Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue


Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

September 21, 1984 - Image 15

Resource type:
The Michigan Daily, 1984-09-21
This is a tabloid page

Disclaimer: Computer generated plain text may have errors. Read more about this.



t { a4 t ! . & ยข ' # c3 I # t '# e ' t - t ttAWc t A 4! s a rs ~ xe . ~
done it. good contrast in programming. They're L: I'm going to ask you a question: Do
D: Do you think there are many all wonderful works. you like living? Which bits do you like
major differences between the U.S. and D: Now, you've rehearsed with the best?
Britai blyCSO already, correct? D: I see-it's a matter of what mood
L: Ohabsolutely..L: Well, not for these con- you're in.
D: What sorts of things? certs. I come up on Sunday next, but L: Whatever you're doing, isn't it?
L: Well, I find that the optimism of I've worked many times with the Any music you're doing is bound to be
America is so wonderful.. . You still Chicago. I know them very well. the best for the moment you're doing it.
get a sense of everything is possible if D: Something that I've always won- D: What do you think of other forms
you go about it in the right way and dered about is when you're dealing with of music, such as jazz or popular
work hard and strive to succeed. It's a a group of musicians that's so superb, music?
very positive society, a very positive what is the exact purpose of a conduc- L: I'm very intrigued with certain
sp e a world. And Europe, I find increasingly, tor? I've been in situations where the aspects of jazz. I have recently been
is a very negative world. If you make a conductor was just trying to hold the working with Wynton Marsalis, who's a
Renowned conductor Raymond proposal to do something, the im- thing together, but ... . staggeringly good modern jazz player.
Leppard will be in Ann Arbor mediate response in America is 'Oh, L: Well, that's elementary, but the He's an extraordinarily gifted chap,
that is an interesting idea, lets see if we point of a conductor is to coordinate, to above being a damn good classical
tomorrow night to conduct the can do it.' In Europe, like as not, you'll produce a piece of music from a single trumpeter, too. Yes, I'm interested in
Chicago Symphony Orchestra at the get the answer, 'Oh, no we couldn't point of view, isn't it. I mean, as you anything that speaks and anything that
Michigan Theatre. Leppard, who is possibly do that. Well, I mean, we rightly suggest, an orchestra full of says anything worthwhile,, of course
currently principal guest conductor might talk about it, perhaps, but I don't such superb players, as the Chicago I'm interested in. I'm not interested in
hold any hopes for it.' That's, I'm afraid, Symphony is, is going equally to be full of things that don't, but anything that
the view of Europe generally. It's very players with quite positive and in- makes lively sense, I'm for it.
to Daily arts writer Eric Mattson. negative, a no place, and America's a teresting ideas. That sort of intensity of D: Have you composed?
Daily: Could you tell me how you first yes place. understanding, apart from the L: I've composed quite a lot of film
got involved in classical music? D: Do you think that's reflected at technical ability, is great - it feeds a music. I've done quite a lot of recom-
Leppard: Well, I don't think I can all in the music? conductor, it's wonderful to be with that position of 17th century opera. I've just
remember that far back, I'm sorry to L: No, I don't really. There are dif- sort of creative playing. But never- done music for The Hotel New Ham-
tell you. I don't remember a time when ferences in the music, but I think theless, if you get a hundred people with pshire and I did Lord of the Flies years
I was conscious when I wasn't involved. they're more of an economic nature. I 100 different views of a piece, you're ago. Peter Brooks film-still going
I started to play the piano at a very think musicians are very characteristic very likely - as if you mix all the around, in fact.
early age - I can't remember exactly people, you know, all over the world. colors, you only get black, don't you? D: I suppose the answer to the
when - but it's been a constant preoc- That's why we get on rather well with What the conductor's job with any or- question would you prefer to compose
cupation ever since. each other, I think. We're after the chestra, but particulary with the or conduct is the same as the.. ..
D: Have you always been fascinated same sort of thing, and we're very hap- Chicago, is to focus it into one point of L: Exactly the same.
by classical music? I know a lot of py when we're finding the same sort of view. Otherwise you get nothing - you D: Have you ever been to Ann Arbor
children are resentful towards their thing. We're not really that difficult to get a mish-mash. before?
