ARTS
Tuesday, October 13, 1987
The Michigan Doily
'U',
Page 7
orchestras
open
new
season
By Ari Schneider
Tonight and tomorrow night the
talented University of Michigan
Symphony Orchestra and the
University of Michigan Symphony
Chamber Orchestra will open their
1987-88 Concert Season with
exciting music by composers such
as Gustav Mahler, Richard Strauss,
Samuel Barber, and Aaron Copland.
This evening at Hill Auditorium,
Music Director Gustav Meier will
r lead the University Symphony
Orchestra in three pieces: Mahler's
Symphony No.1 ("The Titan"), the
final scene from Richard Strauss'
opera Salome with soprano Martha
Sheil as the seductive protagonist,
and Samuel Barber's pensively
lyrical "Adagio for Strings," which
has recently become known as the
theme from Platoon.
While Barber's sorrowful and
serene piece contains one movement,
Mahler's Symphony "The Titan"
(nicknamed by the composer after
the title of a Jean Paul novel) reveals
its dynamic character by traveling
from innocence to heroism in four
movements.
The symphony is broken into
two parts: "From the Days o f
Youth" and "The Human Comedy."
An ominous introduction marked by
military fanfare yields to an
expressively and seriously joyful
first movement which includes the
bird and cuckoo calls that are
expressed in each section of the
orchestra. This movement is
delightfully followed by an exciting
scherzo, a rustic waltz which
develops an interesting edge of
resistance with a fortissimo
(powerful) ending.
While the first part ends in
grandeur, part two begins with the
slow third movement. This
movement annoyed the first
audiences that listened to this work
because its macabre first theme -
the french nursery song "Frere
Jaques" - is in a minor-key and
contains the unexpected appearance
of a parodistic klezmer band. In this
section, Mahler incorporates many
Eastern European and Jewish
musical themes that add to the
ghoulish and funereal feel of the
movement.
In contrast to the third
movement's mood of death and
tragedy, the finale's opening
thunderclap represents a return to
life, or to victory. As much
importance as the first three
movements command, this finale
could be considered, along with
Bruckner's fourth movements, as the
culmination of the development of
the dramatic symphony which
concludes with as powerful an
ending as its beginning.
In addition to the University
Orchestra's premiere musical
program tomorrow night at Hill
Auditorium, the University
Symphony Chamber Players will
start its new concert season lead by a
new conductor, Richard Rosenberg.
This new Assistant Professor of
Conducting at the University leads
the Chamber Players in a program
including Teleman's "Overture in C
Water Music"; "Bachianas Brasieras
No. 5," by Villa-Lobos; and
Copland's famous "Appalachian
Spring."
After a year-long candidate search,
Rosenberg was picked to replace
Carl St. Claire who left Michigan
for an Associate Conducting
position with the Boston
Symphony. Rosenberg has taught
conducting at the Aspen School of
Music and has guest conducted a
number of orchestras incuding the
Rochester Philharmonic and the
Houston Symphony.
A native of New York,
Rosenberg studied clarinet with
Gervaise dePeyer. At the age of 20,
he was chosen from 400 applicants
for a Calhoun Fellowship to study
conducting with Otto-Werner
Mueller at Yale University. After
completing his master's degree at
Yale, he went on to further study
with Herbert von Karajan at the
Mozarteum in Salzburg, with Franco
Ferrara at the Accademia Musicale
Chigiana in Siena, and with Paul
Vermel at the Aspen Music Festival.
In addition to teaching and
conducting at Michigan, Rosenberg
is the Music Director of the San
Francisco's Chamber Orchestra of
California. He also serves as
conductor of the American Artist
Series with the Academy of London
in England.
The University Symphony
Orchestra will perform tonight and
the University Symphony Chamber
Players will perform tomorrow night
at Hill Auditorium. Both
performances are scheduled to begin
at 8p.m. and admission is free.
Gustav Meier will conduct the first concert of the season by the University
Symphony Orchestra tonight.
'Someone'
proves there's 'no place like
home'
By Scott Collins
The theme of Ridley Scott's new
film, Someone to Watch Over Me,
recalls Dorothy's resolution at the
end of The Wizard of Oz: "The next
time I go looking for adventure, I
won't search any further than my
own back yard."
Mike Keegan's (Tom Berenger,
Platoon) back yard is an ugly,
cramped lot, and in it stands his
dowdy wife and small son. He is a
dumb, friendly cop who has advanced
his career more by persistence than
talent. Being assigned to protect a
rich socialite (Mimi Rogers) who is
a witness to a murder isn't an easy
chore for Mike; he can't think fast or
talk fast, and he surely can't turn a
phrase.
But then again, maybe inarti-
culateness belongs in this movie,
because Someone to Watch Over Me
is a populist myth dressed up as
what the producers insist is "a
stylish romantic thriller." Stylish,
yes; thriller, maybe; romantic,
decidedly not.
Mike Keegan spends his time
agonizing over his love for two
women who are as contradictory as
their names would suggest. Ellie
(Lorraine Bracco), his wife, is dark,
sensual, and crude; Claire, the
murder witness he's protecting, is
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blond, glamorous, and educated
(assuming that education manifests
itself through a penchant for baroque
music). The film cleverly contrasts
the different worlds the women
inhabit in the first few scenes. We
see a loud congratulatory party for
Mike, who has just been made a
detective, and then the snooty gallery
opening where Claire sees who-dun-
it.
Scott tries to glorify the raffish
simplicity of Mike and Ellie's
marriage, but he also betrays a real
fascination for the lifestyles of the
rich and arrogant. The detective,
ambling around .Claire's lavishly
decorated Manhattan apartment,
finally stops and ingenuously sighs,
"Fuckin' A!" (Toto, I have a feeling
we're not in Queens anymore). That,
besides being one of the worst pieces
of film dialogue I've heard in a
while, demonstrates the movie's
dopey class consciousness. Claire
makes Mike's tail wag, but he can't
eat out of her silver supper dish, and
ain't that a shame? Someone should
have been watching over Howard
Franklin's shoulder when he wrote
the screenplay.
For a self-proclaimed thriller,
Someone has precious little faith in
suspense. The resident hoodlum
(Andreas Katsulas) is a cardboard
menace, thick-featured and fatuous,
who looks as if he fell out of a Dick
Tracy strip just in time to answer
See SOMEONE Page 8
Tom Berenger plays a dopey Queens detective who's out to protect an elegant
Upper East Side woman (Mimi Rogers) In the flimsy new movie, 'Someone
To Watch Over Me.'
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