Page 8-The Michigan Daily- Wednesday, January22, 1992
Collage Concert
was a musical feast
Collage XV
Hill Auditorium
January 17, 1992
A whirlwind of glorious music
brought thousands of applauding
fans to their feet. The event was
Collage XV, one of several free
concerts produced during the year by
the University School of Music.
As part of the Midwestern Con-
ference on School Vocal and In-
strumental Music, Collage XV was
a collection of the finest musicians
as it joined the many departments of
the University Music School onto
one stage. The Midwestern Confer-
ence is also a series of lectures, dis-
cussions and concerts on music edu-
cation and illustrates new innova-
tions in teaching.
Collage XV was unlike any
other typical classical music con-
cert. Tuning, pauses between move-
ments, and applause were forbidden
during the performances to keep the
non-stop music alive. From start to
finish, the music went from one en-
semble or soloist to another with-
out pausing between beats. The sen-
sitive ears of the performers had to
anticipate the completion of the
previous work to hear their begin-
ning cues.
During the first half of the pro-
gram, the audience heard Handel's
"Zadok, the Priest" sung by the
Chamber Choir, accompanied by
members of the Symphony Orches-
tra. Joseph Gramely soloed in a
Spanish piece on marimba and mes-
merized all with both his fast and
fluid scales.
Tenor Mark Beudert sang the aria
"Nessun Dorma" from Puccini's
Turandot, in which his beautiful
voice sailed over the pounding bass
drums and a full orchestra. Tiffany
Jackson, soprano, also sang with ex-
pressive drama in her operatic solo
"Czardas" from Die Fledermaus.
Among other selections were a
jazz combo piece and a musical the-
ater production. The first half of the
program concluded with the "Fe-
ria" from Maurice Ravel's Rhap-
sodie Espagnole. The piece was a
perfect sample of Ravel's style, but
the Symphony Orchestra was not as
exciting musically as they have been
in the past.
The second half, however, glued
the listeners to their seats. From the
gripping brass fanfare, performed
under the direction of Professor
Dennis Glocke, to the serene harp
and vocal ensembles, the range of
contrast in rhythm and volume was
astounding. The carefree, soulful
tones of the violin and piano solos
echoed and complemented the pow-
erful performance of Rossini's
"Overture to William Tell."
"Desi", an original composition
by School of Music student Michael
Daugherty showcased brass and per-
cussion sections and hearkened back
to the Cuban sounds of Desi Arnaz.
To wrap up the collage, the Choir,
Chamber Choir and the Symphony
Band joined together to perform
"Gloria" from The Masque of An-
gels by Dominic Argento.
-Emily M. Marriott
- t{Th k
Billy Falcon
Pretty Blue World
Jambo/Mercury
Pretty Blue World, Falcon's
third release, is one of the most
well-produced records I've heard in
a while. Jon Bon Jovi has earned my
respect as a producer with his work
with Danny Kortchmar on Blaze of
Glory, Hall & Oates, and now with
Billy Falcon. The only problem in
Pretty Blue World is Falcon him-
self.
If he was trying to record an al-
bum filled with MTV-ready mate-
rial, than I really wouldn't mind.
Because he is posing as a sing-
er/songwriter, however, the listener
is forced to zero in on his lyric writ-
ing, which leaves much to be desired.
For instance, on the first single,
"Power Windows," he sets up con-
trasting images of Charlie, who
drives a Mercedes Benz, and Lewis,
who drives a beat-up '69 Dart. The
difference between the two of them
is that while Charlie got power
windows and power brakes, Lewis is
the one with the "power of love,"
because he has a woman to drive
around with.
By the time Falcon reaches this
song, you say, "OK - I get it." But
when he sings "No air condition, no
cellular telephone," you scream, "I
told you I got it," and feel like
jumping into your stereo and slap-
ping him.
Another example is "Still Got a
Prayer," which is about growing up
without a father who died while
storming Omaha Beach. While most
of the song is quite sentimental,
when Falcon refers to the liberation
of France as "that bloody day called
D," the history major in me says
Falcon is trivializing the entire
event as something that has to
rhyme with "my brother and me."
Falcon also can't sing too well.
Because that puts even more empha-
sis on his words, his voice only ex-
acerbates the problems with the
lyrics. It's such a shame that great
production had to be wasted.
-Andrew J. Cahn
Moose
Sonny of Sam
Virgin
In the song, "Do You Remem-
ber?," Moose perfects that moment
of chaotic bliss (to borrow a noun
hoarded by Simon Reynolds) for
which all Creation/4AD bands
strive. Toward the end of the song,
in a long instrumental part, the
sounds of all the components start
to waver into a rising swell of
blissful noise.
It's kind of like when you were a
kid and you would twirl around and
around to make yourself dizzy. Ev-
erything would blur in your head
until you stopped, and the earth
moved as you lay on the ground and
tried to look up. No words, of
course, can be sung. That would ruin
the self-contained moment.
But Moose isn't exactly like
Chapterhouse or My Bloody Valen-
tine. They're a little too poppy to be
lumped in with that lot, but the
dampened vocals and more melodic
wash make Moose more esoteric
than your average British guitar pop
band.
Like their Lush friends, one song
melts deliciously into another,
slowly. "This River Will Never
Run Dry" has a flute solo in the last
half of the song which also empha-
sizes the long, meandering feel of
this kind of pop music.
