leonard Bernstein and the
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University Musical Society
Hill Auditorium
Wednesday, February 15-Thursday,
February 16, 8:30 p rn
By Bob King's
atforward
BobDylan
Don't Look Back
Michigan Theater
Wednesday, February 15, 8 p.m.
VUw
By Joseph Kraus
T HERE ARE TIMES when you get
enough momentum that you just
keep on going straight ahead. You don't
stop to think about where you're going,
you just go. And the furthest thing from
your mind is where you've been.
In such a time, you Don't Look Back.
With the release of his current com-
mercial and artistic success, Infidels
Bob Dylan has restablished himself as
one of the major figures in contem-
porary music. (Not, of course, that his
faithful followers ever doubted him).
There was a time, however, when
Dylan was busy establishing himself.
That time was 1965 and Dylan had
just released his fifth album, Bringing
it All Back Home (Infidels is something
like his 21st album). Although the songs
on his two albums previous to '65 had
been somewhat personal and poetic,
Dylan was still known mostly as a
political folk singer.
It was only four years before Back
Home that he had written "Blowin' in
The Wind," but the song had already
been recorded by over 30 different ar-
tists. As well, his anthem of youth
protest, "The Times They Are A-
Changin"' was.less than three years
old.
But Dylan hadn't been following in
suit. His songs immediately previous to
'65 were "Mr. Tambourine Man," the
poetic Rimbaudesque masterpiece and
"My Back Pages" the haunting refrain
of which runs, . .. but I was so much
older then, I'm younger than that
now...
In that year of 1965, Dylan embarked
on the tour that would forever change
his image. Crossing England with an
entourage that included Joan Baez,
Donovan and the Animal's Alan Price,
Dylan made it clear that he was no
longer simply a protest singer.
In a '65 interview with Time
magazine Dylan said, "You'll probably
call me a folksinger but, you know, the
other people know better 'cause the
people, you know, that buy my records
listen to me...'
Musically Dylan was exploring
realms that had never before been
heard. The tour was too filled with
momentum and emotion to "look
back," but fortunately filmaker D.A.
Pennebaker was there recording it all
for a time when there would be time to
look back.
Don't Look Back has been called the
first great rock documentary
(Rockumentary?) Unfortunately,
contractual mix-ups have kept it from
public circulation for the last ten years.
Now it's back, as a- window of sorts
back to 1965.
After the tour ended, Dylan went on
to record some of the greatest rock
songs in history, and to virtually found
the genre "folk-rock." His follow-up
album, Highway Sixty-One Revisited,
contained "Like a Rolling Stone" which
M ULTITUDES MAY struggle
merely to enter the field of music,
yet extraordinary musicians not only
enter this art gracefully, but expand it
with ease.
Such is Leonard Bernstein, and such
is the Vienna Philharmonic. For the fir-
st time in five years these two musical
institutions have combined for an
American tour, and of the eight
American cities fortunate enough to en-
tertain performances, Ann Arbor, on
February 15, will be the first.
The collaboration is luminary. Ber-
nstein was the first American-born
Music Director of the New York
Philharmonic, after over a century of
foreign dominence. Bernstein was also
the first American ever to conduct an
Bernstein & the Vienna Philharmonic: Classic classical stuff
opera at. La Scala in Milan; and his
recorded interpretations span the en-
tire symphonic repetoires of Brahms,
Mahler, and Beethoven.
Bernstein's original compositions have
been equally illustrious: A film score
On the Waterfront, several Broadway
scores including West Side Story and
Candide, and a canon of ballets, operas,
and symphonies create for him an aura
exceding his reputation as one of the
world's greatest conductors.
Interestingly, one of the highlights of
TThe Ann Arbor Chamber Orchestra
Carl Daehler, Music Director presents ...
Vale-ntine Concerts
Bernstein's career has been his exten-
sive programming of the works of
Gustav Mahler, one of only three per-
manent conductors of the Vienna
Philharmonic.
The orchestra itself is equally ex-
cellent. Maybe it is only natural that in
the city that gave birth to the great
classical composers - Haydn, Mozart,
and Beethoven - should exist the eldest
and arguably greatest of the world's
orchestras.
The glowing perfection of its string
section is legendary, and the Philhar-
monic's universal appeal is attested to
by their latest New Year's performan-
ce, whose viewing audience was
estimated at 700 million people.
Adding to the Vienna Philharmonic's
intrigue is the fact that it is the world's
only orchestral collective:. All of the
tasks, from administrative duties to
publicity to secretarial chores, are per-
formed by the members of the or-
chestra themselves. Likewise, all of the
decisions concerning conductors or
repetoire are made by plebiscite, and
all of the remunerative benefits are
divided equally from the first chair to the
last.
