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February 10, 1995 - Image 9

Resource type:
Text
Publication:
The Michigan Daily, 1995-02-10

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Freiburgs specialize in authenticity

The Michigan' Daily - February 10, 1995 - 9

... _ _ _ _.. ,. _....1 . ..1

mlly Lambert
S.Arts Writer
"It was luck, I think. Such a situa-
ion dpesn't come back a second time,"
aid concertmaster Gottfried von der
ioltz of the Freiburg Baroque
)rchestra's beginnings. During aphone
nterview from Germany, he explained
ow the small group of students at the
'reiburg College of Music came to be
e red as one of the world's finest
amusic ensembles.
"We met at our studies in 1985, and
e were quite lucky that we were in a
osition where we didn't need to earn
honey with it. Wejust met and tried out
fieces with Baroque techniques ... In
987 we started to play. We had quite
uccessful concerts and a successful
tart. And then, after a time, we decided
Smake this our main job."
the name implies, the Freiburg
aroque Orchestra specializes in the
uthentic performance of Baroque
pertoire, although Classical and
omantic works often find their way
nto programs, as well. The orchestra
oes not have a conductor, which
ives each musician a great artistic
sponsibility. Von der Goltz and
homas Hengelbrock share the posi-
of concertmaster.
Mhe musicians play on authentic
strtments and continuously evaluate
eir performances in relation to the
ieces' historical contexts. They re-
ch firsthand sources that give in-
ctron on instrumental idioms, phras-
g, rhythm, and other aspects of Ba-
ue music.
Von der Goltz's emerging fascina-
on with historic performance coin-
i with the group's inception. Now,
it ten years of experience behind
im, he is able to analyze his progress
nd understanding of the music.
"I'was very interested in the sound
f the old instruments, in ways of play-
g threm, and in views of Baroque
usic through historic sources. I got
ore and more interested... The more
play, the more my taste and my view
music develops. Sometimes you
:rize that you mademistakes.This

happens, but it's not so bad."
The Freiburg Baroque Orchestra
performs regularly around Europe, and
has given tours in the United States and
Southeast Asia. Most audiences appre-
ciate and are receptive to the ensemble's
dedication to historically accurate per-
formances, but Von der Goltz noted
that resistance, however uncommon, is
HE FREIBURGO
Y BAROQUE
ORCHESTRA
When: Sunday, February 12
Where: Rackham Auditorium
Tickets: $28, 26, 20 and 16
not unheard of.
"It happens sometimes when you
have a very difficult or exotic program.
Last year we played a lot of Zelenka, a
very, very special composer. Not ev-
erybody likes him. Some people were
very enthusiastic about the concert and
his piece, and some people didn't like it.
In general, if it is good music and if it is
well played, people will like the old
instruments."
Von der Goltz enjoys playing pieces
by Zelenka and other talented, but often
forgotten,composers. In the orchestra's

Ann Arborconcert, Purcell's suite from
the famed opera Dido and Aeneas will
be paired with a concerto by the little
known L.G. Zavateri. As Von der Goltz
pointed out, this tour could mark the
first time an audience has heard
Zavateri's concerto since it was pre-
miered.
The touring ensemble, consisting of
thirteen string instruments, a harpsi-
chord, a lute, and a flute, will be joined
by the celebrated countertenor Drew
Minter. Minter, who was awarded both
Fulbright and MarthaBaird Rockefeller
study grants, has sung with many of the
world's leading opera companies, or-
chestras, and early music ensembles.
The Freiburg Baroque Orchestra
infuses new life into familiar pieces on
period instruments, while it introduces
lesser known works to its audience.
With every inspired performance, pre-
ceded by much research and rehearsal,
Von der Goltz and his colleagues delve
further into the past while retaining
their influence on the present.
"It's very important to combine these
two elements: to search in historic
sources and to research how this music
has to be played, but also to let it sound
modern. The music should sound mod-
ern to the audience, as if they are hear-
ing it for the first time."

Mutter is a
violinist who
matters
By Nik Chawla
For the Daily
Renowned German violinist Anne-
Sophie Mutter returns to Ann Arbor for
a recital with pianist Lambert Orkis at
Hill Auditorium, tomorrow night at 8
p.m. On the program are sonatas by
Beethoven and Schumann, Stravinsky's
Suite Italienne and American composer
Sebastian Currier's Aftersong.
Anne-Sophie Mutter began her
musical studies as a pianist at the
young age of 5. She quickly changed
to the violin, and after her first teacher
died when Mutter was 10, she taught
herself. Now 31, married, and well-
established as one of the leading con-
cert violinists in the world, Mutter is
busy with a concert schedule of solo
appearances, recitals and chamber mu-
sic. She is also strongly committed to
contemporary works by such com-
posers as Currier, Witold Lutoslawski,
Norbert Moret and Wolfgand Rihm.
KrzysztofPenderecki's "Violin Con-
certo #2" is dedicated to her. In addi-
tion to her concerts, Mutter finds time
to teach, and in 1987 she established
the Rudolf-Eberle-Stiftung founda-
tion in Europe, to promote young,
gifted string players.