The repetitive guitar parts make
the music seem unreal. In "Jack,"
one of the poppier songs on Sonny of
Sam, the repetition of the phrase "if
God knows" creates the idea that
the fragment is meaningless, or
dulls it so much that the syllables
take on a life of their own within
the music. They join the guitar, bass,
and drums to form a whole, rather
than a poem being placed over semi-
appropriate music.
Damien Warburton's drumming
takes a larger place in Moose than
drums generally do in these kind of *
bands, i.e. you can hear it actually do
something besides keep time. In
"Suzanne," his drums add the
"urgency" that the guitars usually
carry, making the song wind on its
way, guiding the self-aware sprint
Moose takes around bends and turns.
Annette Petruso ,
.
0 °
,
4A0 wanna-be's Moose play with your mind musically, and here, visually.
But wouldn't it have been cooler to call the band "The Meese?"
S'1
( The University of Michigan Pre-Dental Association7
The First Meeting of the University of Michigan
Pre-Dental Association
at: Michigan Union - Anderson Room A & B
when: January 23rd, Thursday - 7:00 pm
who: Anyone interested in exploring the field
of Dentistry
There will be a presentation by Dr. JedJ. Jacobson, Director
of Admissions, University of Michigan School of Dentistry.
Following this short presentation an organizational meeting
willfollow and refreshments will be served.
For additional information call 763-3316.
DAILY ARTS SEZ:
Support Campus Cinema
5THAVE. AT UBERY761400
1$3.00 0LLLDY UEDOSBEOE 6 P
Prince of Tides (R)
Father of the Bride (PG-13)
Present this coupon when
purchasing a large popcorn
r and receive one
FREE LARGE DRINK
Expires 1-27-92
Hip, Hip, Hurrah (1987)
dir. Kjell Grede
Foreign films are often stereo-
typed by Americans as artsy, preten-
tious, unfathomable affairs with
subtitles. One good reason for this
is the large quantity of European
movies like Hip, Hip, Hurrah which
fit the stereotype to a T.
This Swedish movie is the first
of a series called Swedish Film Be-
yond Bergma. Among the films to
be shown as part of the festival are
The Wind, The New Land, My Life
as a Dog and Pelle the Conqueror.
Hip, Hip, Hurrah is a fictional-
ized account of the life of Swedish
painter Pieter Severin "Soren"
Kroyer. Kroyer, who actually lived,
is known for his light and airy land-
scapes done in the tradition of Ro-
coco painters like Watteau.
The film focuses on Kroyer's
Candide-like obsession with happi-
ness and "the bright side" of things.
Kroyer lives with an artsy set of in-
tellectuals in the seaside resort of
Skagen.
Kroyer's fortunes take a turn for
the worse, however, when he falls in
love and marries a beautiful woman
who can't love him back and ulti-
mately leaves him.
Swedish director Kjell Grede
achieves a number of memorable im-
ages in his cinematography of the
seaside resort of Skagen. Like the,
films of Peter Greenaway, Grede's
film succeeds best as a work of art.
The chief weakness of the film is,,
the screenplay's tendency to roman-
ticize the art-making process and them
mad-genius-at-play routine. Like
many other films about art (e.g,.,w
Vincent and Theo), Hip, Hip, Hur-,,,,
rah forgets that artists are people
rather than Felliniesque caricatures.
The actors do fine work and
ground their characters in reality.
much more adeptly than the script
does. As a whole, the production
values are good. It's obvious that a
lot of care went into the making of
the film, which is not so much a dis-
aster as it is a disappointment.
Hip, Hip, Hurrah is playing,
tonight at 7 p.m at the Michigan4
Theater.
-Aaron Hamburger ~
"People have had the opportunity to
discover us on their own for the past;,
two and a half years. Now, I'd just
as soon like to make a living at it." "v
"i ovi
HELMET and SUPER CHUNK play',
at the Blind Pig on Thursday.
Tickets are $6.50 at TicketMaster
(p.e.s.c.), and doors open at 9:30.
- - - - - - - - - - - -x
I
Technical Opportuniies
at
First Boston
First Boston, a major international investment bank, headquar-
tered in New York City, will be recruiting at the University of
Michigan for the Technical Associate Program in the Information
Systems Department. We are looking for Seniors with analytical
and computer skills who want exposure to the world of finance.
First Boston uses the latest advances in hardware and software
technology to create systems crucial to our success in the financial
marketplace. If you are interested in helping shape the future of
Wall Street through technology, First Boston's Technical Associate
Program will be of interest to you.
We will be recruiting on campus for full time positions on:
Tuesday, February 4, 1992
Sign up through the School of Engineering Placement Service no
later than 1 p.m. on Friday, January 24.
CHUNK
Continued from page 5
Buzzcocks jealous.
SUPER CHUNK and HELMET play
at the Blind Pig on Thursday. Tick-
ets are $6.50 at TicketMaster
(p.e.s.c.), and doors open at 9:30.
HELMET
Continued from page 5
into the arenas of the majors. But, as
Helmet is his musical vision, he re-
mains unapologetic, and sure that
most of the fans who grooved on
their Amphetamine Reptile releases
will remain loyal to the band:
11,
rI
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'ECIAL
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