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December 11, 1984 - Image 6

Resource type:
The Michigan Daily, 1984-12-11

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The Michigan Daily Tuesday, December 11, 1984 Page 6

By Andy Weine
Saturday night at Hill Auditorium,
Pat Metheny belted out an elec-
tric, hair-raising show that can be
summed up as... amazing? shim-
mering? terrific? All adjectives fall
short of relating the brilliance of
Metheny and his band, but here, I'll
give it a go anyhow..
Lets start before the beginning. The
stage of Hill Auditorium may be able to
accomodate some couple hundred
faculty, honors convocators, and antsy
graduates, but it can barely hold all of
Metheny's instruments, synthesizers,
sound engineering, keyboards, drums,
and various rhythmics, which teemed
the stage almost to toppling over into
the front row's laps. The band - and
especially Lyle Mays, Metheny's co-
writer and keyboard and synth
master-deftly utilized the high-tech to
deliver a wide variety of music grasped
by very few music stars, from driving
jazz/rock fusion (heavy on the jazz) to
jazzy lullabies to 21st centry spacey

- -

,ny tra
synth sounds... Aah, the list goes on for
these musicians who refuse to obey the
oppressive rules of any specific genre.
Lest the massive machinery turn off
any purists out there, be aware that the
Metheny troopers do not stricly belong
to the tinselly high-tech musical baby-
boom that sparkles popular charts, for
these are musicians whose talent run
deeper than their circuits. Each band
member demonstrated this in amazing
solos. Drummer Paul Wertico thun-
dered and slammed (and eventually
toppled part of) his mountainous drum
set without rooting himself in the
typically blase heavy rock beat.
Pedro Aznar maintained the ex-
citement with his arms wildly shaking
various rhythmics to a subtly Latin
beat; bass guitarist Steve Rodby soloed
impressively; and Lyle Mays' hands
alternately leaped five or six keyboards
to create classical and cosmic sounds.
And unforgettable was Metheny him-
self, whose solo flights were sometimes
tense and taught to a shattering climax
and sometimes delightfully wandering
in a directionless path that was as

rscends musical boundries


meditative as a mantra.
Metheny opened with "Forward
March," an interesting off-key perver-
sion of a band march, which he thought
was appropriate because he "heard
ya'll were a big football school." Like
other tunes he later played, the march
demonstrated his willingness to ex-
periment in the avante-garde,
Stockhausen-Anderson-like territory
beyond the comfortable borders of
major-minor tonality and regular beat.
More in the jazzy realm were some of
Metheny's trademark tunes, such as
"Phase Dance," "Tell It All", "Yolan-
da You'll Learn," and "First Circle,"
which was rendered with perfection
only a hair off the recorded version.
Metheny's synthesized guitar soared in
these songs with a spirited, soulful
quality reminiscent of apocalyptic Pink
Floyd instrumentals. Equally en-
thralling were the semi-
improvisational vocals of Pedro Aznar,
an Argentine musician. His vocals are a
new and somewhat experimental ad-
See PAT, Page 7



An Oral History of
World War Two
"I remember every hour, every minute . . . For
all the memoirs, all the histories, no one has
come close to Studs Terkel's achievement: in
capturing those minutes, those hours. These
fascinating accounts of the lives of ordinary
Americans during World War Two are made all
the more gripping by Terkel's genius for finding
the unexpected and the revealing.


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By Neil Galanter
on stage with his cell
looks almost like a small t(
coupled with his powerful bi
well built physique, he began
mance of the Elgar Cellot
Saturday night with the Detr
phony that encompassed ev
and anything but toying or
Harrell played full of rock
tensity full bodied lyricism a
smoothly polished played th
wards one could not help but I
lips and savor his performa
His playing in all the movem
marked with extraordinary te
and not only does he comm
dominance over his instrumen
For Men, Women
and Children at
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Symphony 01
also plays with great poignancy and
delicacy as he demonstrated in the ten-
der slow movement'of his piece.
L walked Harrell only had a few small
o, which technical slips thoughout the entire
oy when piece, but this fact takes a back seat in
urly and relation to his playing as a whole,
a perfor- becuase what really counts is that
Concerto Harrell PLAYS the cello, SINGS with
'oit Sym- the cello, moves with it and interacts
'erything with it. And his marvelous interaction
kidding transforms itself into a magnetic
charisma in which he not only
-solid in- penetrates the music but also his
and such audience. He graced us also with an en-
at after- core and although it was quite a short
ick one's encore, it still was enough to give off
nce. that booming, friendly charismatic
ents was Harrell charm. Incidentally, Harrell
'chnique, was the principal cellist of the
and that Cleveland Orchestra under George
t, but he Szell from the age of twenty until he left
the orchestra in 1971 to pursue his solo
S After Intermission there was a single
work on the program. The orchestra's
newly appointed conductor and music
director Gunther Herbig was on the
Sts podium for a highly robust performan-
ce of the massive Symphony No. 7 in
8-9329 E Major of Anton Bruckner. It is quite
ironic that Bruckner, who is most
2733 commonly known as a "symphonist"
for his gigantic gargantuan sym-
phonies, actually came alive rather late

"JYNY gave me the chance to find out first-hand exactly whati
artist in New York City-without ever having to starve!" -Theatre
Illinois. "If two years ago you would have told me that today, b
be walking down Madison Avenue window shopping, I would h
But I'm here and loving New York." -Communications student fror
practical experience and business contacts I received from myi
able. It gave me a type of education I couldn't have gotten anywh
from Minneapolis, Minnesota.


Ches ra
to symphony composition. He devoted
most of his youth to the writing of,
choral music, both sacred and secular; 1
however, but the time that Bruckner Y
had begun his first large symphonic.
work, he already had that extraor-
dinarily compositional technique which
further led him to compose some of the
most well build symphonies, both struc-
turally and musically.
The orchestra performed the piece
quite well, Herbig leading thenr
heroically and in turn producing
vigorous full bodied playing. The string
section was in excellent shape this
time, performing to its fullest capacity,
and of course aided by the usual splen
did playing of concertmaster Gordon
Staples, and principal cellist Italo
Babini. Babini's playing always is
noticeable due to his lush, lavish and
always piquant tone color. The only
real problem in the Bruckner was that
the flute section at times did not seem
to be playing right on top of the tones,,
and thus it produced somewhat flaccid
Herbig is and has already proved
himself to be a conductor who is not
only a persuasive interpreter, but also a
conductor whois in constant comman
at the podium, and that command iS
constantly strengthening the DSO;
which is in turn leading the DSO on iti
way up the ladder considerably.
it's like being a starving
e student from Mt. Prospect,
etween classes, I would
have said 'You're crazy.'
m Boulder, Colorado. "The
internship were invalu-
ere else." -Theatre student


in New York!'
Take your Junior Year at Hunter College, studying and
participating in internships in THE ARTS (dance, film,
theatre, music, visual arts); COMMUNICATIONS (televi-
sion, radio, journalism); and URBAN LEADERSHIP
STUDIES (political science, sociology, and urban affairs).
You'll be able to stay at the College's low-cost dormi-
tory and study at our main campus on Manhattan's Park
Avenue. And the fees are modest.
Deadline for applications for 1985-86: April 1, 1985.



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