parents for making them play the get on with, I believe, especially with D: When Leonard Bernstein was in L: Yes, oddly, I have. I came many,
piano. each other. Ann Arbor last year with the Vienna many years ago. One of my first jobs
L: Oh, no, I asked to. My parents D: I want to talk a little about the Philharmonic, during one piece,he when I left Cambridge, when I came in-
weren't very musical and I badgered pieces you'll be conducting. What made just stopped conducting altogether. to the profession itself full time, I was
them to allow me to learn. you choose those three pieces? Would you ever do anything like that? lucky enough to get hired as the pianist
D: You started out playing the piano. L: Well, it came out of discussion, I He just kind of stood there for a couple and keyboard player, harpsichord and
Have you ever tried your hand at other guess. You gradually build to the idea minutes. so on, of the Philharmonic Orchestra in
instruments? that the first two pieces are both by L: They can keep time, if that's what those very early great days in the '50s.
L: I play the viola, harpsichord of cour- young composers - I mean composers you're saying. They also don't need . And I came when Wen Carrion brought
se, I used to play the violin a bit. Most of when they were very young. Barber's correcting of notes. It's a different level the orchestra to America, and I don't
them I've had a look at - a shot at, so to piece was written while he was still a of playing from a less good orchestra know what year that was but it must
speak. But I used to play the viola... I student at Curtis, and it was played by where you would have to start and have been about '52, maybe, '53, could
used to make my living in the early days the Philadelphia in those days. rehearse notes. You know perfectly be, '54 even-I don't know. Anyway,
playing the viola as well as piano - o Now, Shostakovich composed it when well that they're going to get the notes that was my first visit to America and I
and harpsichord are my main instrumen- he was 19. S they're both very young: right. You might come to some difficult absolutely adored it. I fell head over
ts. But when you're starting out this young, lively, exciting, full of flair, full ensemble moments, in which case you heels in love with the country. It's very
profession, you work where you can, you of vivacity, and Dvorak is a great better rehearse, but notes, you really exciting and also because the music
mature symphony, by a much older don't haveto worry about at all. wasvery exciting. And our penultimate
man absolutely at the height of his D: What composers do you admire concert was in Ann Arbor. I don't
power. So I thought that made rather a most? remember very much about it, but I
D: Where did you get your first job in know I was there. Well, you know on
music? tours, you get a bit dizzy with where
L: I can't tell you. I have no idea. I you're at. So I'm looking forward to
just don't have the remotest idea what seeing if I remember anything.
it was. . . I used to play a lot when I was D: Have you played to many college
a boy. I don't know whether I got paid audiences before?
or not. I don't suppose I did, but I might L: Well, don't forget I spent a lot of
have gotten sometimes. I don't remem- years at Cambridge.
ber a time when music wasn't actually D: Do you think college audiences are
a way of life. any different from audiences in, say, a
D: Have you ever played in any major major city?
orchestras, or did you become a con- L: Yes, of course, because they're
ductor before then? younger-they're more easily excited,
L: No, I started conducting more of- more easily bored, I would have said.
ten, so to speak - I've always done a '' D: What sorts of outside interests do
bit, of course - when I was an un- you have, or is it all tied together with
dergraduate at Cambridge. I started music?
there and I was asked to take over the L: Oh, no, not necessarily. I mean the
local orchestral society. That was in music is, of course, the main part of it. I
about 1950, 30-some years ago. That read a lot, I go to the theatre a lot-the
was really my first regular conducting theatre is a great passion of mine-I
assignment. I conducted at the univer- r, love buildings, art collections, that sort
sity a lot, we had a chamber orchestra ' 'Fof thing. I'm French, mostly. We live a
at the University and I used to do that. gypsy sort of life, we don't see the
It just grew from there. You know, it's <people we're fond of enough. So it's a
like living: You get older and you do great joy when you're in a place and
more. you know somebody very well, like an
D: Obviously, you're British. old friend or whatever it may be. And
L: Yes, I'm British, but I live here it's quite a joy to see them. It becomes
now. I'm in the process of becoming (an Leppard: Master conductor comes to town quite a preoccupation in our sort of life.
American citizen), but I haven't yet
12 Weekend/Friday, September 21, 1984

