10 - The Michigan Daily - Tuesday, February 14, 1995 Women painters offer local color Mutter enchants the crowd , By B. Tubbs For the Daily High in the third floor loft at 122 S. Main, the Washtenaw Council for the Arts held its annual reception for Ann Arbor's Women Painters. Ac- companied by pretentious hors d'oeuvres and fancy conversations, the myriad of paintings revealed two primary strategies. One was being decorative - easy compositions of simple colors. These undermine the quality and intellect of the fine arts. A IC Exhibition of Ann Arbor Women Painters Where: Washtenaw Council for the Arts Loft (122 S. Main) When: Monday - Thursday, 1- 5; Friday, 1-9; Saturday, 10-5. few painters, on the other hand,un- derstood the complexities of their medium. Critical aesthetics of the arts interceding with physical and mental components provoke stronger images. The curator, Ellen Moucoulis, con- veyed a strong understanding of these criteria in the awards she presented. The Grumbacher Award, for best use of materials, went to Janice Botsford with Honorable Mentions going to Nancy FeldKamp, Michelle Hegyi and Connie Lucas. Third Prize went to Susan Nordlinger while second best went to BarbaraAnderson. For theLucy Pearson Award-Best of Show, the winner was Joan Painter Jones (no pun intended). These painters have pieces that re- ally convey a strong sense of personal- ity and experience. Anderson's untitled painting on wood panel prompts a strong vertical image akin to those of the Ma- donna. There are two life-size portraits, apparently a mother and daughter, em- bracing. The painting displays a certain antiquity in both its muted colors and flat stylization. Offering a challenge to viewer, Joan Painter Jones, uses painting as an essential element of here mix- media constructions. Her prize-win- ning piece, "House Divided" was a bold jump apart from any others in this exhibit. The assemblage of found wooden panels form a stylis- tic resemblance to a house that con- tains simplified portraits. On one side of the house are a mother and daughter, whereas on the other side is the father. In-between, some planes give away to unstable floors while others create insurmountable walls. This construction contains a social commentary provoking com- plex images. Around the "House" old wire binds the structure convey- ing protection coinciding with cor- rosion. To further state this tension, paints of pale blue and pastels ag- gressively punctuate the surface into a frenzy of activity that is then carved with scribbled pencil gestures. Jones feels that her work compli- ments the other paintings. It is a con- tin uum. As a graduate of Eastern Michi- gan University she explains "Watercol- ors became boring." She moved on to acrylics and oils to experience more texture. Eventually, the expressive ac- tion became vital to her art. Paper and canvas expanded to constructions that required aggressive elements. Jones says, "The physical nature of the art became more important, conforming discarded materials into personal feel- ings. The monochromatic colors are deliberately sad, drawing people in- side." She is going to defy the notion of "growing old" with her art and, with support from her peers, Jones is ambi- tious enough to enter the national gal- lery scene. Some other women painters that deserve some recognition for their skills are Leslie Masters, for painting on areal fish; Sandra Sedlack's photo-realist watercolors; and the intensely textured paintings of Joan Shields, Ann G. Rea and Bev Walker. Most of the paintings in the loft exhibit portray excellent craftsmanship and contain a pictur- esque sense of elegance. You will be able to see Ann Arbor Women's Paint- ings until February 26. By Nick Chawla For the Daily When German violinist Anne-Sophie Mutter appeared on stage last Saturday night at Hill Auditorium accompanied by pianist Lambert Orkis, someone in the audience whispered "I think we are in for a real treat." Indeed, that was the case, as Mutter went on to charm the packed house with music by Stravinsky, Beethoven, Currier and Schumann. She began with a suite adapted from the score to the ballet Pulcinella, by Russian composerLgorStravinsky. This - Anne-Sophie Mutter Hill Auditorium February 11, 1995 composition attempts