's St. Martin's 'Four Seasons' still soars By BRIAN WISE Considering the fact that Vivaldi's "Four Seasons" is the most frequently recorded piece of any in classical music, it is extraordinary that the Academy of St. Martin-in-the-Fields' 1970 version has dominated record Academy of St. Martin-in-the-Fields Rackham Auditorium January 22, 1995 the case Sunday night at Rackham Auditorium. In addition to the "Four Seasons," Handel's Concerto Grosso in A major and Britten's "Variations on a Theme by Frank Bridge for String Orches- tra" demonstrated where the chamber orchestra's foundations lie - in the British and the baroque. Performing double duties as con- ductor and violin soloist, Iona Brown led the group in the traditional ba- roque format while the 17 musicians responded to her direction with fine precision. Tempos in the Vivaldi were on the brisk side, creating a genuine sense of vigor and spontaneity in the allegros. Pictorial details were frequently highlighted, notably the soft trilling in the solo violin and the delicate harpsichord configuration that provided the effect of a bird song in "Spring." The swift arpeg- gios and scalar patterns that allude to a frigid gale in "Winter" seemed to have taken some inspiration from reality in this performance. Nimble tempos didn't diminish Brown's expressive playing, which often displayed a romantic tone wor- thy of Tchaikovsky or Brahms. Yet it generally stayed within the stylis- tic parameters of the music, and she was attentive to the gradations of dynamics and texture in her inter- pretation. Much of the aggressiveness that the "Four Seasons" commanded was tempered in Handel's Concerto Grosso in A major. This work was the 11th of 12 concerto grossi the com- poser wrote for the 18th century En- glish aristocracy, and is considered to be the pinnacle of late-baroque or- chestral writing. Unlike those of his contemporary Vivaldi, these concerti were rather conservative works, at once aristo- cratic and ornate, pompous and deli- cate. The Academy approached the A major concerto with a warm, full- bodied sound that never sounded opu- lent or forceful. The tapestry of me- lodic lines in the fugal allegro was woven with utmost clarity. The Britten was a far more sizable offering, sharing only its English ori- gins with the Handel. The piece is closer to the Vivaldi, however, in its technical demands, (although entirely in the realm of 20th century tech- nique). This set of variations is a pastiche of musical parodies, includ- store shelves and critics' recommen- dations ever since its release. The baroque concerti have turned up in luxury car commercials and PBS documentaries, achieving a certain notoriety that the successful Vivaldi himself probably didn't experience when they were first premiered 270 years ago. Given the Academy's long-stand- ing association with the work, it would seem that the act of recreating it in live performance would be a matter of routine. Yet familiarity can inspire the need for new perspectives, as was Led by lona Brown's fine violin, the Academy of St. Martin-in-the-Fields has retained its power over the decades. ing Viennese waltz clichds, 19th cen- tury Italian opera arias, Baroquel bourees, Chopin Funeral Marches anda other assorted genres. An inventive use of string sonor- ity characterized this series of varia- tions, from the use of mutes to guitar- like strumming, from pizzicati to ee- rie harmonics. The Academy demon- strated their superb flexibility from beginning to end with this strange but fascinating piece. This flexibility has enabled the Academy to continue selling out con- cert halls for over 35 years, as it did again Sunday at Rackham. The stand- ing ovation the chamber ensemble received was every bit deserved. Independent films make a striking 'Effect' By SHIRLEY LEE Undeniably provocative and ec- centric, "The Coriolis Effect" and "Making Up!" both scrutinize love as being both a virus and a panacea. Though unlike one another narra-. tively and visually, these two brief stories concern themselves foremost Sinbad waves his career goodbye, as well as Phil Hartman's 'Houseguest' forgets to Invite a sense of humor The Coriolis Effect and Making Up! Directed by Louis Venosta and Katja von Gamier with Dana Ashbrook and Jennifer Rubin with taking a chance on the uncer- tain. Fans of efficiency take note: Di- rector Louis Venosta of "The Corio- lis Effect" needs a mere 10 seconds to fully entice you and let you know that allotting an hour to this black and white production is a win-win situa- tion. At face value, "The Coriolis Ef- fect," a mediological term meaning the spinning of the earth, character- izes how an intense spin effects torna- does. "The Coriolis Effect" results in a film that details the empathy and inspiration Ray and Stan find when they cross Ruby, a nonsensical but fearless wild woman, on their mis- sion to observe the mighty Twister, a tornado. Essentially, these two men of science resolve their personal con- flict through Ruby, who ultimately walks