by ex-Gang of Four member Andy Gill, certmasi
RZ CC KTwhich explains the occasional funky Orchestr
beat. A few of the songs are rappy, yet delssohn
Bonemen of Barumba-Icons (Fever) others have almost heavy-metalish Sympho
S'U These guys definitely listened to a lot guitars, but all of the songs have funny conductc
A L B U i of Virgin Prunes.I liked this album, but lyrics. Great cover art, M. W. musical
felt it was slightly repetitious. They i nnconstra
dabbled in some funk-oriented music F iL enough i
that was not as effective as their the albu
moodier, darker. songs. Overall, a fine Songs for Peace-Various Artists polish ti
Carmel-The Drum is Everything free-form album. H. S. (Rounder) Silverste
(WOnerlBthi verA varied collection both in style and both a h
is comprised of Motown, African, blues, Jakata-Light the Night (Morocco) quality. Most of the tracks are folk, but ductor i
and crsee It inootes mAribas, What do you get if you cross Donny all have a strong anti-war message orchestr
important bass lines, great keyboards Osmond with Steve Perry of Journey? The strongest cuts are Dick Gaughan's Digital.
and horns with an array of Carmel's You'll have a very uncreative band called "Your Daughters and Your Sons," Pete
vocal styles. This album goes anywhere Jakata. Even before listening to the Seeger's "Quite Early Morning," and
from wailing-almost gospel style-to album it is obvious that the band has no Tom Paxton's "Peace Will Come." The Rece
shouting and great falsettos. The best creativity at all. The cover shows four only bad cut is Roy Bailey's "War John L
cuts on the album are "Rue St. Denis," men who look like they're trying to copy Without Bangs. D.R. from re
which is in French and English, has a Duran Duran, and the inside cover WCBN
very mysterious sound, and "Bad reveals such "innovative" lyrics as Callah
Day," which is very bluesy, with fan- "Jean such a scene"(said about 9 Freijy,
tastic keyboards and vocals. Overall, a times), "Oh no"(said another 4), ande
great album. L.F. "Oh yes-Oh yes-you've got to be the John Blake - Maiden Dance Debowr
best." But when the record is actually (Polygram), Howard
played, the listener is reminded of a Jazz violinist John Blake brings forth Wyss.
Cheepskates-"Run Better Run" local small-town talent show where a catchy tunes, gonzo soloing, and a
(Midnight) band tries to copy famous groups' warm (slightly commercial, though not
This band is a cool revivalist-type styles. This album is not worth the slick or overproduced) feeling that
outfit from NYC. You can detect' all money paid -(t was free), and it is makes for a fine debut. This is a MAT)
kindsa '60s influences here, but their recommended to no one. J. C. beatiful thing. Grab a hunk. Go forth. APTI
sound is largely their own. Their way of Steve Morse Band-The Introduction C.E.K.
implementing their songs is sorta Stektro)
dated, but it fits. I can even picture (Elecktra)
these being performed in a more Yes, this does have some of that Yc
modern manner which means they ain't glossy, overproduced intrumental
really revivalists but a decent group in schmaltz which infests most of this sort
their own right. Shane Faubert is really of pop-fusion, and seems to keep the Cecile Licad- Saint-Saens, Piano Con-
the best writer here (and probably the white-dopes-on-noise happy. But Wait! certo No. 2 (Columbia)
best singer too), but the other guys are Former Dregs guitarist Steve Morse is If you are seeking a reasonably good
good musicians, and I'm hoping their still a hot guitar guy, and is also a recording of Saint-Saens' Second Piano Ask Pe