to relive the tonal and stylistic color of another period. In this case, Stravinsky adapted several themes of 17th-century Italian com- poser Giambattista Pergolesi. Mutter used long bow strokes that gave a nice fluidity to the double stops in the first movement, but most impressive were her sultry harmonics and nifty off-the- string playing. The Italian flavor of the piece was brought out nicely, and the piano accompaniment was for the most part sympathetic to the violin. The piano had an equal role as a- partner in the Archduke sonata by Beethoven. With delicate and subtle interplays, Mutter and Orkis explored a wide dynamic range. The real Beethoven character came out in the dance-like scherzo which was followed by an intense and passionate finale. Early in her career, Anne-Sophie Mut- ter was somewhat criticized for show- ing placidity in works that required passion. That was not the case in Ameri- can composer Sebastian Currier's "Aftersong." Written in two move- ments, the work was dedicated to Mut- ter, and she returned the favor by attack- ing the strings wi.th a vengeance and displaying some nice effects with rico- chets of the bow. The program ended with Robert Schumann's Sonata No. 2 in D minor. Here again, violin and piano played equal roles in a sometimes too aggres-- sive rendition of this piece. The concert ended with two encores, including the famous Hungarian Dance'No. 2, by Johannes Brahms, where Mutter used gradual changes in tempo and displayed her virtuosity in a variety of passages. In terms of the setting for this concert, Hill Auditorium was perhaps not the best setting for an intimate recital, but judging by the audience turnout, the level of music being played and the long line of autograph seekers at the end of the concert, the performance was quite an adequate trade-off. Rhino's four-disc collection of smooth soul is a virtual babe magnet. 'Smooth' romantic listening Collection is ideal for Valentines 01 By Tom Erlewine Daily Arts Editor Romantic music comes in all styles, but if you're looking for something a little different this Valentine's Day, try Rhino Records' four-disc "Smooth Grooves" collection. Arriving in stores today, the series compiles soul songs from the late '70s and early '80s, a period of time which is usually ignored in rock and soul history books. Listening to the music on "Smooth Grooves," it's hard to see why this era of soul is neglected. It is true that the soul here is slicker and more produced than anything that came before it; nev- ertheless, there's an abundance of great, forgotten songs on this series. Many of the songs are also featured in their long- form versions, which gives the discs the sound ofa late-night radio station, which makes sense, considering that this genre of soul music was born on the radio. Originally, the music on "Smooth Grooves" was named after Smokey Robinson's 1975 album, "A Quiet Storm," since the lush, seductive bal- lads were relaxed yet intense with pas- sion. AfterRobinson's album became a radio hit, many other Black artists fol- lowed with their own versions of the Quiet Storm sound. Some artists -like the Isley Brothers, the O'Jays and Marvin Gaye-were quite popular and creative in their own right. Most of the artists that form the core of the series were never well-known yet their music has aged as well as the popular artists on the collection. What makes "Smooth Grooves" interesting is how it captures a period of soul music that nobody has bothered to chronicle before. During the '70s, soul fractured into disco and Quiet Storm. Disco had pop hits, but Quiet Storm stayed on Black radio stations, only occasionally crossing into thepop charts ("Shining Star," "Something He Can Feel" and "Sexual Healing"). During the'80s, Quiet Storm trans- formed into Urban Contemporary R&B. By the beginning of the '90s, it was one of the most popular forms of pop music, as evidenced by the suc- cess of Boyz II Men. The continued popularity of Urban R&B makes "Smooth Grooves" an important his- tory lesson. Yet treating the music on "Smooth Grooves" as merely a his- tory lesson does it a disservice - there's no finer music for Valentine's Day than these discs, and that's what makes them valuable. . '':' ;:. _ s::>. ; :. ... 