Page 10-The Michigan Daily- Friday, October 11, 1991

F.

Turn to Vienna for great art

The University of Michigan
SCHOOL OF MUSIC

by Roger Hsia

I-,14 ,

Sun.-Wed.
'Oct. 13-16

Sun.

Oct. 13

Y..W .
a
'.I ~ f
:
'.
$'
' !'
,. °

Mon. Oct. 14

tue. Oct. 15
i,

31st Annual Conference on
Organ Music
"The Music of Jehan Alain"
University Players
Heinrich von Kleist: The Broken Pitcher
Tickets: $9, $6 students
Trueblood Theatre, 2 p.m.
Stearns 2+2+2 Lecture Series
Paul Gifford: "Midwestern Hammer
Dulcimer Makers and Players"
School of Music Recital Hall, 2 p.m.
Autumn Festival of Choirs
Sponsored by the American Center of
Church Music in conjunction with the 31st
Annual Conference on Organ Music
Hill Auditorium, 4 p.m.
Michigan Chamber Players
Lynne Aspnes, Hamao Fujiwara, Stephen
Shipps, Owen Carman, Martin Katz, Paul
Kantor, Yizhak Schotten, Andrew Rubin,
and Jeffrey Gilliam
Saint-Sans: Fantasy for Violin and Harp
Arthur Foote: Piano Trio no.2
Gabriel Faur& Piano Quartet no.1
School of Music Recital Hall, 8 p.m.
Guest Organ Recital
Gillian Weir
Hartford Memorial Baptist Church
18700 James Couzens Hwy, Detroit, 8 p.m.
Guest Organ Recital
Karl Schrock, minister of music, First
Baptist Church, Kalamazoo, Michigan
Blanche Anderson Moore Hall, 2 p.m.
Organ Recital in Memory of
Professor Richard K. Brown
Organ Majors at the University of Michigan
Blanche Anderson Moore Hall, 4:30 p.m.
Guest Carillon Recital
Dennis Curry, carillonneur, Kirk in the
Hills, Bloomfield, Michigan
Burton Memorial Tower, 7:15 p.m.
Faculty Organ Recital
James Kibbie, organist
Hill Auditorium, 8 p.m.
Organ, Piano and Vocal Works of
Jehan Alain
Karen Lykes and Peggy Kelley Reinburg
Hill Auditorium, 11 a.m.
Music for Flute and Organ
Frances Shelly, Wichita State University,
and Steven Egler, Central Michigan
University
Hill Auditorium, 3:30 p.m.
Guest Carillon Recital
Ray McLellan, director of music,
St. Michael Church, Monroe, Michigan
Burton Memorial Tower, 7:15 p.m.
Guest Organ Recital
Michel Pinte, organist, St. Augustine
Church, Paris, France
Hill Auditorium, 8 p.m.
Guest Organ Recital
Rudolf Innig, organist, Ev. Martkirche,
Coesfeld, Germany
Blanche Anderson Moore Hall, 11 a.m.
Guest Organ Recital
Aivar Kalejs, organist, St. Gertrude Church,
Riga, Latvia
Hill Auditorium, 2 p.m.
Faculty Organ Recital
William Albright, organist
First Unitarian Church, 1917 Washtenaw,
Ann Arbor, 3:30 p.m.
Faculty Carillon Recital
Margo Halsted, University Carillonneur
Burton Memorial Tower, 7:15 p.m.

Duo Organ Recital
Colin Andrews, organist, First Presbyterian
Church, Greenville, North Carolina and
Janette Fishell, East Carolina University,
Greenville, North Carolina
Hill Auditorium, 8 p.m.
Musical Theatre
Stephen Sondheim: Company
Tickets: $12, $9, $6 (students)
(313) 764-0450
Mendelssohn Theatre
Thu.-Sat. 8 p.m., Sun. 2 p.m.
University Players
Heinrich von Kleist: The Broken Pitcher
Tickets: $9, $6 (students)
Trueblood Theatre
Thu.-Sat. 8 p.m., Sun. 2 p.m.
Faculty Harpsichord Recital
Edward Parmentier
Music of Chambonnibres, Frescobaldi, Bull,
Farnaby, Byrd, Philips, Tisdall and Bach
Blanche Anderson Moore Hall, 8 p.m.

The second half of the program will feature
Beethoven's Sonata for Violin and Piano in C
Minor; the dramatic conversation between
the violin and piano is, in Mehta's words,
'gorgeous and appealing'

For many people, Vienna evokes
images of a long and esteemed line
of composers such as Mozart, Haydn
and Beethoven. But Alexander von
Zemlinsky and Anthony Iannacone,
who also enjoyed successful careers
there, are rarely mentioned in any
lists. Concert organizer Martha Meh-

ta hopes that people will take ad-
vantage of the opportunity to in-
troduce themselves to the works of
these two composers in tonight's
performance, Turn of the Century
Vienna: Where It Came From and
Where It Went, at the University
Museum of Art.
The program will be performed
by violinist Ann Elliot-Goldschmid,
mezzo-soprano Karen Lykes and pi-
anist Dady Mehta. Zemlinskv (Se-

the present and will focus on Zem-
linsky. Zemlinsky's music is ge-
nerally associated with that of
Mahler, but he was actually Schoen-
berg's teacher at the German Con-
servatory. Later, Zemlinsky was
forced to flee to the U.S. from Nazi
persecution.
Although he garnered serious re-
cognition in Germany for his operas,
Zemlinsky's stint in the U.S. did
not produce nearly the same results.
xI