writing will improve. I like this a whole sometimes wonderful composer, so Concerto, and Chopin's Second Piano why t
lot even though it's uneven in spots. check this out! T.S. Concerto, which fares a bit better the cd
Ther's a good mix of the pop and emotionally, the 22 year old Philippino velop
psychedelic elements of t6s music. C. C. The Stompers-One Heart for Sale pianist Cecile Licad's new issue on ingen
(Polygram) Columbia Records should suffice, just vial a
History of the Girl Group Sound Volume The cover is misleading as hell! The fine. Licad has a phenomenal set of cultur
H - Various Artists (Rhino) Stompers are a fun, solid, revivalist fingers in terms of technical precision. dentsr
I strongly suggest you listen closely combo who bring to mind the best of When the firewords die down, however, solid t
to the lyrics-they're corny and make Geils and Springsteen, but without their she tends to lack the emotional aspects that F
for a good laugh. Too bad these girl excesses. Sure they've got a lot of needed to really win your heart over. that F
groups couldn't find anything more to Album-Oriented-Rock slickness about The album is definitely worth listening caree
sing about than teen love. It's still a them, but they write great tunes with to, if not just for the delightful playing and 6
good album in spite of the lyrics; a lan- cliche lyrics. Give it a chance. C. C. in the second and third movements of why N
dmark in the music industry. The the Saint-Saens. N.G. jobyc
production is pretty good, and it has Various Artists-Nobody Gets on the
something of an "old" soundtoit. L.F. Guest List-The Throbbing Lobster
Compilation (Throbbing Lobster)
Jools Holland-Jools Holland Meets This is a nice collection with good Joseph Silverstein - Mendelssohn's
Rock'a'Boogie Billy (I.R.S.) production. Many of the cuts sound Violin Concerto and other Orchestra
Not really authentic sounding, but really raw. Some cuts reflect Dylan, Pieces (Pro Arte)
well done allthe same. There are some R.E.M., and English Beat influences.
danceable tunes. Jools plays most of The Fourteen Boston Bands represen- Joseph Silverstein, the former con-
the instruments. Ex-Squeeze members ted are the Flies, The Underachievers,
Glenn Tilbrook and Gilson Lavis also The Hopelessly Obscure, The Prime-I
put in appearances. M. W. Movers, Christmas, Wild Kingdom, 21-
645, The Turbines, Classic Ruins, John-
Kath Bloom-Loren Maz- ny & The Jumper Cables, Chain Link
zacane-"Moonlight" (Saint Joan) Fence, Holy Cow, Noise Pencil, and
This album has the same eerie vocals Baby's Arm. L.F.
and haunting guitar as the other XMehad-
as strong. Still, there is some good stuff Gloom and doom glamour from Ger- 'S URhP LU S
here. All the songs are slow, have many adrit ise sung sinGern too.
finger-picked acoustic guitar and Very derivative. Lead singer Anja
acoustic sounding electric guitarfills. Hume sounds a lot like Siouxsie of Ban
The lyrics are simple, relying on the shees fame, and the music follows suit 201 E. Washington at Fourth ALL
haunting accompaniment of the It has a polished full sound, I can't
guitars. Side 1 is stronger than side 2. speak for the lyrics. TS. OPEN M-SAT. 9-6 W1
Some songs of special note e: "Blues ,_OPEN FRI. 9-8
Song"(instrumental),."Can You Find F(UeN.K
Me," "Puccini," and "Come Here." If 994-3572
you like this, do yourself a favor and The Red Hot Chili Peppers-The Red S
listen to the other two albums. They're Hot Chili Peppers (EMI)
amazing. M. W. This inventive album was produced

Back to Top

© 2020 Regents of the University of Michigan