into Twister as a sacrifice for the sins of mankind. To many, "The Coriolis Effect" may strike them as an eccentric of Monmartre. But to those true devo- tees of aesthetics and style before substance, "The Coriolis Effect" em- bodies near perfection. Unlike many films of high artistic visions but with little heart, "The Coriolis Ef- fect" epitomizes both heart and soul into a story of courage shattering skepticism and love triumphing over fear. Venosta, beyond the realm of art- istry, creates quick-witted and dar- ingly enlightening dialogue, although at times it is clich6-laden by trite and generic metaphors such as "a kiss to set you free" and speaking of love in terms of "a leap of faith." The deliv- ery by Ruby (Jennifer Rubin) tops in this five-persons-cast, speaking with conviction, certainty, and disarming, infectious humor. The second, "Making Up!," a Ger- man film, concerns itself with women and men being in love with the idea of love. Maischa and Frenzy both lead a frenzied lifestyle, balancing a hectic work schedule and the search for the "right" man. The quirky humor of the director in "Making Up!" adds an endearing dimension to his otherwise swift, candid approach. The diversity of topics in "Making Up!" range from sex to split-second decisions to ex- posing one's inner self. The cast puts forward a slightly sarcastic and caustically convincing deliv- ery. The thoughts of each character pummel us rapidly, like gentle blows, daring us to digest them as they spew them out. At the finale, "Making Up!" strikes an inspirational exit, motivating all women to pursue their talents and their dreams before becoming tied down. "Making Up!" not only acknowl- edges that women can fall in love with their best friends on a nonsexual level, but clearly and sensitively il- lustrates how meaningful, redemp- tive, and sometimes devastating it all can be. THE CORIOLIS EFFECT and MAKING UP! are playing at the Michigan Theater. By SCOTT PLAGENHOEF Somewhere between being a comic juggernaut on "Star Search" (a coveted role which also launched the 'sky's the limit' careeroftalkshowimbecile Jenny Jones), Sinbad became a star. Was it his Houseguest Directed by RandalMiller with Sinbad and Phil Hartman ally irrelevant; you can count on John Kruk's testicles (Hint: he had one re- moved) the number of truly funny gags in the film. Kevin (Sinbad) is a small-time loan shark on the run from the mob, (sound familiar yet?), who runs into middle- class dullard Gary (Hartman) and his lily-white family at the airport. Gary is waiting for an old friend to arrive whom he hasn't seen in 20-odd years and mistakes Kevin for his friend. Herein lies the film'sunderlying and only clever gag, yet it is of course wasted on the chowderheads in the audience who wait in anticipation for someone, anyone, to get clobbered in the cajones: white people can't tell black people apart. This film plays off the inability by the white, middle-class Gary to even recog- nize his friend, because he is ofa different mce. This sad truth is then lost amidst a nonstop wave ofmoronic slapstick which would make John Ritter blush. Naturally once out of initial danger from his pursuers, Kevin continually attempts to ditch Gary and his brood without success. Instead, Kevin and a grateful audience are treated to life with Gary, which amounts to life with the Nelsons without episodes in which Ricky has girl trouble. See the hilarious results when an out-of-place Sinbad goes on a golf out- ing. Try not to keep from rolling in the aisles when Sinbad goes wine tasting. Eventually, if you hadn't guessed, or turned to the "Daily" crossword (Hello, does anyone give a shit about "Houseguest?"Areyououtthere?Ifso, why?), Kevin teaches Gary, wife, and kids, to loosen up a little, enjoy life, really get out there a shake their collec- tive thangs. So, Sinbad learns that family is im- portant. Lame white folk learn they are lame and really white. Audience learns that this movie really sucks (or really like it and are heard exclaiming outside the theater that they hope someday the multi-talented Sinbad will team up for a film with the even more uproarious Pauly Shore). Hopefully the entertain- ment industry learns that Sinbad is at best a "Star Search" champion who should have maxed out his 15 minutes sharing a stage with a bloating, possibly drunk, Ed McMahon, and the Junior dance champions. HOU)SEGUESTis playing at Showcase. I m pointless supporting role in "A Differ- ent World?" His cameo in "Coneheads?" Hosting "Showtime at the Apollo"? Whatever it was, some genius at Hollywood Pictures (is there aworsefilm studio anywhere?) thought a Sinbad vehicle would be a great film project. The result is "Houseguest." Phil Hartman, who afterbeing theglue which held together "Saturday Night Live" for so many years, now has to endure performing his everymancomic schtick with Sinbad. The plot is naturally virtu- great scores... ., Be apart ofthe exctement in one ofthesegreatpositions! 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