V U V U v. w w Tuc Vienna w al*tsA waits fo r you Leonard Bernstein and the Vienna PhilharmoniC 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. RouP nd Haus 994-6464 WHAT A MEAL DEAL A LARGE PIZZA WITH 4 ITEMS AND 2 QTS. OF COKE U EXTRA ITEMS 90C $699", 1 Pick-Up or Delivery . 1. m mmmm m mmmm m mm mm i 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 The only made, The stars Jame vacation, rings, mur superior t name, The contains t1 assassinat, spy's bulle cymbals in only Stewa Last, bul you guesse plays a ma may or r ghost. See for further p Dylan: Looking straight ahead years since time to lool back to. Rent a Car from Econ The Ann Arbor Chamber Orchestra " P.O. Box 7026 " Ann Arbor, MI 48107-7026 OPEN 7 DAYS A WEEK IC11 I- w In A 'R A M IT 0'NoCoVEF- * - 4 R CAR LfUNTIL. NOTICE I * -Ag t 'f.LiJE2 VA1JCCe MUtG yP17-A SICE$ S 6 PRiNK PECIALS Iv ------- Reservations 971-0970 CI-NA GARDEN Take-out Service WE RENT TO19 YR. OLD s Choose from small econom to fine luxury cars. -Special weekend rates. --Pick up services upon requf -We accept cash deposits. Best Chef Award Winner in Washington, D.C. 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