Mehta
Iannacone's segment of the con-
cert will include Rituals, which was
in fact dedicated by Iannacone to
Mehta and one of his colleagues,
Alfio Pignotti. This equally-demand-
ing piece is aleatoric, or free in
style. Written around 1974, Rituals
is based on the classical Greek theme
of Desiree.
The second half of the program
will feature Beethoven's Sonata for
Violin and Piano in C Minor; the
dramatic conversation between the
violin and piano is, in Mehta's
words, "gorgeous and appealing."
The concert will coincide with
the Schiele and Klimt art exhibition.
Both artists were major forces in the
turn of the century progressive art
movement in Vienna. Not coinciden-
tally, they were highly interested in
the musical breakthroughs of
Schoenberg and Weber, but looked
retrospectively to Beethoven for in-
spiration as well.
TURN OF THE CENTURY VIEN-
NA will be performed tonight at the
University Art Museum. Tickets are
$10 at the door, $5 for students with
I.D. Season tickets are available
($55.00 for seven concerts) at the
Museum Gift Shop, or by phone at
747-0521.

renade for Violin and Piano, Six
Songs) and Iannacone (Rituals) will
be showcased, followed by Beet-
hoven's Sonata for Violin and Piano
in C Minor.
The performance will take place
in the acoustic wilds of the mu-
seum's high-ceilinged apse. It will
trace the progression of Viennese
music from the late 19th century to

Nonetheless, he can be credited with
developing different musical main
roads, from which many later com-
posers (including Iannacone) derived
ideas. The serenade, described as "de-
manding for both the pianist and
violinist" by Dady Mehta, is akin to
"a lovely Viennese salon piece" with
a waltz-like fourth movement.

BOOKS
Continued from page 8
of short stories. The stories are situ-
ations, slices of a life that attempt to
flesh out a character. The style
works well for Kaplan; his first
book was a collection of short sto-
ries and he has appeared in the 0.
Henry Prize Stories and Best Amer-
ican Short Stories collections.
The events we are shown in Ska-
ting are not the ones that are usually
considered life's most important.
There are no weddings or deaths. In-
stead, these events take place on the
periphery, passed on second-hand as
in "Feral Cats," when Frank's mo-
ther tells him about Tommy Kozela,
a close boyhood friend who "died a
few months ago."
As a whole, the book is insight-
ful, allowing us to see a character in
situations that would normally go
unnoted. In "Piano Lessons," one of
the best stories in the collection, we
witness Frank's first exposure to
musical training. The story is told in,
the first person, and the delight
Frank feels while watching the nun
who is his piano teacher throw
snowballs after he gives up on the
lesson is conveyed clearly and
thoughtfully. One sentence desribes
the action as "a miniature scene in
the snow globes I'd seen at the five
and dime."
When the stories are told from
the third person, they are dry. In
"Skating in the Dark," the title
story, we are told it is "the coldest
winter in the decade" and then left to
picture this quality on our own.
In trying to present Frank ob
jectively, Kaplan only manages to
present the world as dull, barely
more exciting than shades of grey.
But, in "Break-In," Frank describes
his and his friends' reactions as
"turning the corner in a fun house at
Conneaut Lake and seeing yourself
in one of those distorting mirrors,
and you're startled because you don't
know who it is, and then you laugh,
and shake your head, and say, 'Jesus,
that's me!' It was us, and we all
look distorted." When Frank nar-
rates, the characters do not become
distorted - they become colorful
and whole.
In Frank, we are shown that it is
not always the monumental events
that shape us, but the small interest-
ing ones that dot the consciousness
as well. In stories like "Ghost" we
- See BOOKS, Page 11

WHAT ARE YOU GOING TO DO WITH YOUR
B.A. IN ENGLISH?
MONDAY, October 14
7:30 P.M.
MICHIGAN UNION KUENZEL ROOM
PANELISTS:

s.

Wed. Oct. 16

David Vanker
Jane Bornstein
Ruth Gretzinger
Jim Lesniak
MODERATORS:

President
David Vanker Communications, Inc.
Freelance Writer
Advertising Manager
University Microfilms
Editor-Supervisor
Gale Research
Career Counselor
Career Planning and Placement
Undergraduate Chair, English Dept.
University of Michigan

Tom Lehker
Anita Norich
Sponsored by: De
Ca

partment of English Language and Literature
reer Planning and Placement


Thu.-Sun.
Oct. 17-20

A sophisticated musical about
a misguided search for the perfect mate
Music and Lyrics by Stephen Sondheim
Book by George Furth
Musical Theatre Program

0
0

Fri. Oct. 18
Sat. Ot.19

Mendelssohn Theatre
Oct.17 -19 at8 PM
Oct. 20 at 2 PM

Student tickets $6 with ID
at the League Ticket Office

I

/l...a....... ... r.r r.. !\lr aLl r

,


Contemnorarv Directions 1

Cin~nrr urran a