2 ro ^J DO 5 r1CHr Sc4e price enL45Fe~,r 0 Nlo '4 Anna. nnh. Mu ar at 'anallh...~iLSl2..m.e . o+ N1li m *..4Jnrhvm.. "i{Ann-oUpme itUers e t apenimuinui m aUUa t nil, Mu num. Freiburg Orchestra warms cold night g t t 0 AtAO K 0 e See By Emily Lambert Daily Arts Writer At the conclusion of the Freiburg Baroque Orchestra's concert, the audi- ence had witnessed a unique experi- ence. The musicians had played with style and skill, and famed countertenor Drew Minter had given appreciative concert-goers a sample of his amazing artistry. Yet Sunday evening's perfor- mance raised a perplexing question: If Baroque music sounds so beautiful when played on period instruments, why are authentic performances such as this so much of a novelty? While some of us are eagerly awaiting the big BaroqueRevival, theFreiburg Baroque Orchestra isn't holding its breath for public whim to turn towards histori- cally accurate performances. There were other questions raised as well. For example, who is this ob- scure composer Lorenzo Gaetano Zavateri, whose fantastic Concerto No. 10 graced the program's second half? From the dramatic pauses of the open- ing bars to the conversational violin concertino, the piece exuded energy. If there is a reason this work has been Hazel Are You Going to Eat That Sub Pop Before you glance at the label and location of this Portland, Oregon- based trio and assume that PACIFIC NORTHWEST = SEATTLE = SUB POP = GRUNGE = SOLD OUT = DEAD AS KURT COBAIN, think about this: would your typical grunge band employ a full-time interpretive dancer named Fred? ignored for 250 years, concertmaster Gottfried von der Goltz and his col- leagues proved the reason to be a poor - Freiburg Baroque Orchestra Rackham Auditorium February 12, 1995 one. Minter joined the ensemble to per- form songs from the popular English opera "Dido and Aeneas" by Henry Purcell. Although Minter's theatrics and vocal beauty made this a pleasure to listen to, his memorable interpretation ofDomenico Scarlatti's "SalveRegina" was the highlight of the program. Scarlatti is best known for his piano sonatas, but his setting of this llth- century chant is distinctive and digni- fied. Minter's grace and austere elegance sailed over lush string textures, though it was to a slightly brisk beginning tempo. The ensemble reclaimed center stage with an energetic performance of' Corelli's Concerto Grosso in D major. The Allegro movements were full of vitality, and the strings' fast passage work was nothing short of spectacular. The old instruments were fascinat- ing but not as much as the beauty of their music when they wereplayed. The Theorbo, a close relative of the lute, was particularly unusual. The voices of the strings, sans vibrato , reflected the ensemble's dedication to historical ac- curacy. The Freiburg Baroque Orchestra aug- mented the program with a work by WagnerandastatementbyVonderGoltz: "We like Ann Arbor lots, and would like stay just a little bit longer." The audience, whose small size I will blame on the subzero temperatures, responded likewise by calling the ensemble backforan encore and numerous bows. More than an ordinary concert, Sun- day night's performance was the experi- ence of Baroque music as it was meant to be played - a trip back in time to hear beautifulpiecesperformedasthecompos- ers created them. Somehow, those: wild European blokes called dEUS have managed to take a few alternating violin notes, distorted shouting and fuzzy guitar riffs and turn them into a surprisingly good album. The first song, "Suds & Soda," is a musical seizure, featuring screeching violins and some guy who just keeps shouting "Friday!" over and over again. It's unusual and scary and very fun to dance to. "W.C.S" lends a jazzy, hip-hop feel to an album also laced with some rvaflf '7,144S isti MN UIc 3 f3~f with SA4TOMITA e L Nasca Fantasy f f'**'ce oAf. enougn to oaiance me punk-pop scale evenly. Intelligent lost-love lyrics and the bittersweet harmonies forged by Krebs and Bleyle (also of the great Portland chick band Team Dresch) turn the acoustic folk of "Crowned" and the adrenaline buzz of "Chasing After James" into bright, albeit slightly rough, gems. Don't just "Eat" this one. Chew it slowly (it's a little crunchy), swal- low, and feel the smile spread over on I : : i