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 L ESPRESSO CAPPUCCINO 4, TWO LOCATIONS 1214 S. UNIVERSITY AVE. ANN ARBOR MICHIGAN UNION MAIN FLOOR OPEN 7:30 am - midnite SINGLE 10 oz. DOUBLE 16 oz. CAPPUCCINO CAFFE LATTE MOCHA ESPRESSO GOURMET VIENNA ROAST ITALIAN SODAS CAFE AU LAIT HOME BAKED MUFFINS SP 1.15 1.15 1.50 .75 .75 1.00 .75 .95 1.65 1.65 1.00 1.00 1.50 1.00 ------------ I 'ECIAL 0 i I ii