Award-winning violinist Anne-Sophie Mutter plays Hill tomorrow night.

Daily Arts' Morrissey Quote of the Week:
"I don't try and inflict the way I feel upon other
people, because that's quite boring."

NEED HELPGETTINGOVERTHEMID-TERM HUMP?

The Freiburg Baroque Orchestra bring the music of Germany to life.

Sex is a welcome guest in this 'House'

y Brian T. Armbrust
r the Daily
"Frankly, this is about women want-
g to get laid."
So said Camilo Fontecilla, director
"The House of Bernarda Alba," by

Guglielmetti) also find themselves en-
meshed in the family's conflict.
"I don't mean to sound sensational-
istic, but this is a world in which a 34-
year-old woman has never been al-
lowed to touch a man," said Fontecilla.
"One of the things that really interests
me about the play is that it's completely
and overtly about one of our most basic
instincts, which is to have sex.
"It's different from voluntary absti-
nence. For these women, it's like deny-
ing them the food of life. They're starv-
ing for sex because all they do day after
day is sit in a hot room and embroider,"
he said.
Fontecilla, a BFA Theatre senior,
first came across the story of "Alba"
in Spain, where he lived until age 18.
He noted that Lorca wrote the play in
1938-39 and died almost immediately
afterwards in the Spanish Civil War.
"A lot of people have tried to take
a very political stance on this play.
Lorca makes a very clear distinction
of what is political and what is social
commentary," said Fontecilla.
Although accustomed to walking
on the boards himself as an actor,
Fontecilla nevertheless found direct-
ing "Alba" an exciting challenge.
"What I found most difficult was to
try and introduce the actresses to a
style that's alien to them," he said. He

commented that the cast, all of whom
are BFA Theatre majors, receive train-
ing in acting for such playwrights as
Shakespeare, Shaw or even Brecht,
but not Lorca.
Fontecilla expressed pleasure with
the experience of teaching this new
acting approach to the cast. "I think
they're all fantastic. They're willing to
work with thlis entirely different style. I
think we've achieved it," he said.
The play demands a lot of its actors
as well. Elif Celebi found new ventures
in taking on the role of Bernarda. "It's
a very challenging piece, because Lorca
was a poet before he was a playwright
- the play is straightforward, simple,
and raw. It requires something differ-
ent; it's like working on poetry and a
play-combining genres," said Celebi.
Fontecilla feels that "Alba" holds
relevance for everyone. "Its audience is
universal. Idon't think we can approach
it as a play about repressed femininity
in a political sense, because the story is
completely fictional. But the needs of
the characters are so essential that on a
gut level everyone will be able to relate
to them," he said.
"Also as a play it flows wonderfully
- incredible moments of peace and
quiet disrupted by irruptions of chaos.
It's impossible to get bored watching
this play," he said.

" r w a r

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t
4
k
i
+ Wnr*y ACIIAW Co
1

VIEWP 1

aderico Garcia Lorca. "Alba" runs
is weekend as part of the Basement
rts series in the Arena Theatre.
The story of "Alba" takes place in
Lrly 20th-century rural Spain,and don-
sts of eight female characters. A con-
lling mother, Bernarda (Elif Celebi),
iries her husband, and turns her atten-
her five grown daughters (Ingrid
gerstein, Stacy Aronoff, Stacy Mayer,
llyn Woghin, Kim Gainer), whom
te domineeringly scrutinizes, for fear
iy of them might establish contact
ith aman. Longtime confidante Poncia
'adi Sutter) and a maid (Heather

with MC
Horace H. B.
Sanders

omedian
Smments
~n culture

Eugene Bowen
iy Arts Writer
The University Activities Center's
lugh Track and Viewpoint Lectures
visions present stand-up comedian
a Chappelle at the Power Center
.m. tomorrow. Tickets can be
ught in advance at the Michigan
nion Ticket Office for $8, or they
n be bought at the door for $10.
A 20-year old Washington D.C.
tive, Dave Chappelle began working
e comedy circuit at the age of 14. He
perhaps best-known for his part in
el Brooks' 1993 movie "Robin Hood:
en in Tights" where he plays Robin's
i sidekick, Achoo. Chappelle has
so performed his stand-up routines on
e Arsenio Hall and David Letterman
jows, Comedy Central's "Stand-Up
and-Up" and the "Showtime Com-
y Club." He's been featured in a

vv \
r. ..
I
v
X IX
daiv
8n

Seen on EBO,
Arsenio,
Letterman,
Dmedy Central
and in
)bin Hood: Men
in Tights

I

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y,2 {tS "

I . 1

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