Like hiding trees in a forest, the
Vienna Philharmonic has no stars. It is
an orchestra which shinesin unison.
0 glory in the rapture of it all!
Leonard Bernstein, the Vienna
Philharmonic's only living honorary
member (ever), conducting an or-
Friday, February 17, 18, 1984
Michigan League 8:00 p.m.
Ballet Music from "Ariodante" . . . . Handel
Selections from "Orfeo and Euridice". Gluck
Canon in DI............... . .Pachelbel
Whythorne's Shadow...........Moeran
Symphony No. 29 in A ............ Mozart
Selections from the
great love stories
in music.
Tickets on sale
Michigan Theatre Office.
$10.00, $8.00, $6.00.
chestra boasting such former maestros
as Richard Wagner, Richard Strauss,
Mahler, and Arturo Toscanini. In Ann
Arbor at Hill Auditorium February 15
and 16.
The programs are no less luminary.
On Wednesday, Mozart's Symphony
No. 41 ("Jupiter") and Brahms Sym-
phony No. 2 will be performed. Thur-
sday evening's performance will in-
clude Haydn's Symphony No. 92 ("Ox-
ford"), Schumann's Symphony No. 4 in
D minor, and Schumann's Piano Con-
certo in A minor.
The final piece will feature soloist
Justus Frantz, in one of only two per-.
formances of this work. Frantz is a
major artist who has recorded with
such diverse pianists as Chrisoph
Eschenbach and, not as surprising as it
sounds, former West German Chan-
cellor Helmut Schmidt.
Bernstein himself once remarked
that performing Beethoven's Op. 131
with the Vienna Philharmonic was one
of the greatest highlights of his artistic
life. -
For both those who experience and
those in the Music School who perform
themselves, these two evenings should
evoke similar sentiments. It promises
pure pleasure when Maestro Bernstein,
standing on the podium, with the
audience listening and silent, and silent
and listening, and listening and silent,
begins.
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remains perhaps the single greatest
rock single ever.
But now it's 1984. It's been almost 20
Horror
from Page 4
films' screenwriters who accused the
company of. some copyright in-
fringements. Whatever the legality at
the time, it caused the films to be kept
from circulation.
When James Stewart, who was com-
piling a group of films for a retrospec-
tive of his career, attempted to obtain
Vertigo for the event, he was refused
access to screen the film. Quite
dismaying, since it was a favorite of his
also.
As it turns out, the real culprit in-
volved in the films' absence and lack of
availability was, ironically, Hitchcock
himself.
When Hitchcock made the films for-
Paramount Studios and Warner
Brothers in the late '40s and '50s, he did
so under the condition that after several
years of their release, the rights of the
films would transfer to Hitchcock's
estate where he would have the power
to distribute them when. he pleased.
When the rights did become Hitch-
cock's, he immediately took them out of
circulation as an investment plan for
his family. Hitchcock hoped that after
he died, his'family would be able to live
off the profits of these films once they
were sold to a company.
It seems his plan was financially
sound since both Vertigo and Rear
Window are doing very good business.
Unfortunately, it never occured to
Hitchcock that he was depriving the
public of some of the cinema's greatest
acheivements.
For those unfortunate souls who have
never had the chance to see these films,
the following is a short survey of their
plots and other aspects of interest:
In Rope, first released in 1948, two
college students strangle their pal for
kicks with a piece of rope. They hold a
party for his parents and serve dinner
on a trunk containing the body! But
then their favorite professor played by
James Stewart, begins to suspect.
Hitchcock's first film in color was a
personal challenge in which he attem-
pted to shoot the entire film in one take.
Unfortunately, cameras at that time
could only hold ten minutes of film, so,
by expertly switching film cans every
ten minutes, when a door or the back of
an actor darkened the screen for a
moment, Hitchcock created the illusion
of continuous, uncut, unedited film.
Perhaps the most enjoyable of the
five films, Rear Window stars James
Stewart again, as an injured sports
photographer confined to a wheelchair
in his New York apartment. To pass the
time, he watches his neighbors across
the courtyard, spying on them with glee
until it seems an angry husband has
murdered his wife and is smuggling her
out of the apartment piece by piece.
Hitchcock ventured into the realm of
black comedy, with The Trouble with
Harry, a whimsical farcein which a
troubled Harry (he's dead) just won't
stop popping up here and there in a
small New England community.
Everyone's implicated in Harry's
death. including Shirley MacLaine, who
appears in her first starring role.
The film's understated English
humor was not well received in
America when it was first released in
1956, but fared much better in France,
where it wa
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Dylan: Looking straight ahead
years since
time to lool
back to.
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